Displaying items by tag: Mozart

COSI FAN TUTTE translates loosely as ‘Thus Do They All’, referring to the inconstancy – fickleness, even infidelity – of women. ALL women. The opera, composed by Mozart with libretto by Lorenzo Da Ponte, begins with two infatuated men, Ferrando (Anthony Leon) and Guglielmo (Ian Rucker) extolling the virtues of their fiancées Fiordiligi and Dorabella.  Don Alfonso (Rod Gilfry), a self-appointed sage / philosopher, jeers that there is no such thing as a faithful woman and wagers he can prove their perfidy within 24 hours. Ferrando and Guglielmo take the flutter and agree that each will try, in disguise, to seduce the other’s gal. Tough duty, yeah?

Jacquelyn Stucker and Cecelia Molinari are brilliant as sisters Fiordiligi and Dorabella (respectively), with peerless voices and superb acting, including spirited physical comedy. Their performances are matched by Ana Maria Martinez as Despina, the sisters’ puckish maid. Don Alfonso recognizes Despina as a ready collaborator and together they seek to lead Fiordiligi and Dorabella into temptation.

The sisters remain aggravatingly faithful, even when Ferrando and Guglielmo are (seemingly) called into military service and reappear (in disguise) as tempting lady-killers. At the close of Act One the women still stand firm against the wiles of the plotters. I’ll leave to your imagination the further convolutions of the six participants in this 1930’s rom-com battle of the sexes. Hilarity and dazzling arias, frothy costumes and splashy sets, all overlying a hotbed of distrust and deception combine to generate something rather like a skanky reality show.

 The production is marvelous – it can hardly be otherwise with Enrique Mazzola conducting, Michael Cavanagh and Roy Rallo directing (with Katrina Bachus’ Assistance) and Constance Hoffman designing costumes. Erhard Rom designed the set and projections, enhanced by Lighting Designers Jane Cos and Chris Maravich, all drawing us inescapably into Fiordiligi and Dorabella’s world. The libretto was sung in Italian; Christopher Bergen projected English translations. My difficulty reading these resided wholly in my eyes (I simply must see an optometrist!). Wig and Makeup Designer John Metzner was responsible for the various mustaches that ultimately adorned the entire cast. Michael Black directed the chorus, and Francesco Millioto conducted the stage band, all drawn together by Stage Manager Alaina Bartkowiak.

Jacquelyn Stucker (Fiordiligi) purports that the frank silliness of COSI FAN TUTTE creates a lens to study the silliness of the strict gender norms of the 1930’s.

Anthony León Ian Rucker and the Company of Cosi fan tutte.

I found Act 1 of COSI FAN TUCCE a delight; in it Mozart and Da Ponte use the theme of "fiancée swapping", which dates back to the 13th century (as in Shakespeare's Cymbeline). At the intermission I was still mystified as to what 19^th and early 20^th century audiences considered offensive and immoral, but in Act 2 I found myself moving closer to their perspective. From the beginning I, of course, denounced the central tenet: ‘cosi fan tutte’ or ‘all women are like that’, but I found Da Ponte’s cynical libretto effectually counterbalanced by the beauty and emotional resonance of Mozart’s music. In Dorabella’s aria “Smanie implacabili"—"Torments implacable" she bemoans her lover’s absence. This sets the stage for Ana Maria Martinez to establish the maid Despina as pivotal to the comedic theme. The aria "In uomini, in soldati, sperare fedeltà?"—"In men, in soldiers, you expect faithfulness?", was an exhibition of Martinez’ magnificent soprano voice. Act 1 continues with Fiordiligi’s aria "Come scoglio"—"Like a rock"; Guglielmo bragging of his manly attributes with "Non siate ritrosi"—"Don't be shy"; and Ferrando praising his love: "Un'aura amorosa"—"A loving breath".

I have to interject here that I’ve not previously been a devotee of opera – soaring sopranos and booming baritones were wasted on me. However, in reviewing for Buzz Center Stage I’ve come to appreciate the operatic artform and am becoming a true dilettante. So, if you, like me, despise opera, your evaluation may be revised by a suitable overture like COSI FAN TUTTE; though I indeed found it problematic, that very characteristic served to fructify the discussion my companion and I enjoyed during the ride home. Check it out! You never know.

Act 2 helped me understand the antipathy earlier audiences felt for COSI FAN TUTTE. I didn’t find it risqué, vulgar, or immoral [admittedly I personally set these bars pretty high]. I don’t believe I’m introducing spoilers when I say that I found the ending simply wrong. A more believable conclusion [to me] would have Ferrando and Guglielmo running off with each other. I wonder what the reaction would have been to that at its 1790 Viennese premiere.

Additional considerations: this is a long opera – with the 30-minDon’t skip lunch! Or you’ll be stuck with the various flavors of sugar and salt offered at the concession stands at ridiculous prices.ute intermission it runs a full 3½ hours. Think of Return of the King, but with a much-appreciated break to pee. Don’t skip lunch! Make time for lunch/dinner - you’ll feel so much better than if you end up relying on the concession stand’s pricey sugar‑and‑salt options.

COSI FAN TUTTE runs at the Lyric Opera House ONLY until February 15!!

Safe to say Steppenwolf’s revival of Peter Shaffer’s Amadeus is “fetes and fireworks”. Robert Falls makes his directorial debut at Steppenwolf after recently retiring from his role as Goodman Theatre artistic director. To say his new production of Amadeus makes a splash would be an understatement. Falls brings his signature vision to the still new in-the-round stage at Steppenwolf for a thrilling evening of theatre.

Even in the so-called peak of Broadway attendance, very few straight plays ran for three months let alone three years. Amadeus opened on Broadway in 1980 starring Ian McKellen, Jane Seymour and Tim Curry (as Mozart) where it ran for three years. It went on to win several Tonys and was eventually adapted into an Academy Award winning film in 1984. Since plays don’t last long on Broadway, it begs the question: what about Peter Schaffer’s play resonated with audiences? The film has also attracted a considerable cult following.

Pete Shaffer uses the rivalry between Italian composer Antonio Salieri and young Mozart as an allegory for professional jealousy and intergenerational conflict. The dastardly Salieri is played by Steppenwolf ensemble member Ian Barford while his counterpart is played by David Darrow. Though Shaffer admits to inventing many of the details of his play, his version turns the music world of 1700s Europe into a kind of rock ‘n roll. When we think of the classic composers, we think of them as we think of their music–mild, inoffensive, something to put on in the background to get work done. Amadeus portrays Mozart as an enfant terrible: a womanizer and drunkard. His wild lifestyle is likely what led to his most important operas, even if they were mostly lighthearted comedies. Shaffer makes classical music cool by bending the lore to fit his own artistic agenda.

David Darrow, Jaye Ladymore and ensemble member Ian Barford in Steppenwolf Theatre Company’s production of Amadeus.

Robert Falls’ revival feels as fresh as when it opened over 40 years ago. While the movie is known for lavish sets and costumes, Steppenwolf’s production is somewhat modest. Minimalism only adds to the cool factor here. One of Falls’ innumerable talents as a director is creating visual splendor. Together with longtime scenic collaborator Todd Rosenthal, Falls’ shows audiences countless moments of theatrical magic. Steppenwolf’s choice to present this play in the round is a wise one that affords the cast an opportunity to move in and around the audience.

Falls has gathered a wonderful cast. While the headliner here is Mozart, the real star of the show is Salieri. The villain begins the show as the main character and in his lengthy confession we see he is more often the tormented one even though he’s in the position of power. Barford’s performance is less delicate than how this part has traditionally been approached. His hulking figure in period dress only adds to his threatening persona that feels more masculine than intellectual. Darrow on the other hand plays the clown well in the first act but leaves audiences devastated by the conclusion. His indefatigable energy is a lot of fun to watch.

Steppenwolf’s Amadeus is as exciting as the news that Robert Falls switched houses to direct it. In many ways it feels way less stuffy than some of his most impressive work at Goodman. Though this production is basically perfect, there’s a bit of grit left on it and it’s all the better for it.

*Extended through January 25th

Sometimes history has a way of repeating itself and it’s not always for the better. Try as we might to learn from history, some of us are simply doomed to repeat it. But not everything that is repeated is necessarily bad. Historical music, art, and opera transcend history, where repetition is not only encouraged, but exalted. There is something magical about watching a live performance of an artform that was performed for audiences over two hundred years ago and think about the audience’s reaction then and now; did they laugh the same way? Did they like it as much then as we do today? Did they really use the word ‘b*$%h?’ There is truly a magical and historical connection happening at The Lyric Opera as they put on one of the most beloved operas of all time, The Marriage of Figaro.

The Marriage of Figaro continues the plot of The Barber of Seville several years later, and recounts a single "day of madness" (la folle journée) in the palace of Count Almaviva near Seville, Spain. Rosina is now the Countess. Dr. Bartolo is seeking revenge against Figaro for thwarting his plans to marry Rosina himself, and Count Almaviva has degenerated from the romantic youth of Barber, (a tenor in Paisiello's 1782 opera), into a scheming, bullying, skirt-chasing baritone. Having gratefully given Figaro a job as head of his servant-staff, he is now persistently trying to exercise his droit du seigneur – his right to bed a servant girl on her wedding night – with Figaro's bride-to-be, Susanna, who is the Countess's maid. He keeps finding excuses to delay the civil part of the wedding of his two servants, which is arranged for this very day. Figaro, Susanna, and the Countess conspire to embarrass the Count and expose his scheming. He retaliates by trying to compel Figaro legally to marry a woman old enough to be his mother, but it turns out at the last minute that she really is his mother. Through the clever manipulations of Susanna and the Countess, Figaro and Susanna are finally able to marry.

The company of The Marriage of Figaro at Lyric Opera of Chicago.

For those who have never seen an opera before, I could not recommend The Marriage of Figaro enough. The storyline is easy to follow despite the number of colorful characters. The opera is a musical comedy in four acts that first premiered in Vienna in 1786 and follows a comedy of errors as the players scheme and plot to catch each other in lies, all centered around a lascivious man who wants to have his way with a brushing bride, and the many men and women who don’t want that to happen. Mix in some humorous cross-plots and you’ve got yourself a comedy of errors that could have been written today. Composed by Wolfgang Amadeus Mozart, audiences old and young will instantly recognize the harmonies and familiar songs that have been featured in everything from Charlie and The Chocolate Factory and Mrs. Doubtfire, to countless Looney Tunes cartoons, and even viral TikToks. Considered one of the greatest operas ever written, The Marriage of Figaro is consistently ranked as one of the top ten most frequently performed operas. While the opera is sung in Italian, don’t worry, there are English translations displayed above the stage for the audience to understand what is being sung. With a minimalist but grand stage, vibrantly colored costumes, and voices of actors that are remarkably otherworldly, The Lyric Opera pays homage to history of this opera with their production. Helmed by incredible talent from Peter Kellner as Figaro, Ying Fang as Susanna, Federica Lombardi as Countess Almaviva, and Gortdon Bintner as Count Almaviva, this opera is an incredible introduction to the artform for both seasoned and novice operagoers.

When we look back in history, we sometimes wonder if those from the past thought about how they’d be perceived by future generations. Did Mozart know his masterpiece would still be played hundreds of years later? Do the opera singers feel history captured in the libretto they are singing? Not everything in history that repeats itself is bad. The things that bring life, laughter, love, and light into our lives should be repeated, and frequently. When history does inevitably repeat itself, be sure it is pulling you into the light and not into a pit of despair. After all, we could all use a little bit of light and laughter in our lives right about now. So make a night of it in Chicago and see The Marriage of Figaro at The Lyric Opera (20 N Wacker Dr, Chicago) during its limited run through Nov 30^th. Tickets are available at www.lyricopera.org.

Mozart’s masterpiece, and one of the world’s most frequently performed operas, The Magic Flute, is given a modern-day makeover in award-winning director and writer Mary Zimmerman’s production of The Matchbox Magic Flute, now playing at The Goodman Theatre on its Owen stage.

In this world-premiere production, Zimmerman has adapted the traditionally lavish and grandiose opera with full company and orchestra and has created what has been dubbed an opera-in-miniature with a cast of ten and an orchestra of five. The results are nothing less than triumphant.

From the orchestra members dressed in costume with candles flanking their music stands to the delightful Spirit (wonderfully performed by Reese Parish) who guides us through the performance, to the Zimmerman-trademarked scenery which effortlessly flows from forest to palace and back again, every detail contributes to the overall ambiance of the production to create an intimate theatre experience. The audience feels as if they are part of the performance as the actors frequently turn to us and bring us into the action and let us in on the jokes.

The production follows the traditional story line of Prince Tamino (Billy Rude) who finds himself lost in the forest pursued by a dragon. He is rescued by three woodland ladies, who show him the portrait of Princess Pamina (Marlene Fernandez), the daughter of the Queen of the Night (Emily Rohm), who has been abducted by Sarastro (Keanon Kyles) and his sidekick, Monostatos (Russell Mernagh).

The Prince falls in love with the Princess instantly, and when the Queen of the Night commissions him to rescue her daughter, promising him her daughter’s hand in marriage, the Prince is only too happy to oblige. Aided by a magic flute and accompanied by the lovelorn half-bird, half-man, Papageno (brilliantly played by Shawn Pfautsch), the Prince commences his magical mission.

In adapting this classic opera, Zimmerman has gone line by line, not only condensing the plotline to fit a two-hour running time, but also updating the libretto to include unexpected and humorous references to modern life. For instance, when the three woodland ladies (Lauren Molina, Monica West, and Tina Munoz Pandya) discover the unconscious Prince, they coo over his physique as one who has obviously gone to the gym.

Later when Papageno and the Princess meet and sing about “the bird and the girl,” they encourage one another to persevere and not be discouraged “as when you are waiting in the grocery line.” These references are so cleverly embedded throughout the performance that you find yourself waiting and listening for them.

Even though only one of the ten cast members is a trained opera singer (Kyles who plays Sarastro), all have the musical theatre credentials to do justice to Mozart’s soaring operatic scores. Rohm as Queen of the Night gives an outstanding performance of one of the opera’s most well-known arias, Der Hölle Rache, with its fast repetition of High C’s, that challenges most sopranos. And the superbly comedic duet of Pfautsh’s Papageno and his newfound love, Papagena (also played by Lauren Molina), Pa pa pa, is a show-stopper. Also, not to be missed is Kyles’ impressive baritone, whose lower range wows the audience.

Rude as Prince Tamino and Fernandez as Princess Pamina shine in their respective roles, both vocally and in their character portrayal. Fernandez has a particularly beautiful soprano that is magnificent to hear. The three woodland ladies (Molina, West, and Pandya) are outstanding in their roles, adding humorous commentary on the action to both those on stage and to the audience. Mernagh’s Monostatos, as the one real villain in the story, is played with just the right comedic touch in his clumsy attempts to seduce the Princess.

What ensues is a thoroughly engaging and entertaining production that is fast-paced and lively. Toss in a few woodland creatures, whose dancing border on the hilarious as they throw in a little soft shoe, and you have a family-friendly show perfect for all ages. Even some of the musicians get involved and join the action on stage, as when flautist Dalia Chin, leads the Prince and Princess through their final trials with her “magic flute.”

Zimmerman herself sums up the production as a fantastical, adventuresome journey with something for everyone – dancing animals, magical instruments, lessons learned, along with a bit of humor, all set to Mozart’s time-honored classic score. What’s not to like?

Don’t miss your chance to introduce the younger generations – or even yourself -- to opera in a most winsome and captivating way. The Matchbox Magic Flute is playing through March 24 at the Goodman Theatre.

Goodman’s treasured director Robert Falls directs the Lyric Opera’s new production of Don Giovanni, the tale of that lustful, destructive Spanish sexual predator, Don Juan. Falls has wisely exercised restraint in this production, letting the sumptuous music of Mozart prevail. The musical high points will be familiar to anyone who has seen the movie or listened to the soundtrack Amadeus.

The story is another matter – in contemporary #MeToo society Don Giovanni does not quite fit the Weinstein-Epstein model of using leverage and power in his conquest of women. The dramaturgs struggle to find some way to explain Don Giovanni’s behavior to us. But there is none; he is not exactly a realistic character, but an exaggerated fiction who lays waste not to the objects of his desire, but to his posse of servants and friends as well. But there is a contemporary realism to Don Giovanni's destructive force and his entitlement to forcing himself on women. He doesn't accept that no means no, and we are still trying to change that heritage of patriarchy in the 21st century. 

In his day, Don Juan was a libertine. He also seems to be a sociopath and sex addict, cataloging the hundreds of women he has seduced, country by country. Like Epstein he seems to inspire profligacy and among his cohorts, but he takes advantage of them a few too many time. He is stalked by one double-crossed lover - - who makes it her mission to warn other women away from him. All this builds up to generating an enmity that finds an angry crowd of vigilante’s out to kill him.

Mozart’s formal full title of Don Giovanni is “The Rake punished, or Don Giovanni.” This indicates the story was conceived as a moral fable (the libretto in Italian is by Lorenzo da Ponte). Fall’s key touch, aside from a perfect closing scene (more on that later) was to reset the time frame from the 1600’s to the 1920s. This allows the women to reasonably be a bit more empowered, pursuing their own sexual destiny. But the original libretto clashes with this revisionist approach, since loss of reputation and fall from respectability is among their chief complaints against Don Giovanni. The 1920s setting is almost laughable during a ball in which the deco-inspired gowns (knockout costumes here and overall) when the flappers do minuettes rather than Charlestons. But it's opera. 

The music redeems it largely, though the garden bacchanal and Don Giovanni’s machinations are frankly, boring and drag on. Mozart’s music carries on a masterful counterpoint, with the characters given complexity expressed through this most lush score. The Lyric Opera Orchestra is reliably excellent, and this production is no exception. They just know how to play in support of the opera– a full, rich, underpinning for the great singers. 

Finally comes the climactic scene in Don Giovanni is his retribution for all this bad behavior – he is dragged down to hell. Falls did this so powerfully, opening a smoking pit on the stage and upending the banquet table, with Don Giovanni struggling against his fate as he slides into oblivion. It is one of the most satisfying final scenes I have witnessed, and helps cap the story of Don Giovanni, The Rake Punished. It runs at the Lyric Opera in Chicago through December 8.

*Ryan McKinney will portray Don Giovannio December 3rd through 8th

Mozart’s The Magic Flute, now playing at the Lyric Opera of Chicago is an enchanting and charming performance - a perfect family outing especially for the holiday season.

Based on Mozart’s final and majestic opera, The Magic Flute is a timeless tale of good versus evil, perseverance, and love conquering all.

The basic storyline revolves around Princess Pamina, daughter of the Queen of the Night who has been captured by the high priest Sarastro. Prince Tamino falls in love with a portrait of Pamina he receives from the queen’s three ladies. The queen tells Tamino that if he finds Pamina, she will be his. Papageno, the queen's birdcatcher, joins him on the quest. Aided by Tamino’s magic flute and Papageno’s magic bells, they face numerous challenges separately and together, including an encounter with the comically savage Monostatos, who lusts after Pamina. Three genies are their guides. Eventually, the Queen of the Night is vanquished, Tamino and Pamina are united, and Papageno finds love with Papagena as the queen's forces of evil yield to the forces of good. 

Directed by Neil Armfield, the staging of the Lyrics’ version of the Magic Flute is not only inventive with the use of the “play within a play” technique but it also is accessible with a warm familial glow, making it an enjoyable experience for opera lovers and newcomers alike.

With the theme of a backyard party, the show opens with a lovely 1950's Midwestern-style colonial home, designed by Dale Ferguson, filling the stage and slowly rotating as bright stars glitter in the backdrop like spotlights shining down on the performance that is taking place.

The house buzzes with activity as a diverse group of people arrive carrying packages and other items as they prepare for a bit of “backyard community theater” in a production put on by the neighborhood kids.

Perfectly designed rooms from the upstairs bedroom to the dining room and kitchen below are glimpsed through the windows revealing small vignettes of preparation for the evening performance. One neighbor hangs lights along the backyard deck and others set up chairs for the audience and operate the spotlights.

Then finally, after every piece is in place, the neighbors are seated. The kids' show begins and the real audience is transported into a land of fantasy with soaring arias. In particular, soprano Kathryn Lewek in her Lyric debut as Queen of the Night and bass-baritone Adam Plachetka, as Papageno (the queen's birdcatcher) were vocal standouts but the entire cast was sublime.

Highly recommended.

The Magic Flute runs until January 27 at the Lyric Opera of Chicago. There is a free 30-minute pre-performance talk in the theater starting an hour before each performance. For tickets and information call (312) 827-5600 or go to www.lyricopera.org/Flute.