Like our beloved Cubs, Chicago Lyric Opera is in the midst of a championship season. So far, Lyric is batting 4 for 4—after an exciting new Rheingold, a solid Lucia, and a splendid Les Troyens, on Saturday night was the opening of a completely satisfying production of Massenet’s late “heroic comedy” Don Quichotte. Read more »
Producing Hector Berlioz’ Les Troyens is an immense undertaking for any opera house, requiring casting for 22 named roles, a large orchestra and chorus, versatile dancers, substantial design challenges, and an audience undaunted by its Wagnerian length and scope. On Sunday afternoon, Lyric Opera of Chicago rose to the challenges mightily in its first-ever performance of this titanic work. Read more »
“French mezzo-soprano Sophie Koch has withdrawn from [Lyric Opera of Chicago’s] premiere of Berlioz’s Les Troyens for personal reasons. Stepping into the role of Dido will be American mezzo-soprano Susan Graham, world-renowned as an interpreter of French repertoire, in general, with a special emphasis on the music of Berlioz.”
Donizetti’s bel canto masterpiece Lucia di Lammermoor returned to Chicago Lyric Opera on Saturday evening.
I sat through the Met’s Ring twice, and it never occurred to me that any thought had gone into it at all.
Lyric Opera of Chicago’s 2016-17 season got off to an exciting start on Saturday night with Wagner’s Das Rheingold.
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.
This was a Rosenkavalier that aspired to excellence and almost achieved it.
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.
Greetings from the Windy City, where I, Opera Teen (not pictured) am at the press conference eagerly awaiting the announcement of Lyric Opera of Chicago’s 2016-2017 season!