Henson Keys
Henson Keys (AKA "actfive") is a Chicago-based actor and director who fell in love with opera while working for the Met Ticket Service in NYC in the early 80's. An Equity actor since 1974, he has performed in over 130 roles in New York and regional repertory including 46 productions of Shakespeare. From 1999-2015 he was Chair of Acting Programs at the University of Illinois, Urbana-Champaign, having previously led programs at Ohio University and the Alabama Shakespeare Festival. He also writes opera CD/DVD reviews for Opera News.
Lyric Opera of Chicago has opened its new season with a revival of its tried and true 2006 production of Verdi’s sixteenth opera, Rigoletto, one of his most tuneful and dramatic works (I attended the Sunday matinée performance).
Since I began regularly attending performances at Lyric Opera of Chicago in 1999, I have been a great admirer of director Francesca Zambello’s productions.
I had some trepidation about attending Terence Blanchard’s opera Champion because the “sport” of boxing has never appealed to me.
Anyone arriving at Lyric Opera of Chicago’s production of Rossini’s Cinderella (La Cenerentola) expecting the Disney-fied version of the story will be in for a surprise.
I’ve never had a better time in an opera house.
Leos Janacek’s 1904 opera Jenufa could be a rather grim affair.
Instead of following the story, we in the audience spend most of the evening thinking “What?? Why is that happening?”
Lyric Opera of Chicago has brought back its wildly successful 2019 production of West Side Story, directed by Francesca Zambello. I thought it was terrific back then and, even with numerous cast changes, it was just as terrific on Sunday afternoon.
Unfortunately, LOC’s Proximity works only fitfully.
Following the great success of its new piece The Factotum, Lyric Opera of Chicago returned to the tried and true with the audience-pleaser Carmen in an equally tried and true 20-year old Lyric production that has stood the test of time.
Baritone Will Liverman is becoming a real Renaissance man.
Director Richard Jones’ well-traveled and visually arresting production of Humperdinck’s 1893 opera Hansel and Gretel has returned to Lyric Opera of Chicago after a 10-year absence.
Lyric Opera of Chicago’s Don Carlos was a real feast of good singing and orchestral grandeur.
Lyric Opera of Chicago’s Le Comte Ory was a lovely cake with waaaay too much frosting.
Director Barrie Kosky brings to Fiddler on the Roof fascinating ideas, fine casting, equal mixes of comedy and sadness, and, from the beginning, a sense for we of the audience that we were about to spend three hours in very good hands.
LOC’s Ernani is a satisfying evening of Verdi sung by four stars at the height of their powers.
A co-production of Lyric Opera of Chicago, the Metropolitan Opera, and Los Angeles Opera, Fire Shut Up In My Bones blazed into Chicago as a stunning, highly emotional and moving performance.
I must confess to feeling a bit of “Tosca fatigue” as I entered the Lyric Opera of Chicago house for Wednesday’s matinee of the Puccini standard.
Lyric Opera of Chicago scored a smashing success on Sunday with its “Verdi Voices” concert, featuring soprano Tamara Wilson, tenor Russell Thomas, and Lyric Music Director Enrique Mazzola conducting Members of the Lyric Opera Orchestra in what might be termed a program of Verdi’s Greatest Hits.
The opera utilizes the idea of “magical realism,” telling a realistic story combined with elements of magic and fantasy.
There is sensory overload, and very little humanity.
Hie thee hither to the Lyric Opera House!
This is an exuberant, uplifting, and joyous Elisir, and, for once, it was actually laugh-out-loud funny.
Original Director Richard Jones and revival director Benjamin Davis have created a staging that veers wildly between fascinating and fatally flawed.
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