Cher Public

  • PCally: Hmmm well personally I do tend to find La Juive a pretty boring opera and I’ve loved a couple of productions that I’ve... 6:56 PM
  • jackoh: Let me venture an opinion that I am not sure how far that I would go to defend. I don’t think that there is any such thing as a... 6:32 PM
  • aulus agerius: Such a boring opera…..I couldn’t stick with it. Those 2 sopranos going on and on. I’m having a hard time... 5:45 PM
  • RosinaLeckermaul: Went to NABUCCO at the Royal Opera last night. Other than Jamie Barton in the small role of Fenena and John Relyea as... 4:55 PM
  • Fidelia: For info for those who left the chat before the production team came out for bows. There was the usual battle between boos and... 3:51 PM
  • JohninSeattle: It’s nice to know that outside of graduate schools for english literature and gender studies Foucault is still a... 12:17 PM
  • DeepSouthSenior: In three hours we’ll be watching the final live telecast of the season on Digital Concert Hall. Berlin Phil. with... 11:29 AM
  • rapt: Ouch! 11:05 AM

Sher on this shining night

Bartlett Sher’s “new to Chicago” production of Romeo et Juliette came to the Lyric Opera at Monday’s opening after appearances at Salzburg and Milan. For most of the evening, the production worked quite well, moving the iconic star-crossed lovers to 18th century Venice. Musically, however, the evening was a decidedly mixed bag.   Read more »

Sweetness and light

I love the prelude to Strauss’ Der Rosenkavalier, especially the first soaring phrases.  British guest conductor Edward Gardner gave a balanced, stirring, detailed, and exciting version of the score, played with gusto and verve by the Lyric Opera Orchestra.  Read more »

By Jehovah!

When Maestro Carlo Rizzi lifted his baton and began leading the Lyric Opera Orchestra in a stirring, detailed account of the overture to Nabucco, the electrified audience knew we were in for an exciting evening of music making.  And indeed we were.  Verdi’s third opera and his first big success requires a cast of powerful, full throated singers with a wide range and great stamina.  On Saturday night at the Civic Opera House in Chicago, we certainly had them.  Read more »

Bel Canto

Dangerous liaisons

There was a certain frisson in the air entering Chicago Lyric Opera last night, and not just in anticipation of attending the world premiere of a new work by Jimmy Lopez (music) and Nilo Cruz (libretto), Bel Canto

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Merry Widow

Where have all the bubbles gone?

As a whole, the evening seemed forced and a bit dispiriting.

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Wozzeck 2

Hell on wheels

Absent from Chicago Lyric Opera’s repertory for 21 years, Alban Berg’s Wozzeck came roaring into town on Sunday afternoon in a stunning new production by Sir David McVicar.

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Cenerentola

Mice mice baby

This “new-to-Chicago” production is a sheer pleasure from beginning to end.

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Haunted mountain

Beginning with the dark, ominous music of the prelude of Charles Wuorinen and Annie Proulx’s opera Brokeback Mountain, we know we are in for a very different and far less sentimental version of the work than was had with Ang Lee’s iconic 2005 film.

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Between the dragon and his wrath

Aribert Reimann’s 1978 opera Lear, based of course on Shakespeare’s titanic tragedy King Lear, is a major achievement in modern operatic scoring.

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A monster, without being a myth

Before this recording arrived in my mailbox, I: ( a) didn’t know there was an operatic version of Wilde’s The Importance of Being Earnest, one of my favorite plays; and (b) was unfamiliar with the works of composer Gerald Berry.  After several hearings, I’m still not convinced that there is an operatic version of Earnest.  Barry has created what I would call a narrative set to a series of sound effects.  Now many of these effects are clever, occasionally amusing, and purposely bizarre, but they rarely seem to fit the brilliant verbal wit of Wilde’s original.  I kept thinking that, […]

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