Lyric Opera Presents Donizetti’s The Daughter of the Regiment November 4 – 25, 2023

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Donizetti’s beloved comic opera 

The Daughter of the Regiment 

marches onto the Lyric Opera of Chicago stage

 for the first time in 50 years 

November 4 – 25, 2023

This mashup of slapstick and romance stars two of the biggest names in all of opera: Lisette Oropesa, one of the most celebrated singers of her generation, in her eagerly anticipated Lyric debut; and returning favorite Lawrence Brownlee, whose role includes the show-stopping "Ah, mes amis," sometimes dubbed the "Mount Everest" of arias. The opera also stars Ronnita Miller and Alessandro Corbelli in the first of his two comic roles this season.

The Daughter of the Regiment heralds the Lyric debut of internationally celebrated conductor Speranza Scappucci, who will soon become the principal guest conductor of London’s Royal Opera House, Covent Garden.

This iconic production by Laurent Pelly — a co-production of the Metropolitan Opera, the Vienna State Opera, and the Royal Opera House, Covent Garden — has received raves around the globe. Filled with dazzling arias and raucous comedy, The Daughter of the Regiment is a must-see for devoted opera lovers and newcomers alike. We hope you can join us for all of the military might and operatic delight.

NEW-TO-CHICAGO PRODUCTION

The Daughter of the Regiment

Gaetano Donizetti

Lyric Opera of Chicago is delighted to bring this production of Donizetti’s The Daughter of the Regiment — bel canto opera’s equivalent of vintage champagne — to the city for the first time. Marie, the lovable, irrepressible spirited heroine — a foundling, raised by soldiers — loves handsome Tonio. Things get complicated when the Marquise carts her off to refine her with a “proper” education. In one exhilarating number after another, Marie throws off coloratura flourishes like shooting stars, while her tenor sweetheart pops out nine high Cs in a single aria! Bel canto superstar Lawrence Brownlee and comedic veteran Alessandro Corbelli partner with the dazzling Lisette Oropesa in her eagerly awaited Lyric debut. The marvelously stylish Speranza Scappucci conducts Laurent Pelly’s quick-witted, uproarious production.

Language: Sung in French with projected English titles

Running Time: 2 hours and 45 minutes, including 1 intermission

Location: Lyric Opera House

For more information and to purchase tickets click HERE.

Lyric’s presentation of Donizetti’s The Daughter of the Regiment is generously made possible by Invenergy, Sonia Florian, and Marion A. Cameron-Gray.

REVIEW: Lyric Opera's The Flying Dutchman Now Playing Through October 7th, 2023

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Lyric Opera's The Flying Dutchman 

Review 

By Catherine Hellmann, Guest Critic 

Two and a half hours for an opera by Richard Wagner? One act? I’m out the door by 10:00? Sign me up! (I already have my Ring Cycle Merit badge, thank you very much.) 

Tamara Wilson as Senta and Tomasz Konieczny as The Dutchman.

All Photos: Todd Rosenberg

“The Flying Dutchman,” sung in German with English subtitles, as conducted by the charismatic Music Director Enrique Mazzola, is a delight. Based on an old myth about a ghost ship that must sail the seven seas forever, the doomed captain made a deal with the devil (hello, Faust?) during a storm. Now he must find true love to lift the burden of this curse. Every seven years, he is able to reappear and try to convince a woman to love him and break the spell. (My date commented, ”He’s in search of True Love.” I replied, “He has to find a sucker to stop the spell.” Hmmm…maybe I need to check my cynicism.) 

The overture was suspenseful and set the stage for events to come. There is drama on the high seas where there is no promise of return. The Dutchman may be lost forever, and his dismal crew (lit underneath the stage in red lights) will be adrift for eternity. 

Tomasz Konieczny as The Dutchman.

The set by Allen Moyer, who also designed the costumes, is on a disorienting tilt to portray the rocking waves of the water. The singers do a great job of lilting to the sides to simulate the turbulence of the sea. The opera chorus is always fabulous. The men portray the sailors and crew of the ghost trip while the women’s chorus represent the weavers working spinning wheels and the monotony of textile factories. 

Tomasz Konieczny as the Dutchman was powerful and mesmerizing. (Although the “Kool Ghoul” makeup was spooky but odd.) Local hometown star Tamara Wilson was incredible as Senta, the woman who yearns to save the doomed Dutchman (“sucka,” I’m thinking…Don’t do it, Senta!!). Not every opera singer is also a convincing actor, but they both were wonderful. I wasn’t wowed by the costumes, and Ms. Wilson was clearly visible but should ask the wardrobe crew about the Bozo wig.  

By the end of the show, I glanced at my watch and was amazed two hours had passed. That’s a very positive sign for a lengthy opera. The music is glorious. 

Wonderful start to the new Lyric Season.

Catherine Hellmann spends her life at school, the theater, and out walking in the city. 

Mika Kares as Daland, Tomasz Konieczny as The Dutchman,  and the Company of The Flying Dutchman. What You Need to Know About Wagner’s The Flying Dutchman

The Chicago cultural season begins with Music Director Enrique Mazzola conducting his first Wagner opera at Lyric September 23 – October 7, 2023

Wagnerian opera makes a grand return to Chicago whenThe Flying Dutchman docks at Lyric Opera of Chicago from September 23 to October 7, 2023. Considered to be composer Richard Wagner’s first masterpiece,The Flying Dutchman is legendary for its eerie storyline, complex themes of sacrifice and redemption, and soaring melodies. More than 165 musical and dramatic artists — including some of the world’s most sought-after soloists — bring this riveting odyssey to life on Chicago’s biggest stage. Opera’s most thrilling ghost story sets sail. Not seen at Lyric in more than 20 years, The Flying Dutchman is perhaps Wagner’s most haunting opera. This tempestuous work tells the story of a sailor known as the Dutchman, who is doomed to roam the seas forever. The Dutchman’s only hope to break the curse is (*drumroll please*) true love. Senta, a young Norwegian woman, falls quickly and deeply in love with the Dutchman and, well, the story only sinks from there. Through recurring musical themes (known as leitmotifs) and a rich orchestration, Wagner leaves the audience holding their breath to see what comes next for the love-struck couple.  Enrique Mazzola kicks off a season of historic "firsts." In his third season as Lyric’s Music Director, Enrique Mazzola leads the esteemed Lyric Opera Orchestra through a series of momentous firsts. This season opener, brought to life with a 72-piece orchestra, will mark Mazzola’s first time conducting Wagner at Lyric. In January, Terence Blanchard and Michael Cristofer’s Champion will mark his first contemporary work at Lyric, and he finishes Lyric’s opera season with his first-ever production of Aida, which also marks the 100th opera of his storied career. In a final "first" of the 2023/24 Season, Mazzola will conduct Mozart’s Requiem, his first foray into Mozart at Lyric. This diverse season allows Mazzola to showcase his broad repertoire and the Orchestra to display its mastery of a variety of musical styles.  An opera that lets the Chorus shine. Wagner’s score of The Flying Dutchmanhighlights the exceptional Lyric Opera Chorus, with contrasting men’s and women’s (and even ghosts’) choruses throughout the opera. Led by Michael Black, Lyric’s Chorus Director and Head of Music, the powerful 90-member Chorus has a staggering impact on this haunting story.  A star-studded cast comes aboard. Bass-baritone Tomasz Konieczny and soprano Tamara Wilson give entrancing portrayals of the Dutchman and Senta. Hailed as "The Breakout Star of the Met Opera’s Ring" by The New York Times, Konieczny returns to Lyric following his acclaimed portrayal of the title role inWozzeck in the 2015/16 Season. Wilson, a stand-out Verdian in recent seasons at Lyric — who was also deemed "quite the Wagnerian" by The New York Times — returns following her most recent headlining role as Elvira in Ernani in the 2022/23 Season. With piercing arias, longing duets, and energizing dialogues, this captivating pair and their fiery vocal power make The Flying Dutchman a must-see. Experienced and emerging artists round out the cast. Renowned bass Mika Kares returns to Lyric as Senta’s father Daland. The cast also features tenorRobert Watson as Erik and mezzo-soprano Melody Wilson as Mary, both in their Lyric debuts. Ryan Capozzo, a third-year member of Lyric’s Ryan Opera Center Ensemble, returns to the mainstage as the Steersman. Sets, costumes, and lighting combine for a theatrically spellbinding production. Director Christopher Alden’s production creates the illusion of a haunted galleon battling raging waters; it is bold and modern while retaining the authenticity of the story itself. (Wagnerian spectacle must run in the family — Alden’s twin brother and fellow opera director, David Alden, directed a new production of The Flying Dutchman at Sante Fe Opera this past summer). Allen Moyer’s creative sets and costumes combine to create a spooky atmosphere, andAnne Militello’s shadowy lighting design gives the production its eerie finishing touches, in her Lyric debut.  Wagner returns to Lyric with drama on the high seas. In an intense return to Lyric, Wagner’s first famous opera does what all of Wagner’s operas do: It draws you in with a captivating story, layered musical composition, and soaring vocal lines written for richly drawn characters. (And at just 2 hours and 20 minutes, it does it all in half the usual time for a Wagner opera.) Ryan Capozzo as Steersman, Tomasz Konieczny as The Dutchman,  and the Company of The Flying Dutchman. Important to know ·        Five chances to see The Flying Dutchman: September 23, 27, October 1 matinee, 4 matinee, and 7, 2023. ·        A running time of 2 hours and 20 minutes; performed without intermission. ·        Sung in German, with easy-to-follow English translations projected above the stage. ·        Information and tickets: visit lyricopera.org/dutchman or call 312.827.5600.

Lyric’s presentation of Wagner’s The Flying Dutchman is generously made possible by an Anonymous Donor, Josef & Margot Lakonishok, and Bulley & Andrews. Maestro Enrique Mazzola is generously sponsored by Alice & John Butler, H. Gael Neeson, Sylvia Neil & Daniel Fischel, and the Robert and Penelope Steiner Family Foundation as members of the Enrique Circle. The Enrique Circle is comprised of Lyric's most dedicated supporters who are committed to championing Maestro Enrique Mazzola's exciting artistic vision and legacy. Lyric Opera of Chicago thanks its Official Airline, American Airlines, and acknowledges support from the Illinois Arts Council Agency.

About Lyric Lyric Opera of Chicago is committed to redefining what it means to experience great opera. The company is driven to deliver consistently excellent artistry through innovative, relevant, celebratory programming that engages and energizes new and traditional audiences. Under the leadership of General Director, President & CEO Anthony Freud and Music Director Enrique Mazzola, Lyric is dedicated to reflecting, and drawing strength from, the diversity of Chicago. Lyric offers, through innovation, collaboration, and evolving learning opportunities, ever-more exciting, accessible, and thought-provoking audience and community experiences. We also stand committed to training the artists of the future, through The Patrick G. and Shirley W. Ryan Opera Center; and to becoming increasingly diverse across our audiences, staff, programming, and artists—magnifying the welcoming pull of our art form, our company, and our city. Through the timeless power of voice, the splendor of a great orchestra and chorus, theater, dance, design, and truly magnificent stagecraft, Lyric is devoted to immersing audiences in worlds both familiar and unexpected, creating shared experiences that resonate long after the curtain comes down. Join us @LyricOpera on Twitter, Instagram, TikTok, Youtube, and Facebook. #LongLivePassion For more information, visit lyricopera.org.

OPENING: Lyric Opera of Chicago Presents Donizetti’s THE ELIXIR OF LOVE September 26 - October 8, 2021

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What You Need to Know About Donizetti’s

THE ELIXIR OF LOVE

September 26 - October 8 at Lyric Opera of Chicago

The Elixir of Love is a co-production of Lyric Opera of Chicago and San Francisco Opera, originally created by Opera North, UK.

Opera’s most heartwarming comedy, filled with Donizetti’s delectable music, is sure to bring nonstop smiles. Nemorino, the naive waiter, pines for the flirtatious Adina, the owner of the town’s hotel and Nemorino’s boss. His only hope to win her love is Dr. Dulcamara’s “elixir” — little does he know that it’s just Bordeaux wine! As we root for Nemorino, audiences are sure to laugh, gasp, “ooo” and “ahh”.

 

·       Classic Italian repertoire: While Donizetti and librettist Felice Romani may have hastily adapted a French comic opera to Italian in six weeks, The Elixir of Love has become one of most frequently performed Donizetti operas in the world and a classic of the bel canto repertoire.

 

·       After launching his career as Lyric’s Music Director with Verdi’s Macbeth, Maestro Enrique Mazzola, a true master of the bel canto repertoire, returns to the podium to lead the Lyric Opera Orchestra. The Maestro will have the difficult yet impressive task of performing back-to-back Verdi and Donizetti during these runs, demonstrating his versatility and expertise in the craft.

 

·       Exciting Lyric directorial debut: British director Daniel Slater comes to Lyric with over sixty productions in seventeen countries under his belt, including operas at Glyndebourne, Welsh National Opera, Santa Fe, Houston Grand Opera, and San Francisco. Slater started his career as acting Artistic Director of the Tricycle Theatre and Associate Director of the Nottingham Playhouse.

 

·       Ailyn Pérez in her element: The Chicago soprano steps into the role of Adina, which she has performed to great acclaim at the Bayerische Staatsoper, Deutsche Oper Berlin, Wiener Staatsoper and Washington National Opera. You can also see Pérez in Lyric’s upcoming Pagliacci film.

 

·       Charles Castronovo’s long-awaited Lyric return: After triumphant performances in Lyric’s The Magic Flute(2011/12) and Eugene Onegin (2016/17), the American tenor returns to Lyric as Nemorino — a role he’s known for internationally. Castronovo and Pérez are sure to bring one of the best Elixir love duos to Lyric’s stage.

 

·       Also featuring fellow Lyric favorites: Canadian baritone Joshua Hopkins, most recently seen as Guglielmo in Cosi fan tutte (2017/18), and American bass-baritone Kyle Ketlesen, who can be seen in Lyric’s Celebrating Sir Andrew Davis production, round out the Elixir cast as Belcore and Dulcamara respectively. 

 

·       Only five chances to experience the magic : September 26 (matinee), 29 (matinee) and October 2, 5, 8

 

·       2 hours and 30 minutes, including 1 intermission.

 

·       Sung in Italian with English translations projected above the stage.

 

·       For more information and to order tickets, visit lyricopera.org/elixir or call 312-827-5600.

For updated information about Lyric’s ongoing initiatives regarding health and safety protocols, visit lyricopera.org/safety.

Maestro Enrique Mazzola is generously sponsored by Alice & John Butler, Sylvia Neil & Daniel Fischel, and the Robert & Penelope Steiner Family Foundation

Lyric’s presentation of Donizetti’s The Elixir of Love is generously made possible by Sonia Florian.

Lyric Opera of Chicago thanks its Official Airline, American Airlines. 

Lyric Opera of Chicago is supported in part by a grant from the National Endowment for the Arts in response to the COVID-19 pandemic and acknowledges support from the Illinois Arts Council Agency.

About Lyric

Lyric Opera of Chicago is committed to redefining what it means to experience great opera. The company is driven to deliver consistently excellent artistry through innovative, relevant, celebratory programming that engages and energizes new and traditional audiences.

Under the leadership of General Director, President & CEO Anthony Freud, Music Director Enrique Mazzola, and Special Projects Advisor Renée Fleming, Lyric is dedicated to reflecting, and drawing strength from, the diversity of Chicago. Lyric offers, through innovation, collaboration, and evolving learning opportunities, ever-more exciting, accessible, and thought-provoking audience and community experiences. We also stand committed to training the artists of the future, through The Patrick G. and Shirley W. Ryan Opera Center; and to becoming increasingly diverse across our audiences, staff, programming, and artists—magnifying the welcoming pull of our art form, our company, and our city.

Through the timeless power of voice, the splendor of a great orchestra and chorus, theater, dance, design, and truly magnificent stagecraft, Lyric is devoted to immersing audiences in worlds both familiar and unexpected, creating shared experiences that resonate long after the curtain comes down.

Join us @LyricOpera on Twitter, Instagram, and Facebook. #Lyric2122 #LongLivePassion

For more information, visit lyricopera.org.

Chicago Opera Theater Presents Freedom Ride With Chicago Sinfonietta at Studebaker Theater Through February 16, 2020

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World Premiere

FREEDOM RIDE

Commissioned by Chicago Opera Theater

Music & Libretto by Dan Shore

Conducted by Lidiya Yankovskaya

Directed by Tazewell Thompson

I'm elated to spend Valentines Day reviewing the world premiere of Dan Shore’s Freedom Ride, based on the Civil Rights Movement in New Orleans, at the Studebaker Theater. Developed at Xavier University in collaboration with activists who lived the history, Freedom Ride explores themes with searing social relevance, via a score that draws from Louisiana’s rich musical traditions. A diverse cast of Chicago-based artists and internationally acclaimed talent join the Chicago Sinfonietta to bring this powerful work to life.

When the Congress of Racial Equality comes to New Orleans in the sweltering summer of 1961, Sylvie Davenport is torn. Handed a pamphlet and asked to board a Greyhound bus, Sylvie is forced to choose between her academic future and the future of the nation in a story that highlights how far we’ve come and how far we still have left to go.

Tazewell Thompson (Blue, Jubilee) directs this world premiere new work, developed at Xavier University with the activists who lived the history. Staley Music Director Lidiya Yankovskaya conducts the critically acclaimed Chicago Sinfonietta.



Saturday, February 8, 2020 | 7:30 PM
Friday, February 14, 2020 | 7:30 PM
Sunday, February 16, 2020 | 3:00 PM

Conductor Lidiya Yankovskaya
Director Tazewell Thompson
Scenic Design Donald Eastman
Costume Design Harry Nadal
Projection Design Rasean Davonte Johnson
Lighting Designer Robert Wierzel
Assistant Conductor Kedrick Armstrong
Chorus Master Adrian Dunn

CAST:
Sylvie Davenport Dara Rahming
Leonie Baker Whitney Morrison
Georgia Davenport Zoie Reams
Russell Davenport Tyrone Chambers
Rev. Mitchell Cornelius Johnson
Clayton Thomas Robert Sims
Ruby Kim Jones
Mae, Chorus Samantha Schmid*
Gloria, Chorus, Georgia (Cover) Leah Dexter
Frances, Chorus Morgan Middleton*
Marc, Chorus Blake Friedman
Tommie, Chorus, Clayton (Cover) Vince Wallace
Chorus, Leonie Baker (Cover) Joelle Lamarre
Chorus, Russell (Cover) Cameo Humes
Reverend Mitchell (Cover) Curtis Bannister
Chorus, Mae (Cover) Kristina Bachrach
Chorus, Marc (Cover) William Ottow*
Chorus, Tommie (Cover) Keanon Kyles
Chorus, Gloria (Cover), Francis (Cover) Beena David



COT is thrilled to partner with Chicago Sinfonietta for Freedom Ride.

Since 1987, Chicago Sinfonietta has been a defiantly different kind of orchestra. The orchestra was founded by Maestro Paul Freeman to address the disconnect between the utter lack of diversity in orchestras and the vibrant, nuanced, communities for which they play. For nearly 30 years, we have made it our mission to represent the city of Chicago, reflecting that vibrancy on stage and in our programming, making classical music accessible for anyone.

In everything we do, we are inspired by our founder Paul Freeman (1936-2015). From humble roots in Richmond, Virginia, he grew to become a passionate musician and ultimately a brilliant conductor equally respected for his knowledge of music as he was for his natural leadership and charming sense of humor. He was the first African American conductor on the podium of more than 50 orchestras worldwide and conducted more than 100 orchestras in 28 countries over the course of his career. He served as chief conductor of the Czech National Symphony Orchestra in Prague (1996-2007) and the music director of the Victoria Symphony in Canada (1979-1989). He made more than 200 recordings in his career (on par with mega maestros such as von Karajan and Bernstein) and highlighted prominent, but under-recorded, diverse composers at every turn.

And, so it goes. The accomplishments of Paul Freeman are startling in their magnitude.

The orchestra’s 29 years have been highlighted by six European tours, two Kennedy Center performances, two Millennium Park concerts attended by over 19,000 people, and 15 recordings. For nearly 30 years, diversity, inclusion and bold and dynamic programming has been at the center of what we do. Rarely performed music by composers of color are a Sinfonietta staple and often include almost entirely lost compositions that are carefully pieced together and preserved through recording and/or the production of sheet music. Unusual instruments and musical styles like the bagpipes, steel drums, sitar, Indian Ghazal music, hip hop, and yes, even cell phones have served as centerpieces for Sinfonietta programs – some of the most daring musical collaborations any orchestra is putting on stage.

In 2011, Maestro Mei-Ann Chen began her tenure with the orchestra (as only the second Music Director in the Sinfonietta’s history). In her first season, the Sinfonietta was named by ASCAP as the recipient of the 2011-12 Award for Adventurous Programming and in 2013 was dubbed, “The city’s hippest orchestra” by the Chicago Tribune. From a battle of the bands with Mucca Pazza to collaborations with Young Chicago Authors, FootworKINGZ, and bass virtuoso, Victor Wooten the Sinfonietta has embraced the daring programming that has always been part of its history. In turn, audience response over the last five seasons has been unprecedented.

The legacy passed to Maestro Chen and all of us at the Sinfonietta goes far beyond what you see on stage. Maestro Freeman was, throughout his lifetime, a fierce advocate for early career, diverse musicians. Many of the musicians you see on stage (including our Concert Master since 1993, Paul Zafer) are the direct beneficiaries of this vision and personal investment that Maestro Freeman made in so many people. In 2008, this practice was formalized to create our Project Inclusion Fellowship Program. In the 9 seasons since this program began, Project Inclusion has served 45 fellows – more than all other similar fellowship programs in the country combined according to a 2016 League of American Orchestras study.

Freedom Ride is a part of Chicago Theatre Week!

Theatre week tickets are currently SOLD OUT, but check back for updates.

Special thanks to our sponsors for Freedom Ride:

Season Sponsors | Julie & Roger Baskes
Production Sponsor | Virginia Tobiason
Robert Sims Sponsors | Enriqueta & Ronald Bauer

This program is partially supported by a grant from the Illinois Arts Council Agency.

This project is supported in part by the National Endowment for the Arts.
The More & Genius Operating Reserve Fund provided partial support for this project.

Review of Lyric Opera Concert: “Rising Stars in Concert”

Photo: Todd Rosenberg

Guest Review
By Catherine Hellmann 

The weather outside was frightful (about 5 degrees, ok, so it is finally winter in January in Chicago), but the atmosphere at the Lyric Opera on Sunday afternoon was delightful. The “Rising Stars in Concert” concert is an impressive “Thank you!” to the donors of the Lyric. 

The 2019-20 Ensemble of The Patrick G. and Shirley W. Ryan Opera Center is a very talented group of performers. Selected from over 400 auditions, the elite group consists of 11 singers and one pianist. According to their website, the program “prepares emerging singers and apprentice coaches for careers in opera by providing unique, comprehensive training.” Since 1974, the Ryan Opera Center has been recognized as one of the premier training grounds in the world for emerging talent. Young singers are able to study with powerhouse talents, like Renee Fleming, and perform supporting roles at the Lyric in actual, full-scale productions. What a gift for an aspiring star! 

The singers study foreign languages in their apprenticeship so they are able to sing in French, German, and Italian as well as English. The program on Sunday included arias by Berlioz, Gounod, Richard Strauss, Rossini, Donizetti, as well as Victor Herbert and Ralph Vaughan Williams. So, check all four boxes on languages! 

There were dramatic pieces, like Lauren Decker (in her awesome red shoes!) singing Verdi in her rich contralto. She gave me goosebumps when she sang the words “Be silent,”  in her very low, deep voice. Mario Rojas sang a lovely romantic piece from Gounod’s Romeo et Juliette in his gorgeous tenor voice. I would have climbed down from my balcony to join him! 

Emily Pogorelc was a standout in her princess white gown singing Bellini’s aria from Act Two of La sonnambula. Her voice with its stunning trills and arpeggios was the cream in my coffee (which sounds like Cole Porter, but it’s Ruth Etting, because I looked it up...thanks, Google!) 

There were comical pieces as well. My favorite was a duet by Bass Anthony Reed and Bass-Baitone David Wiegel by Rossini from Il turco in Italia where two men talk about selling a wife. The one gent determines if he can’t buy the other guy’s wife, he will abduct her! My favorite line was: “When marriage isn’t working, the husband becomes a salesman.” The men intend to duke it out, so they stretch and prepare physically with one of them falling comically as he attempts the splits. The other hurts his back while warming up, so both end up lame at the conclusion. 

After intermission, there was a piano quartet playing Gabriel Faure’s Piano Quartet No. 1, Op. 15, Fourth Movement with pianist Madeline Slettedahl. She says in the program: “It’s been a privilege to perform frequently with my talented singing colleagues both here in Chicago and abroad, developing both musically and interpersonally in a field that has so much to say about the human experience.”  

A video played with departing singers being interviewed about their experiences with the Ryan Opera Center. One singer stated that these four years immersed her in everything and allowed her to “be prepared for anything” while growing as an artist and as a person.   

Another singer grew up attending the Lyric Opera since high school, so being in the program was like “coming home.” 

The show ended with Victor Herbert’s finale from Naughty Marietta. When the singers burst into: “Ah! Sweet mystery of life, at last I found you!” there were chuckles in the audience, probably recalling Mel Brooks’ amusing take on this song in Young Frankenstein. “‘For ‘tis love, and love alone, the world is seeking!” 

The world also needs more glorious music, and the Lyric Opera provided us with this balm on a dreary, frosty day. 

Catherine Hellmann has great stories from a year doing singing telegrams, which was not as artistic as the Lyric, but pretty darn enteratining. 


Lyric Opera's “Rising Stars in Concert” is a showcase performance starring Ensemble members of The Patrick G. and Shirley W. Ryan Opera Center with members of the Lyric Opera Orchestra conducted by Ari Pelto Sunday, January 19, 2020.

Lyric Opera of Chicago
20 N. Wacker Drive
Chicago, IL 60606
United States

Lead Sponsor: Donna Van Eekeren Foundation

Sponsors: Ann M. Drake, Sue and Melvin Gray, Patricia A. Kenney and Gregory J. O’Leary, Chauncey and Marion D. McCormick Family Foundation, Lauter McDougal Charitable Fund, Frank  B. Modruson and Lynne C. Shigley, and Dr. Scholl Foundation, with additional support from Dentons LLP and Allan Drebin

Rising Stars in Concert was also broadcast on 98.7WFMT and wfmt.com on Sunday, January 26, 2020 at 7:00 p.m.

The radio broadcast of Rising Stars in Concert is generously sponsored by the Donna Van Eekeren Foundation.

Verdi's LUISA MILLER at Lyric Opera of Chicago October 12 - 31, 2019

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Verdi's tragic romance 

LUISA MILLER 

opens Saturday, October 12 at 

Lyric Opera of Chicago

conducted by Music Director Designate Enrique Mazzola

October 12 - 31

Verdi’s heart-wrenching romantic drama Luisa Miller returns to Lyric Opera of Chicago for the first time in more than three decades on Saturday, October 12 at 7:30 p.m. Enrique Mazzola, Lyric’s music director designate, will be on the podium.

There will be six performances through October 31 at the Lyric Opera House, 20 N. Wacker Dr., Chicago. Tickets start at $39 for adults and $20 for children, and are available now at lyricopera.org/Luisa or by calling 312-827-5600.

Luisa Miller features an outstanding international cast of acclaimed Verdian artists. Bulgarian soprano Krassimira Stoyanova is sweet, vulnerable Luisa, who loves and is loved by Rodolfo (Maltese tenor Joseph Calleja), the son of ruthless, unethical nobleman Count Walter (American bass-baritone Christian Van Horn/Ryan Opera Center alumnus) whom Luisa’s own father Miller (American baritone Quinn Kelsey/Ryan Opera Center alumnus) loathes. To keep the lovers apart, Walter employs the help of his retainer Wurm (American bass Soloman Howard/Lyric debut), who wants to marry Luisa himself. An arranged marriage between Rodolfo and Duchess Federica (Russian mezzo-soprano Alisa Kolosova) further complicates Luisa and Rodolfo’s desperate situation.

The revelatory arias, breathtaking duets, thrilling ensembles, and electrifying orchestration of Luisa Miller foreshadow Verdi’s famous mid-career operas, marking his transition from bel canto to his own compositional style. These performances mark an exciting opportunity to experience a largely unfamiliar work by a well-known and beloved composer. The opera’s libretto by Salvadore Cammarano is based on the play Kabale und Liebe by the German dramatist Friedrich von Schiller. Luisa Miller has been presented only once previously in Lyric’s 65-year history, during the 1982 season. You can hear musical excerpts here (scroll down to "Learn More").

Lyric’s music director designate, Enrique Mazzola, is a lauded expert in conducting early Verdi, as well as bel canto and French opera. (Previously at Lyric he led acclaimed performances of two bel canto masterpieces, Donizetti’s Lucia di Lammermoor and Bellini’s I puritani). Luisa Miller marks the first installment of Lyric’s Early Verdi Series, to be presented over the coming years and which will be conducted by Mazzola.

The production of Luisa Miller is directed by Francesca Zambello, with open, evocative set designs by Michael Yeargan, traditional-period costume designs by Dunya Ramicova, and dramatic lighting design by Mark McCullough. Lyric’s chorus master is Michael Black, and August Tye is the choreographer for this presentation.

Performance dates for Luisa Miller are October 12, 16, 20, 25, 28, and 31. Performance times vary.

For tickets and information call (312) 827-5600 or go to lyricopera.org/Luisa Tickets start at $39.

Luisa Miller is performed in Italian with projected English translations.

About Lyric 
Lyric Opera of Chicago is committed to redefining what it means to experience great opera.  The company is driven to deliver consistently excellent artistry through innovative, relevant, celebratory programming that engages and energizes new and traditional audiences.  

Under the leadership of general director, president & CEO Anthony Freud, music director Sir Andrew Davis, music director designate Enrique Mazzola, and creative consultant Renée Fleming, Lyric is dedicated to reflecting, and drawing strength from the diversity of Chicago. Lyric offers, through innovation, collaboration and evolving learning opportunities, ever more exciting, accessible, and thought-provoking audience and community experiences.  We also stand committed to training the artists of the future, through The Patrick G. and Shirley W. Ryan Opera Center and to becoming increasingly diverse across our audiences, staff, programming and artists - magnifying the welcoming pull of our art form, our company, and our city.

Through the timeless power of voice, the splendor of a great orchestra and chorus, theater, dance, design, and truly magnificent stagecraft, Lyric is devoted to immersing audiences in worlds both familiar and unexpected, creating shared experiences that resonate long after the curtain comes down.

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Production sponsors: NIB Foundation, Julie and Roger Baskes, the Henry and Gilda Buchbinder Family Foundation, Liz Stiffel, and The Nelson Cornelius Production Endowment Fund.

Luisa Miller is a San Francisco Opera production.

REVIEW: Lyric Opera’s Ariodante by Handel Now Playing at Lyric Opera of Chicago Through March 17, 2019

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ARIODANTE 

Now Playing at Lyric Opera of Chicago

Through March 17

by George Frideric Handel

Sung in Italian with projected English translations

Guest Review
By Catherine Hellmann

At first, I thought there was a mistake in the program, or my eyes are bad (which they are, but I doubted the Lyric had a misprint…). George Frideric Handel’s Ariodante was first performed at Covent Garden in London on January 8, 1735 and “First performed by Lyric Opera of Chicago on March 2, 2019.” 1735? 2019? Huh?? How did it take 284 years (I had to do the subtracting on a calculator...I teach English, not math…) for the Lyric to present this glorious music? What a treasure has been neglected! Well, at last it is here in our beloved city, so “treat yo’self” (thanks, Tom Haverford and Donna on Parks and Rec!) by going to see it while it lasts. (and we hope it won’t be another nearly three centuries to return.)

The plot is a little kooky and quite like Shakespeare. I am going to save myself the mental gymnastics by quoting the Lyric press release which summarizes the storyline beautifully:

“The original plot of Ariodante is full of Shakespearean twists, disguises, mistaken identities, wrenching misunderstandings, and eventual reconciliation (not unlike Much Ado About Nothing). Ginevra and Ariodante love each other and are about to be wed with the blessing of her father, the King of Scotland. Polinesso covets Ginevra and uses her lady-in-waiting, Dalinda (who loves Polinesso), to trick Ariodante into believing Ginevra is unfaithful and provoke his apparent suicide. Ariodante’s brother Lurcanio, meanwhile, loves and is shunned by Dalinda, and blames Ginevra for his sibling’s seeming demise. Eventually Ariodante turns up alive, Polinesso is vanquished, and the “right” couples are united.”

My first reaction was, ”So they both love each other, and her father APPROVES? What is the problem here?” Ha ha ha. Oh, silly me. Enter the super-creepy Polinesso, played by astounding British countertenor Iestyn Davies, to stir up trouble. (In a previous review for ChiIL Live Shows on The Scarlet Ibis for Chicago Opera Theater, I referred to countertenors as “unicorns.” You swear you are hearing a woman singing a “trouser role” dressed as a man...which in this opera is the case with the equally amazing Alice Coote, as future-husband-to-Ginerva, Ariodante. But it is a guy with a super-high voice. It’s a little freaky.) Polinesso is dressed in a priest’s black cassock with a biker look of jeans, a denim jacket, and sporting tattoos underneath his “holiness.” It is an icky transition, especially when witnessing how he abuses Dalinda; I couldn’t help cringing thinking of the priest abuse scandals. Blek. (One really hilarious highlight of the evening is that Davies received “boos” and hisses from the audience at curtain call, not for his performance being poor, but quite the opposite, because he rocked playing a chilling villain. I loved the Lyric audience in that moment!)

My teenagers have to keep me educated of the latest terms on sexual identity (I swear this ties into my review…) like “cis-gender,”  “trans,” and foreign concepts like “preferred pronouns.” But think about the gender fluid-ness of Handel’s opera from 1735. The counter-tenor is a man who sings like a woman, and the title character is a woman dressed as a guy (who looks like a lesbian in this production). When the opera premiered, there were still castrati around, a horrifying procedure performed deliberately before puberty to keep the boys’ voices high. Talk about sacrifice for one’s art! Wow. Radical.

Part of Polinesso’s evil plan is to plant “evidence” of nude male drawings in Ginerva’s bedroom, like she was sketching her new paramour. I don’t know of any straight woman when confronted with that kind of virility who would waste her time drawing...and if he is hung like that, I mused, how does he sing so high??

The most “manly” character is the handsome Kyle Ketelsen as the King of Scotland who is Ginerva’s father. It takes great strength to look that good in a kilt while singing so sweetly mourning the supposed death of his future son-in-law.

Also deserving special recognition is American soprano Heidi Stober as the what-the-hell-is-she-thinking-liking-that-asshole-Polinesso? Dalinda. We have all known friends who like someone who is no good for them, and she is delusional about Polinesso’s sinister feelings for her. Girlfriend, run away from him while you still can! She looks devastated after he tricks her, but she still sings beautifully about how she likes him anyway. Wtf…

At nearly four hours long, this opera is not for the faint-hearted. However, the singing is so superb, and I love harpsichord with recitative; the opera does not feel as long as other operas that are shorter. Handel could have easily cut the singing down by an hour if he left out the impressive vocal theatrics. Eric Ferring as Ariodante’s brother Lurcanio has a musical passage where one word lasts about ten bars of music; I counted thirty-six quick notes for one syllable. But the singers are vocal athletes in fine form, and the arias are just a joy to hear. The virtuosity of the singers is half the fun.  

The modernized staging sets the opera in the 1970’s era of bad fashion. The chorus members wear ghastly sweaters and a mismash of clothing taken from my sister’s high school yearbook. It was ugly then and does not need a revival. Another overhaul was to drop the ballet dances as intended in the original production and substitute with puppets representing the lovebirds. The puppets are mesmerizing and predict the futures of the characters. When the marriage is anticipated, Ariodante and Ginerva are seen getting married and climbing into bed. (Puppet sex! Is this Avenue Q?) Four babies soon follow, which elicited chuckles from the audience. When Ginerva is believed to have been unfaithful, her puppet is portrayed as a common whore, stripped down, dressed in a plastic bag with high red heels, walking the strip and dancing on a pole. The effect is eerily powerful to show her fall from grace.

Brenda Rae, making her Lyric debut as Ginerva, gets to show off her acting and singing talents; she excels at both. Ginerva begins the opera by considering how she can make her “sparkling and seductive charm more appealing to her beloved.” Hmmm...feminist icon, she is not. But by the end, the wrongful accusations from her betrothed and her self-righteous father send her on a different path. Ginerva doesn’t need a man. She’s got a Handel on this. ;-)

Catherine Hellmann is a feminist who loves lipstick, likes gardening but lives in a condo, and hates the cold but adores Chicago. But there are no contradictions in her complete love for theater, books, and her children. 

**This production includes mature themes**

Provocative Baroque drama about abuse and complicity

in a bold, updated staging 

New coproduction and Lyric premiere of Handel’s masterpiece

The Lyric Opera of Chicago premiere of George Frideric Handel’s Baroque masterpiece Ariodante opens Saturday, March 2 at 7:30pm in a provocative new coproduction. There are six performances March 2 through March 17 at the Lyric Opera House, 20 N. Wacker Dr., Chicago. Tickets start at $39, and are available now at lyricopera.org/Ariodante or at 312-827-5600. 

VILLAINOUS POLINESSO LUSTS AFTER GINEVRA, BUT SHE LOVES NOBLE ARIODANTE, WHO LOVES HER IN RETURN.

Sometimes opera takes you to completely unexpected, dramatically powerful places.

That’s certainly the case with the Lyric premiere of Handel’s Ariodante, on multiple levels. Some of its thrilling arias might be familiar from concerts or recordings, but the full Baroque masterpiece is terra incognita for many (even though it was wildly popular when Handel, the German expat living in London, was composing multiple Italian operas). Still, there is inviting familiarity in the bouncing beat and virtuoso vocal writing in this new-to-Lyric opera.

The original plot of Ariodante is full of Shakespearean twists, disguises, mistaken identities, wrenching misunderstandings, and eventual reconciliation (not unlike Much Ado About Nothing). Ginevra and Ariodante love each other and are about to be wed with the blessing of her father, the King of Scotland. Polinesso covets Ginevra and uses her lady-in-waiting, Dalinda (who loves Polinesso), to trick Ariodante into believing Ginevra is unfaithful and provoke his apparent suicide. Ariodante’s brother Lurcanio, meanwhile, loves and is shunned by Dalinda, and blames Ginevra for his sibling’s seeming demise. Eventually Ariodante turns up alive, Polinesso is vanquished, and the “right” couples are united. 



Richard Jones’s production moves the story from medieval times to an isolated, religiously fundamentalist Scottish island in the 1970s. Polinesso is an outsider from the mainland who penetrates this closed community in preacher’s clothes, wreaking terrible havoc on several relationships and the fabric of the village itself through acts of abuse and manipulation. Rather than ending with the reconciliation and redemption traditional in 18th-century opera, this production of Ariodante takes an intriguing detour that will resonate with contemporary audiences.

Puppets representing Ginevra and Ariodante pantomime scenes that reflect the community’s expectations and misperceptions of the central couple in this production, replacing ballet sequences used to close each act in the original opera.

Baroque opera “is radical theater,” says Anthony Freud. “Ariodante deals with abuse and complicity.” Lyric’s general director calls this production of Ariodante “a clear, immediate, powerful telling of the story that will defy preconceptions about Handel’s Baroque formality. Our production reflects many contemporary issues. Handel’s masterpiece may be over 280 years old, but is startling in its topicality and intensity.”

The creative team drew inspiration for this production of Ariodante from the dark indie film Breaking the Waves, and also the plays of Strindberg and Ibsen. There are similarities to Carlisle Floyd’s Susannah, in which an innocent young woman in Appalachia is seduced by an itinerant preacher. There are also traces of Benjamin Britten’s Peter Grimes in the community turning against one of its own. 

Lyric’s splendid cast inhabits the complex characters while singing the daunting score to great effect. Mezzo-soprano Alice Coote takes on the title role, with soprano Brenda Rae (Lyric debut) as Ariodante’s betrothed, Ginevra. Soprano Heidi Stober portrays the vulnerable Dalinda, manipulated by the evil Polinesso, played by countertenor Iestyn Davies. Bass-baritone Kyle Ketelsen is the King of Scotland. Tenor Eric Ferring portrays Lurcanio.  and tenor Josh Lovell portrays Odoardo (the latter two are Ryan Opera Center artists). 

Acclaimed Baroque specialist Harry Bicket conducts, and Benjamin Davis (Lyric debut) is revival director. The production is designed by ULTZ (Lyric debut), with lighting by Mimi Jordan Sherin. Michael Black is chorus master, Lucy Burge is choreographer, Finn Caldwell is puppetry director and designer, and Nick Barnes is puppetry designer (the latter three are Lyric debuts).  

Don't miss your chance to experience this critically-acclaimed premiere — view the trailer here and find out for yourself why critics are praising its "tight, compelling story and rich, well-developed characters" (Chicago Sun-Times).

ARIODANTE IS "QUITE MOVING" (CHICAGO TRIBUNE)

In a small town rife with rumors, who can you trust? The highly anticipated U.S. premiere co-production of Handel's Ariodante opened Saturday night and critics are raving. With only five more performances, Ariodante must close March 17. See what people are saying about this Lyric premiere:

"Vocally, visually and dramatically arresting"

"Clarity and rhythmic verve from the Lyric Opera Orchestra and Chorus"

"An opera penned nearly three centuries ago can resonate profoundly with modern times, when staged as tellingly as this"

"★ ★ ★ ★" (out of four) 

–Chicago Tribune

"Unexpected and intriguing"

"The casting for this production could hardly have been better"

"Many vocal high points"

"★ ★ ★ ½" (out of four)

–Chicago Sun-Times

"Dazzling vocal pyrotechnics"

"A daunting tour de force"

–Stage and Cinema

What happens when someone your town trusts is actually the villain? For Ginevra and her beloved Ariodante, things may never be the same. Lyric is proud to produce the company premiere of this important Baroque masterpiece from the composer of Messiah which marries stunning vocalism and riveting drama. 

Making its U.S. debut, this critically-acclaimed Lyric coproduction from Director Richard Jones updates the story to 1970s Scotland, where a close-knit, fundamentalist community provides the thought-provoking backdrop. The Toronto Globe and Mail says, "The decisions Jones has made to update and deepen the resonances of the opera work beautifully both to preserve the integrity of the original and add to it touches and textures that only a modern audience can appreciate…If you needed one example to demonstrate why modern staging and perfectly realized music from the past need each other, this was it." 

Don't miss this highly anticipated Lyric premiere that critics are calling "dramatically complex... deliciously interesting" – (The Toronto Star). 

5 REASONS YOU CAN'T MISS ARIODANTE
Handel’s Baroque masterpiece is currently playing Lyric, and there are so many reasons you can’t miss it. Here are just a few: 

1. It’s a Lyric premiere. Believe it or not, this rare gem by the composer of the beloved Messiah has never been performed on Lyric’s stage.

2. The cast is truly world-class. Our dream team of opera superstars have voices ideally suited to bring Ariodante to life.

3. It's the U.S. premiere of a production that earned rave reviews. TheToronto Star called it "deliciously interesting" and the National Post praised its "inspired and meticulous staging."

4. Handel’s music is exhilarating. You will fall in love with a score that exudes both passion and elegance.

5. It's not just great music, it's great theater. This story of true love plagued by obstacles in a small town is just as universal today as it was when the opera first premiered.

Save your seats today for Ariodante, on stage March 2-17, and experience this delightful and innovative production for yourself.