Displaying items by tag: Lyric Opera of Chicago

Lyric Opera of Chicago continues its commitment to bold, new work with the world premiere of safronia, a landmark musical composition commissioned from Chicago’s first Poet Laureate, the interdisciplinary artist avery r. young. Presented for two performances, April 17 & 18, 2026, at the Lyric Opera House, safronia is an American story told through blues, gospel, and funk that places the Great Migration centerstage.

Part family saga, part American reckoning, safronia follows the booker family as they journey from the North back to their Mississippi hometown to lay their father’s ashes on land they were forced from. What begins as a burial ignites a volatile confrontation with memory, inheritance, and the unfinished business of history. Blending folklore, poetry, and gospel-rooted sound with Lyric's orchestral sweep, young crafts a work at once intimate and seismic. It is a Chicago-born story that speaks to the nation.

A Chicago story. An American reckoning.

Between 1910 and 1970, millions of Black families left the South in the Great Migration, reshaping cities like Chicago and redefining the nation’s cultural and political landscape. In safronia, that history is not the backdrop — it is the heartbeat.

The booker family once built something of their own. When that foundation is stripped away from under their feet, they join the tide of those heading North. Years later, they return to Mississippi not only to bury patriarch baar jacob booker, but to face the forces that drove them away.

At the center stands safronia booker, baar’s youngest daughter — fiercely loyal, sharp-witted, and unwilling to surrender what her father fought to claim. Around her gather magnolia, the family’s steady matriarch; king willie tate, determined to secure dignity in the North; and the town that has never forgotten the bookers’ claim to the land.

Through pride, humor, anger, faith, and music, safronia asks: What does it mean to return home? What is owed? And who decides what belongs?

A new opera with Sunday service energy

From the beginning, young set out to expand the definition of classical music.  

"This would not be ‘chocolate-covered Mozart,’" says young.

"The music Black people made in this country is American classical music," says young. "In safronia, those traditions — gospel hymns, blues progressions, funk rhythms, and the layered call-and-response of the Black church — are not softened or translated. They are the foundation."

With safronia, young reshapes the operatic experience and expands the operatic vocabulary, positioning Black musical traditions not at the margins of the art form, but at its core.

Clapping, snapping, percussive movement, and rhythmic vocal textures are embedded into the score and built into the performance. The energy of a Sunday service informs the structure of the work. The opera house becomes a participatory space. Audiences do not simply observe and witness; they move with the story.

avery r. young: An artist expanding what American opera can be

Selected in 2023 as Chicago’s first Poet Laureate from more than 1,300 applicants, avery r. young is a 3Arts Awardee — a distinction recognizing significant contributions to Chicago’s cultural life — and a Cave Canem Fellow, part of the nationally respected organization supporting Black poets. A composer, producer, educator, and co-director of the interdisciplinary arts collective Floating Museum, young works across poetry, music, performance, visual art, and sound design. His writing appears in The BreakBeat Poets, Poetry magazine, and alongside Cecil McDonald Jr.’s photography in In the Company of Black. He tours nationally with his band, de deacon board.

young first collaborated with Lyric in 2021 on Twilight: Gods (2020/21), a drive-through reimagining of Wagner’s Ring cycle conceived and directed by Yuval Sharon. For this ambitious, pandemic-era production staged in a Chicago parking garage, young wrote and performed poetic transitions that reframed Wagner’s epic through a distinctly Chicago lens. Following that project’s success, Lyric invited young to imagine a work of his own for the stage.

With safronia, young returns as composer, librettist, and performer in his first full-length operatic creation. Drawing on his own family’s Great Migration story and the musical traditions of Chicago’s West Side, young delivers a work that speaks locally and nationally at once.

The voices that bring safronia to life: a cast of national distinction

Composer and librettist avery r. young performs the role of baar jacob booker, the family patriarch whose presence anchors the work both in life and in memory.

Chicago-born singer-songwriter Meagan McNeal makes her Lyric debut in the title role of safronia booker. Known for collaborations with Makaya McCraven, Common, The O’Jays, Eminem, and the Chicago Symphony Orchestra, McNeal reached national audiences on NBC’s The Voice, where she worked alongside Jennifer Hudson.

Award-winning vocalist and actor Maiesha McQueen makes her Lyric debut as magnolia booker, the family’s regal matriarch. Her career spans Broadway and major regional theaters, including Waitress on Broadway and the national tour of Come From Away. Regionally, she portrayed Celie in The Color Purple at the Denver Center for the Performing Arts and Mahalia Jackson in Mahalia!.

Joseph Jefferson Award-winning performer Lorenzo Rush, Jr. appears as king willie tate, safronia’s husband and a man determined to build stability and dignity for his family in the North. A familiar presence on Chicago stages, Rush has performed at Marriott Theatre, Paramount Theatre, Porchlight Music Theatre, Drury Lane Theatre, Goodman Theatre, and Court Theatre. He is a Jeff Award recipient for Ain’t Misbehavin’, Five Guys Named Moe, and Sophisticated Ladies. His television credits include Chicago Fire and Fargo.

Jeff Parker returns to Lyric as bossman. Parker previously appeared at Lyric as Arne Duncan in The Walkers from Proximity (2022/23) and has performed at nearly every major Chicago theater, including Goodman, Steppenwolf, and Chicago Shakespeare Theater.

Grammy Award–winning bass-baritone Zachary James makes his Lyric debut as cholly, following performances with the Metropolitan Opera, English National Opera, and major houses across Europe and the United States. He was also recently seen in Jesus Christ Superstar at the Hollywood Bowl. James brings formidable presence to this layered role.

The ensemble includes Jessica Seals, Sydney Charles, Miciah Lathan, Kendal Marie Wilson, Maxel McCloud Schingen, and Bailey Haynes, all making their Lyric debuts, alongside Eric Andrew Lewis, who returns to Lyric after appearing in Jesus Christ Superstar (2017/18).

Musically, safronia brings together the Lyric Opera Orchestra with members of avery r. young’s blues and funk ensemble, de deacon board. In addition to strings, winds, and brass, the score incorporates electric bass, organ, and harmonica — performed by three-time Grammy nominee and Blues Hall of Fame inductee Billy Branch — as well as keyboards by Chicago jazz pianist Theodis Rodgers Jr., who served as music director for Curtis Mayfield. The result is a sound that moves fluidly between operatic writing and the pulse of the Black church and juke joint.

A creative team built for new work

For a world premiere of this magnitude, safronia brings together a creative team fluent in new work, fearless storytelling, and music that lives at the crossroads of tradition and innovation.

safronia is directed by Timothy Douglas in his Lyric debut following more than 150 productions nationwide, including the world premiere of Jasmine Barnes and Deborah D.E.E.P. Mouton’s She Who Dared at Chicago Opera Theater. Douglas has created new productions for companies including Boston Lyric Opera and New Orleans Opera. Widely respected for staging works that fuse intimacy with scale, he is known for excavating the emotional core of new pieces and shaping them into theatrically urgent events.

Conductor Paul Byssainthe, Jr., in his Lyric debut, bridges sacred, classical, and theatrical traditions with uncommon authority. He currently serves as Associate Music Director for the Broadway revival of Ragtime at Lincoln Center Theater and previously led Goddess, the Kenya-set Afro-jazz musical at The Public Theater, as well as the Broadway revival of The Wiz.

The creative team includes costume designer Jessica Jahn, returning to Lyric following Blue (2024/25) and West Side Story (productions in 2019 and 2023); lighting designer Jason Lynch; video designer VAM Studio, an award-winning Chicago-based collective known for community-centered visual storytelling; and choreographer Kia Smith, founder of South Chicago Dance Theatre — all making their Lyric debuts.

Together, this team does more than mount a premiere — they build a world.

Continuing Lyric’s investment in the future of opera

With safronia, Lyric makes a bold statement about the future of the art form. These two performances represent a five-year investment in the development of a new American work — commissioned by Lyric, conceived in conversation, cultivated through collaboration, and brought to the mainstage with the full force of the company behind it.

In recent seasons, Lyric has accelerated its commitment to expanding the canon through ambitious contemporary projects including Proximity (2022/23) — featuring The Walkers by Daniel Bernard Roumain and Anna Deavere Smith, Four Portraits by Caroline Shaw and Jocelyn Clarke, and Night by John Luther Adams and John Haines — as well as Will Liverman and DJ King Rico’s The Factotum (2022/23), a reinvention of Rossini set on Chicago’s South Side, and the site-specific Twilight: Gods (2020/21). Each signaled a company willing to challenge assumptions about what opera is, who it serves, and whose stories command its grandest stages.

safronia builds on that momentum at an even greater scale. Developed over half a decade, the work reflects Lyric’s long-term strategy to commission, nurture, and premiere operas that speak directly to the American experience. By investing deeply — artistically, financially, and institutionally — in new voices and new forms, Lyric positions itself not simply as a presenter of the repertoire, but as an architect of its future.

In bringing safronia to life, Lyric asserts that American opera is not a distant tradition to be inherited. It is a living form to be shaped — here, now, and on its mainstage.

Two performances only:

• Friday, April 17, 2026 at 7:00 p.m.
• Saturday, April 18, 2026 at 7:30 p.m.

Language: Sung in English, with projected English titles above the stage.

Running time: Approximately 2 hours and 20 minutes, including one intermission.

Exhibition: The Art of Culture: Presented March 2 – April 18, 2026 in Lyric’s Grand Foyer and Mezzanine, in celebration of Lyric's performances of Madama Butterfly, El último sueño de Frida y Diego, and safronia, this six-week exhibition highlights the traditions and artistic legacies of Japanese, Mexican, and African American cultures. The Art of Culture features an exploration of Japan’s historic Geisha culture, visual artwork by Mexican American artists, and selections from Vanessa Charlot’s Down in the Delta, a photographic journey through the Deep South inspired by the Great Migration. Community partners include the Japanese Cultural Center, the National Museum of Mexican Art, and photographer, filmmaker, and scholar Vanessa Charlot. The exhibition is free to all ticketholders.

Pre-performance talks: Ticketholders are invited to a free pre-opera talk presented by Vanessa Charlot, 2025 Crossroads Arts Fellow and faculty member at the University of Mississippi, whose work is also featured in The Art of Culture. Talks begin one hour before each performance in the theater’s Steiner Parquet (main floor).

Accessibility: Braille and large-print programs, high-powered opera glasses, assistive listening devices, and booster seats are available from the theater’s Steiner Parquet coat checks at all performances. For more information on accessibility services, visit lyricopera.org/accessibility.

Location: Lyric Opera House, 20 N. Wacker Drive, Chicago, Illinois.

For more information and tickets, visit lyricopera.org/safronia or call 312.827.5600.

Lyric Opera of Chicago presents Gabriela Lena Frank and Nilo Cruz’s El último sueño de Frida y Diego (The Last Dream of Frida and Diego), on stage March 21 – April 4, 2026. This new opera poses an impossible question: How would you spend a single day reunited with lost love? On the Day of the Dead, three years after her death, Mexican artist Frida Kahlo crosses over from the underworld for 24 fleeting hours with husband and artist Diego Rivera. What unfolds is a dreamlike journey through memory, passion, and everything they created together — both on canvas and in life.

Following its critically praised 2022 world premiere in San Diego, this opera, steeped in magical realism, arrives as the second full-length Spanish-language opera presented by Lyric, following Daniel Catán and Marcela Fuentes-Berain’s Florencia en el Amazonas in the 2021/22 Season. With vivid colors, music inspired by Mexican folk traditions, and staging that transforms the Lyric Opera House into a portal between worlds, this production brings Frida Kahlo’s artistic vision to theatrical life. Mezzo-soprano Daniela Mack stars as Frida in her return to Lyric, joined by baritone Alfredo Daza in his Lyric debut as Diego, soprano Ana María Martínez as Catrina, and countertenor Key’mon W. Murrah in his Lyric debut as Leonardo. Director Lorena Maza and conductor Roberto Kalb, both in their Lyric debuts, lead a creative team that honors the Mexican culture and artistry at the opera’s heart.

A love story that transcends death. El último sueño de Frida y Diego unfolds in 1957, three years after Frida Kahlo’s death. Diego Rivera, aging and consumed by grief, longs for one final moment with Frida. In Mictlán, the Aztec underworld, Frida has found peace, free from the physical pain and heartbreak that defined her earthly life. But Catrina, Keeper of the Dead, insists she must accompany Diego as he nears the end of his life, while Leonardo, the spirit of a young actor, urges her to return — not just for Diego, but for herself and her art.

Frida agrees to return for 24 hours with one unbreakable rule: she cannot touch the living. Her reunion with Diego unfolds in magical realism as the two artists wander through Alameda Park and Casa Azul, rediscovering joy and trying to heal old wounds, both physical and emotional. When Frida breaks the rule and touches Diego, the memories of pain and trauma come flooding back. Yet even in suffering, she finds clarity: Art is the only way to outlive death.

Authors who capture the soul of the story. The creative partnership between composer Gabriela Lena Frank and librettist Nilo Cruz brings extraordinary credentials and deep cultural understanding to El último sueño de Frida y Diego. Their opera functions as both an intimate character study and a vibrant celebration of Mexican artistic heritage while speaking to universal themes of love, loss, and artistic legacy.

Grammy Award-winning composer Gabriela Lena Frank, recently named Musical America’s 2026 Composer of the Year, is one of America’s most celebrated living composers, known for music that explores her multicultural heritage — Peruvian, Chinese, Lithuanian, and Jewish — with particular focus on Latin American musical traditions. Born with high-moderate/near-profound hearing loss, Frank has become a powerful voice for disability representation in classical music, demonstrating that composers can create extraordinary work through different ways of experiencing sound. Frank has received numerous honors including the Latin Grammy Award for Best Contemporary Classical Composition; the 2020 Heinz Award recognizing her for breaking gender, disability, and cultural barriers in classical music; a Guggenheim Fellowship; and commissions from major orchestras and opera companies worldwide. Her music weaves together orchestral colors with rhythms and melodies inspired by Mexican folk music, capturing the surrealist beauty of Frida’s visual art while honoring the emotional depth of her lived experience.

Pulitzer Prize-winning playwright Nilo Cruz created the libretto, bringing his gift for poetic, emotionally resonant language to Frida and Diego’s story. His Spanish text moves fluidly between the real and the imagined, the painful and the joyful, giving voice to Frida’s fierce independence, her artistic vision, and her complex relationship with Diego — a love marked by both deep devotion and profound betrayal. In 2003, Cruz became the first Latino to win the Pulitzer Prize for Drama for his play Anna in the Tropics. His work is known for its lyrical beauty, its exploration of Latin American and Cuban-American experience, and its ability to find magic in everyday moments. Cruz previously collaborated with Lyric and composer Jimmy López in the 2015/16 Season for the world premiere of Bel Canto, based on the Ann Patchett novel.

A singing actress who embodies Frida’s fire and fragility. Mezzo-soprano Daniela Mack returns to Lyric to star as Frida Kahlo, bringing to the role her acclaimed artistry and commanding stage presence. Mack recently appeared at Lyric as Angela in Missy Mazzoli and Royce Vavrek’s The Listeners in the 2024/25 Season, earning praise for her dramatic intensity and vocal beauty. Her international career includes performances at the Metropolitan Opera, San Francisco Opera, Houston Grand Opera, and major European houses. Known for her ability to inhabit complex, unconventional characters, Mack possesses both the rich, warm timbre ideal for Frank’s melodic writing and the dramatic fire needed to capture Frida’s indomitable spirit. Stephanie Sanchez sings the role of Frida on Wednesday, April 1.

A cast that brings passion and artistry to every role. Colombian baritone Alfredo Daza makes his Lyric debut as Diego Rivera, the legendary muralist whose tumultuous marriage to Frida forms the opera’s emotional core. Daza has performed at major opera houses throughout Latin America, Europe, and the United States, earning particular acclaim for his portrayals of complex, larger-than-life characters. His rich baritone and powerful stage presence make him ideal for Diego, whose outsized personality and artistic genius were matched only by his capacity for passionate and perilous living.

Puerto Rican soprano Ana María Martínez, on stage at Lyric this winter as Despina in Mozart’s Così fan tutte, sings the role of Catrina, the skeletal Keeper of the Dead who bridges the worlds of the living and the departed. Martínez last appeared at Lyric in the title role of Florencia en el Amazonas in the 2021/22 Season. Her luminous soprano and elegant stage presence have made her one of the leading interpreters of Latin American opera, with performances at the Metropolitan Opera, LA Opera, and internationally. As Catrina, Martínez brings both authority and compassion to this figure drawn from Mexican Day of the Dead traditions.

Rising-star countertenor Key’mon W. Murrah makes his Lyric debut as Leonardo, the spirit who encourages Frida to return to the living world. Winner of Washington National Opera’s Marian Anderson Award in 2024, Murrah’s burgeoning career includes performances at major American opera companies, where his distinctive countertenor voice and natural charisma have earned critical praise. His portrayal of Leonardo provides a crucial voice urging Frida toward life and art, even as she resists.

The production also features Ensemble members from Lyric’s acclaimed artist-development program, The Patrick G. and Shirley W. Ryan Opera Center, including tenor Finn Sagal as 1st Villager, tenor Daniel Luis Espinal as 2nd Villager & A Young Man, bass-baritone Benjamin R. Sokol as 3rd Villager, soprano Adia Evans as 1st Frida Image, mezzo-soprano Alexis Peart as 2nd Frida Image, and mezzo-soprano Camille Robles as 3rd Frida Image. Mezzo-soprano Corinne Wallace-Crane sings the role of Guadalupe Ponti.

A conductor who honors the music’s cultural roots. Mexican-born conductor Roberto Kalb makes his Lyric debut leading El último sueño de Frida y Diego, bringing a deep understanding of both Latin American musical traditions and contemporary opera. He conducted the opera's world premiere at San Diego Opera and subsequent performances at San Francisco Opera. Music Director of Detroit Opera since 2022, Kalb has built an international career conducting orchestras and opera companies throughout the Americas and Europe. He has particular expertise in contemporary repertoire and works that incorporate folk music traditions into classical forms. His leadership ensures that Frank’s score receives performances that honor both its Mexican folk inspirations and its sophisticated orchestral writing. Under Kalb’s baton, the Lyric Opera Orchestra becomes an essential character in the storytelling, painting Frida’s emotional journey through sound. Chorus Director Michael Black leads the 44 members of the Lyric Opera Chorus.

A director who brings Frida’s visual world to life. Director Lorena Maza makes her Lyric debut with El último sueño de Frida y Diego, bringing her distinctive theatrical vision to this production. A native of Mexico, Maza brings cultural authenticity and deep understanding of the artistic traditions that shaped both Frida and Diego’s work. Her direction emphasizes the opera’s magical realism, creating a production where the boundaries between life and death, memory and reality, past and present, all dissolve into dreamlike theatrical poetry. Maza’s staging honors the surrealist touches that made Frida’s paintings so distinctive while ensuring the emotional truth of the story remains central.

A production that dazzles the eye. The creative team includes set designer Jorge Ballina in his Lyric debut, whose designs evoke both the vivid colors of Frida’s paintings and the liminal space between worlds; costume designer Eloise Kazan in her Lyric debut, whose creations honor Mexican traditional dress and incorporate surrealist elements; lighting designer Victor Zapatero in his Lyric debut; and choreographer August Tye, a longtime Lyric collaborator who has participated in more than three dozen productions. Together, they create a visual experience as rapturous as Frida’s own canvases — a production where endlessly blooming marigolds, skeletal Catrinas, and the jewel-toned walls of Casa Azul transport audiences into Frida’s artistic vision.

When art becomes the bridge between worlds. Beyond its story of love and loss, El último sueño de Frida y Diego is a celebration of Mexican culture and the Day of the Dead traditions that honor the continuing connection between the living and those who have passed. Like the candlelit ofrendas offered on Día de Muertos, this opera doesn’t simply portray two artists’ fantastical reunion but honors the rituals of remembrance that keep memory and love alive. Frank’s sweeping music and Cruz’s poetic libretto create an operatic experience as emotionally rich as the lives that inspired it — a work that affirms art’s power to transcend death and keep our most important connections alive forever.

Performance Dates: Six chances to see El último sueño de Frida y Diego:

• Saturday, March 21, 2026 at 7:30 p.m.
• Tuesday, March 24, 2026 at 7 p.m.
• Thursday, March 26, 2026 at 7 p.m.
• Sunday, March 29, 2026 at 2 p.m.
• Wednesday, April 1, 2026 at 2 p.m.
• Saturday, April 4, 2026 at 2 p.m.

Language: Sung in Spanish, with easy-to-follow projected English titles above the stage.

Running time: Approximately 2 hours and 15 minutes, including one intermission.

Pre-performance talks: Ticketholders are invited to a free pre-opera talk on El último sueño de Frida y Diego's composition history and cultural context; the talks begin one hour before each performance in the theater’s Steiner Parquet (the main floor).

Accessibility: Audio description, a guided touch tour of the set, and SoundShirts are available at the Sunday, March 29 matinee performance. Braille and large-print programs, high-powered opera glasses, assistive listening devices, and booster seats are available from the theater’s Steiner Parquet coat checks at all performances. For more information on these and other accessibility assets, visit lyricopera.org/accessibility.

Production history: A co-production of San Diego Opera (world premiere, 2022) and San Francisco Opera.

Location: Lyric Opera House, 20 N. Wacker Drive, Chicago, Illinois.

For more information and tickets, visit lyricopera.org/frida or call 312.827.5600.

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!!

“Salome” is an opera with an amazing backstory, and comes to us at the Lyric Opera with a content advisory (“adult themes, brief nudity, and disturbing imagery”), especially novel considering this work was first mounted in 1905. No wonder, given the beheading and necrophilic kiss that are at the center of the action.

A remount of a "Salome" production developed by Sir David McVicar directed at the Lyric by Julia Burbach, its underlying story is drawn from the New Testament recounts by Mark and Matthew of the beheading of John the Baptist (Johanaan in the German libretto)—the prophet who prepped the public for the arrival of Jesus. This telling was expanded upon by playwright Oscar Wilde for his French stagework, “Salome.” Wilde drew on Baudelaire, Roman historian Josephus, and significantly his imagination, to create dramatic tension.

The Lyric production, relatively short at one hour and forty minutes (no intermission), sets its Roman Judea characters in pre-war fascist Italy. (Guillermo del Toro used that as a backdrop for his version of “Pinnochio”). It’s a good parallel world of greed and entitlement of a debauched Roman aristocracy.

The sets were quite wonderful, centered in a lower stone vault down a sweeping staircase from the banquet hall above. The fascist neoclassic design rests comfortably on stonework evoking Roman foundations, a telling blend of a Roman-era storyline and its placement in pre-WWII Italy.

Throughout, we have a birdseye view of the goings on at the banquet above, while the main action takes place in this lower level, where Jochanaan (baritone Nicholas Brownlee) is held prisoner in a cistern, and which Salome (soprano Jennifer Holloway) chooses as an escape from the untoward overtures of her stepfather Herod (tenor Alex Boyer in the opening performance). He does really creepy things, like ask her to nibble fruit so he can bite where her lips and teeth have touched. Ugh.

In the lower plaza Salome is intrigued by Jochanaan, who rants inside the cistern. A little turned on, Salome asks to meet him. But he refuses her advances, and Salome is offended by his critique against her mother, who he declares to be in an incestuous marriage to Herod. Wilde gives us this as Salome’s motivation for Jochanaan's eventual beheading.

The opera by Richard Strauss compresses Wilde’s play in a German libretto by Hedwig Lachman: a Page (Catherine Martin) lusts after a military officer, Narraboth (tenor Ryan Capozzo). He in turn lusts after Salome, as does Salome’s stepfather Herod.

Herod has promised to behead Jochanaan, Salome’s requested payment for performing “The Dance of the Seven Veils,” a seductive “striptease” incorporated by Wilde in his play. Herod is repulsed by Salome’s demands, but makes good on his promise after the encouragement of Salome’s mother and Herod’s wife Herodias (mezzo-sopranoTanja Ariane Baumgartner). Jochanaan’s bloody head is delivered on a platter to Salome, where she extracts that kiss he’d refused while alive.

A subplot, and a significant portion of the opera, revolves around arguments among Jewish religious leaders (Jews 1 - 5 in the opera) over Jochanaan, who they believe may be the prophet Elias resurrected. Two Nazereen’s disagree, and proclaim they have seen the arrival of the Messiah, who Jochanaan is foretelling.

Surprising for me was the rather lengthy religious discourse among the Jews about the prophet Elias, since it had no bearing on the action of the mostly melodramatic story. Even more surprising is the modernity of the music by Richard Strauss, who is widely known today for “Thus Spoke Zarathustra,” the striking tone poem associated with “2001: A Space Odyssey.” He’s also known for Der Rosenkavalier, a conventionally melodic comic opera.

For “Salome” Strauss ventures into what is now regarded as a first foray into a dissonant, modernist score. More like Schonberg than Mozart. That also makes “Salome” especially musically noteworthy. But as a listener, this opera was not my cup of tea. The storyline takes a lot of drilling down to appreciate, and the music is warm but not melodic. Still, Lyric gives us a fine production even if it was something I could not fully enjoy.

"Salome" runs through February 14, 2026 at the Lyric Opera of Chicago.

At this time of year, when Christmas lights begin to twinkle and colors of green and red illuminate throughout the city, I am nostalgically drawn to the ballet. To me, there is nothing so quintessentially magical as The Nutcracker ballet at Christmas time. I can hum, and chair compose the entirety of Tchaikovsky’s masterpiece. I can mark every step to every number of the two-act ballet (shout out to Inland Pacific Ballet). I can picture my grandmother sewing the principal dancers into their tutus, and my mother managing ticket sales and donning the mother-ginger costume. For me, the holiday and the ballet are indivisibly interconnected. And now that I’ve lived in Chicagoland for longer than my childhood in Southern California, there is something nostalgically familiar and magical about Christopher Wheeldon's kaleidoscopic reimagining of The Nutcracker, now playing at The Lyric Opera House.

On a magical Christmas Eve, after awakening to an epic battle between Toy Soldiers and the Rat King, a flurry of snowflakes sweeps Marie away on a whirlwind journey to the dreamlike fairgrounds of the World's Columbian Exposition. Set to Tchaikovsky's classic score, experience sprawling attractions representing countries from around the globe: the dazzling Golden Statue, the mystique of an Arabian enchantress, vibrant Venetian masked dancers, Chinese dragons, and Buffalo Bill's Wild West Show. This holiday season, enter the spellbinding world where history and dreams intertwine.

The Nutcracker Amanda Assucena and Hyuma Kiyosawa in Joffrey Ballet's The Nutcracker at Lyric Opera House.

Wheeldon’s The Nutcracker is set against the majesty of the 1893 World’s Fair of Chicago. Though remnants of the fair can still be found in buildings like The Museum of Science and Industry, the true grandeur and spectacle is lost to photographs, sketches, and our imaginations. The magic and marvel of the fair’s White City is rumored to be the inspiration for the Emerald City in his best-selling children’s book of 1900, The Wonderful Wizard of Oz. While there is no solid evidence to support this claim, it would make sense that the fair, where Cracker Jacks, the Ferris wheel, and electricity itself were debuted and displayed, could inspire a magical city of Oz. It’s that same magic that Wheeldon captures in the Joffrey’s production of The Nutcracker. The uniquely Chicago-centric production of the ballet features the familiar storyline of Marie and her family, though it focuses on the love story between The Great Impresario of the Fair, performed by Stefan Gonçalvez, and Marie’s mother, the sculptress for the Fair and The Queen of the Fair, performed by Gayeon Jung. It shows the humble working-class families that built the city itself in the first act, juxtaposed against the vibrant and colorful world of the White City in the second act. The humility and simplicity of one act contrasted with the majesty of the second, coupled with journeys across Lake Michigan, make this production equally familiar and relatable. To date, it’s still one of my favorite productions of the ballet, quintessentially Chicago and absolutely magical.

What I wouldn’t give to be a snowflake in the core, a worker at the fair dancing beneath the first Ferris Wheel, or simply a watcher from the wings of this beautiful ballet. At this point, I have seen and reviewed the play more years than I performed in the ballet, and I still get goosebumps when the tree rises, and the snow falls. Whether you are seeing it for the hundredth time, the tenth time, or the first, every Chicagoan should experience the Nutcracker. Experience the magic for yourself. The Nutcracker is playing now through December 28^th at The Lyric Opera House (20 N. Wacker Drive, Chicago). Do not overpay for Joffrey tickets! Beware of ticket resellers offering overpriced or invalid tickets. The Joffrey is the only official seller with the best prices, available at www.joffrey.org.

In a world where our attention span seems to be shrinking, it’s comforting to know there are still one-shots available for our entertainment like a limited mini-series, a short story, a collection of poetry, or in the case of operatic masterpieces, double-feature shows. One of the drawbacks to newcomers with the opera is the time and focus the productions require of the audience. Hours long symphonies and classical music scores coupled with lengthy and drawn-out emotive performances can be difficult to follow for new patrons, particularly with the false sense of urgency our modern world requires. Rather than let an art form die out simply to accommodate the times, it’s wonderful to see the Lyric Opera present one-shot masterpieces like Cavalleria rusticana and Pagliacci now playing at the Lyric Opera House this month.

Quinn Kelsey as Tonio and Yulia Matochkina as Santuzza in Cavalleria rusticana at Lyric Opera House.

Cavalleria rusticana and Pagliacci are two 19^th-century Italian operas that strip love of its overwrought grandeur and show it for what it can become: messy, corrosive, and even fatal. Short in length but packed with unforgettable fervor, Cav/Pag, as it’s colloquially known in the operaverse, delivers quick emotional blows to the heart. Cavalleria rusticana transports the audience to a Sicilian village on Easter morning, where sacred rituals can’t drown out explosive scandal. Santuzza, a woman shunned by her community and cast aside by her lover Turiddu, clings to her crumbling faith. As she pleads for forgiveness and recognition, she discovers that Turiddu has resumed his affair with Lola, who just so happens to be married to Alfio, a local businessman. As the church bells ring, so does the call for blood to spill. In the church square, as villagers gather to celebrate, personal betrayals erupt into public vengeance. Pagliacci centers on a traveling troupe of performers who arrive in a Sicilian village where envy and deception brew behind the scenes. Canio, the troupe’s leader, learns from Tonio that his wife and leading lady, Nedda, has taken Silvio as her lover. Tonio also rages with an unrequited love for Nedda. Canio must go on with the show, playing a clown whose wife betrays him, a role which hews all too close to his reality. Beneath its painted smiles and vaudeville spectacle, Pagliacci reveals a stage where illusion shatters and truth bleeds through the cracks.

Quinn Kelsey and the Company of Cavalleria rusticana. 

Both operas run times are roughly one hour and thirty minutes (give or take) with an intermission to break up the two stories. The storylines are easy to follow with an emotional depth that is relatable whether in commiseration or contempt, making this run a perfect performance for operatic neophytes. It’s easy to see why these two productions are frequently coupled together. Both written in and first performed in the 1890s, the operas broke from the traditional focus on mythology and royalty to ground themselves in the realistic and often gritty depictions of everyday life. Both storylines feature jilted and scorned lovers, duplicitous deeds, and depict what can happen when someone cannot regulate their emotions. Despite hundreds of years between the first performances and the show today, the stories still resonate with audiences proving humans are going to human, adultery is a catalyst towards conflict, and love and vengeance can be a lethal combination. The relatable themes are accompanied by a beautiful musical score that’s regularly featured and parodied in modern media. Led by the incomparable Enrique Mazzola, Lyric’s music director, the score adds a gravitas to the incredible talents of lyric newcomers mezzo-soprano Yulia Matochkina as Santuzza alongside tenor SeokJong Baek as Turiddu and tenor Russell Thomas as Canio and soprano Gabriella Reyes as Nedda. Alongside an incredible ensemble cast, set against an incredibly detailed and charming set designed by Michael Yeargan, the music and voices tug at heartstrings and tickle the brain in the most remarkable ways bridging time and cultures to bring these stories to life.

I’m not going to lie and say the opera is for everyone. The productions are long and require a dedicated time block and focus that not everyone can afford. It’s also often cost prohibitive for many audiences. The Lyric Opera has made incredible strides to lower the cost of admission while staging productions that require no prior knowledge or experience with the medium. As a culture, opera is not always the most welcoming of communities particularly when beloved productions are running. If you haven’t seen the opera a dozen times and can speak about sopranos and tenors as one would old friends, you’re likely to see a shoulder as cold as the theatre mid-performance. But Cavalleria rusticana & Pagliacci is completely different. Two one-shot stories divided by a welcomed intermission featuring storylines that are as scandalous and captivating as any Netflix mini-series. You won’t receive judgmental looks for not knowing the unspoken operatic code of conduct nor for not playing theatre conductor and knowing every rise and fall within the scores. With this performance, you simply get to be immersed into the world of opera with a relatable and down-to-earth production that highlights the best of what it has to offer; incredible scores, powerhouse talent, and one-shot drama that will have you both laughing and gasping. If you’ve ever been curious about the opera or wanted to check off a theatrical or Chicago bucket list, Cavalleria rusticana and Pagliacci is the perfect opportunity for you. And who doesn’t love a good one-shot story set to a classical and dramatic score?

Cavalleria rusticana & Pagliacci is now showing at the Lyric Opera House (20 N Wacker Dr, Chicago) through November 23^rd. Sung in Italian with projected English titles, it has a run time of 2 hours and 55 minutes, including 1 intermission. Get your tickets today at lyricopera.org to experience this limited run of these Italian masterpieces today.

A famous Chicagoan once said “Life moves pretty fast. If you don't stop and look around once in a while, you could miss it.” Life does move fast, and opportunities and experiences are the simplest way to pause time. For me there’s no better place in all of Chicago where time stops, even for a short while, than the Lyric Opera. There’s something magical about the venue, from the moment you enter the theatre to marvel at the grandness of the entrance hall until the time the lights blink to usher you to your plush red chairs in the audience to view an operatic masterpiece. It’s when you leave the theatre, wandering into the chilly Chicago night air, that you realize that the opera allowed you to stop time, and not just for the lengthy three plus hour run times the operas tend to be, but truly stop time. Because the magic of the opera allows us to stop, look, and reflect that we watched an opera that has been performed for thousands of years. Plays and operas based on plays and works that reach to the earliest stages of life on earth and that we as a modern audience are still moved by today, can still connect to on an emotional level. Time stops at the opera and for a brief run time, you can view the same operatic magic as the Lyric Opera of Chicago’s 2025/26 Season kicks off with a searing tale of vengeance and betrayal: Cherubini’s Medea, on stage October 11–26, 2025.

Hell hath no fury like a sorceress scorned. Euripides's ancient tragedy comes to blazing life in this riveting opera, a late 18th-century masterpiece with music and themes that continue to resonate across the millennia. This centuries-old tale burns with unrelenting emotional fire, and in Cherubini’s hands, it demands to be retold. Audiences witness the tragedy of Medea, a powerful sorceress betrayed by her lover, Giasone, who abandons her and their two children to marry another woman, Glauce, the daughter of the king Creonte. Given just 24 hours to accept her fate, Medea instead bends it to her will, with her accomplice, Neris, at her side, delivering vengeance that shakes the very foundations of the kingdom. A favorite of Beethoven himself, who considered Cherubini to be the greatest living composer of his time, Medea channels the raw power of Greek tragedy and sets it to unforgettable music, leaving audiences breathless as love curdles into rage, and a mother’s heartbreak becomes her most devastating weapon.

With a cast of operatic Olympians, visionary direction, and music that blazes with wrath and beauty, Medea sets the tone for a season defined by bold storytelling and emotional intensity. Medea marks the return of three Chicago-born international stars to the Lyric stage, superstar soprano Sondra Radvanovsky in an Olympic-level performance of the title role, acclaimed tenor Matthew Polenzani, and the rising star mezzo-soprano Zoie Reams. Coupled with the Lyric Opera Orchestra conducted by “Chicago’s Maestro-Around-Town” Lyric Music Director Enrique Mazzola, Cherubini’s score delivers operatic fire and fury as never before. Lyric presents Medea for the first time in its seven-decade history in a production directed by Sir David McVicar, who returns with a sweeping vision of beauty and decay that commands attention from first note to final breath. This spellbinding production transforms myth into music and passion into fire and creates an unforgettable night at the opera that proves hell hath no fury like a sorceress scorned.

Is there anything more profound or timeless as a woman’s rage? Particularly a woman scorned? It’s quite easy to dive into debates about the merits of female rage, how we can examine ancient texts with an often more critical or kinder lens as we reflect on the story that unfolds on the stage. But more striking is the lasting power of the emotions captured in Medea, rage, vengeance, and spite. The emotions depicted and beautifully portrayed in 2025 are the same emotions that were originally captured when the play was first written in 431 BC, the same emotions depicted as an opera for the first time in 1797 France. It’s the power of the humanities, the way that prose and storytelling capture the human experience of a woman scorned and the lengths she would go to seek her revenge. The same shock and outrage audiences felt on October 11^th, 2025, are the same feelings audience members experienced in 1797, and in 431 BC. That’s the magic of opera. Other theatric mediums offer testaments and homage to classic tales but operas have an altogether unique quality about that. The blend of storytelling and musicality captivates you, enchants you, and transcends you through time and space with drama tales that still resonate today.

There are only five remaining opportunities to see Medea at the Lyrics Opera in Chicago (20 N Wacker Dr, Chicago, IL 60606): October 14, 17, and 20, at 7 p.m., and matinee performances on October 23 and 26 at 2 p.m. The performance is sung in Italian with easy-to-follow English titles projected above the stage and runs for 2 hours and 45 minutes, including one intermission. Life does move pretty fast, I’d wager those n 431 BC and 1797 thought the same thing. So be sure to stop and look around every once in a while and see this incredible opera before it passes you by. For more information and tickets, visit lyricopera.org/medea or call 312.827.5600.

Wowza! If you're searching for one of Chicago’s must-see summer events, look no further. The Joffrey Ballet has done it again, this time taking Alice’s Adventures in Wonderland to electrifying new heights at the Lyric Opera House, delivering a kaleidoscopic whirlwind of dance, theatrics, and pure magic. Guided by the visionary genius of two-time Tony Award winner Christopher Wheeldon, this adaptation seamlessly fuses classical ballet with unexpected bursts of tap, mesmerizing stage illusions, and imaginative puppetry. Wheeldon is a visionary choreographer renowned for his ability to fuse classical ballet with theatrical innovation. His direction ensures that Alice’s Adventures in Wonderland is not just a ballet—it’s a mesmerizing demonstration of movement, storytelling, and immersive artistry that sweeps audiences into the bizarre yet enchanting universe of Alice in Wonderland created by Lewis Carroll. Set against the backdrop of Joby Talbot’s spellbinding score, Wonderland unfolds as a psychedelic dreamscape where the Mad Hatter defies rhythm, the Queen of Hearts commands the stage with regal ferocity, and the ever-dashing White Rabbit keeps the adventure racing forward.

From breathtaking choreography to vibrant storytelling, this production breathes new life into Lewis Carroll’s iconic world, transforming it into a sensory explosion of movement, wit, and wonder. Every leap, twirl, and dramatic flourish pulls audiences deeper into a surreal fantasy that is both enchanting and unforgettable.

Alice doesn’t simply fall into Wonderland—she plummets into a realm of delightful madness, where reason bends and imagination rules – and the special effects are simply mind-blowing! In this topsy-turvy world, she’s whisked into a dizzying adventure by the ever-hurried White Rabbit, who barely has time to explain anything before dashing off again. The Mad Hatter’s tea party is pure chaos, with logic thrown out the window and time behaving like an unruly guest. The Cheshire Cat appears and vanishes with an eerie grin, offering cryptic wisdom that only deepens the mystery. And the Queen of Hearts? She’s as unpredictable as she is temperamental, ready to declare, “Off with their heads!” at the slightest provocation.

From growing and shrinking in size to playing croquet with flamingos, Alice must navigate Wonderland’s absurd rules while questioning everything she thought she knew. This stage adaptation transforms Carroll’s whimsical world into a vibrant, theatrical spectacle filled with stunning visuals, witty dialogue, and playful surprises at every turn. It’s a stunning experience where reality dissolves and nonsense takes center stage!

Joffrey’s Alice’s Adventures in Wonderland dazzles at the Lyric Opera of Chicago with a glittering cast that breathes life into Carroll’s timeless fantasy. A rotating lineup of exceptionally talented dancers take on the iconic roles, ensuring each performance offers a fresh and dynamic interpretation of Wonderland’s whimsical inhabitants.

Alice, the fearless and inquisitive heroine, is brought to life by Amanda Assucena, Anais Bueno, Gayeon Jung, and Jeraldine Mendoza. The ever-hurried White Rabbit—portrayed by Stefan Gonçalvez, Dylan Gutierrez, and Zachary Manske—whisks Alice through a transformative series of adventures. Meanwhile, the commanding Queen of Hearts, played by Anais Bueno, Lucia Connolly, Olivia Dureya, and Victoria Jaiani, commands the stage with regal presence and just the right touch of mischief.

Edson Barbosa and Jonathan Dole embody the eccentric energy of The Mad Hatter, whose tea parties defy logic in the most spectacular fashion. Adding to the intrigue, Jose Pablo Castro Cuevas, Stefan Gonçalvez, Hyuma Kiyosawa, and Alberto Velazquez alternate as Jack, the charming Knave of Hearts entangled in the Queen’s unpredictable world.

On the evening I attended, Gayeon Jung mesmerized as Alice, bringing the character to life with fluid dance routines, distinctive charm, and effortless grace. Zachary Manske captivated the audience as The White Rabbit, embodying the role with quick, rabbit-like mannerisms, seamless movement, and a delightful urgency. Jose Pablo Castro Cuevas exuded elegance as Jack, The Knave of Hearts, while Johnathan Dole impressed with impeccable tap skills as The Mad Hatter. Yet, it was Anais Bueno’s portrayal of The Queen of Hearts in the third act, The Palace Gardens, that may have truly stolen the spotlight—her dance and expressive artistry were nothing short of breathtaking. With a great sense of sharp physical comedic timing, not often seen in ballet, she infused the Queen with a lively, commanding presence that had the audience cheering in admiration.

The set design for Joffrey Ballet’s Alice’s Adventures in Wonderland at the Lyric Opera House is a mesmerizing fusion of theatrical magic and whimsical artistry. With costume and scenic design by Tony Award-winning Bob Crowley, the production features vibrant stagecraft, surreal puppetry, and astonishing visual effects that transport audiences straight into Wonderland’s dreamlike world. From the ticking clocks that echo Joby Talbot’s hypnotic score to the larger-than-life characters brought to life through ingenious design, every scene is a feast for the senses.

Adding to the production’s already astonishing vision, conductor Scott Speck masterfully guides the Lyric Opera Orchestra through a rich, dynamic rendition of Joby Talbot’s score, elevating Wonderland into a truly enchanting theatrical experience.

Prepare to be swept into a world of breathtaking ballet, whimsical storytelling, and pure theatrical magic!

Alice’s Adventures in Wonderland at the Joffrey Ballet is a dazzling spectacle that captivates audiences of all ages, blending mesmerizing choreography with vibrant stagecraft. Whether you're a longtime ballet lover or simply looking for an unforgettable experience, this production promises thrills, enchantment, and a touch of Wonderland’s delightful madness.

Alice’s Adventures in Wonderland is being performed at Lyric Opera of Chicago through June 22^nd. Run time is 2 hours and 45 minutes, which includes two intermissions.

A brief but important note—as a disabled reviewer, I want to sincerely commend the Lyric Opera of Chicago and/or Joffrey for ensuring accessibility by assigning an usher to manage the first-floor restrooms, reserving them for handicapped and senior patrons who cannot navigate the stairs. Given the length of this delightful production and its two brief intermissions, this thoughtful accommodation makes a meaningful difference. 

Don't miss your chance to journey down the rabbit hole—secure your showtimes and tickets at the Joffrey Ballet’s official website here!

Recommeded for audiences of all ages.

*This review is also featured on https://www.theatreinchicago.com/! 

It was a night of celebration, reflection, and breathtaking talent at the Civic Opera House. Fifty years of song echoed through the hall, but it was the future of opera that took center stage. On Friday, April 25, Ryan Opera Center celebrated their 50th Anniversary Season with 11 opera singers in ‘Rising Stars in Concert’. The concert hosted by the Lyric Opera House served as a moving tribute to the Center’s mission of keeping opera vibrant in Chicago and nurturing the next generation of opera artists.

The evening began with a short video sharing the Ryan Opera’s history with testimonies from alumni about their experience. For context, the Ryan Opera Center was founded in Chicago in 1974 and has been central to Lyric Opera’s commitment to cultivating rising talent. With approximately 300 alumni, many of whom have gone on to international acclaim, the program is known for its intensive training, expert mentorship, and world-class performance opportunities. Reaching the 50-year mark is no small feat, it’s a sign not just standing the test of time, but of the Ryan Opera Center’s continued excellence and impact in the opera world.

The concert, conducted by Lyric’s Music Director Enrique Mazzola and directed by Paul Curran carried on into Part I, Orpheus in the Underworld. An operatic comedy by Jacques Offenbach that humorously reimagines the Greek myth of Orpheus, who journeys to the underworld to rescue his wife Eurydice. The “Rising Stars in Concert” was a more simplified version of the comic opera as the singers were not in costume and the set was mainly a massive bed and Greek pillars in the background. Despite the lack of set design and costumes, the singers entertained the crowd with powerful singing and captivating acting. 

Director Paul Curran.

In the first half of the show, as Orpheus and Eurydice's conflict unfolded, I was especially impressed by Emily Richter’s portrayal of Eurydice. Her soprano voice was not only beautiful but had incredible projection, filling the space effortlessly. Beyond her vocal talent, Richter brought an impressive flair for acting, making her portrayal of the disloyal wife entertaining.

In between each act, the show was narrated by different members in the ensemble in English. Helping the crowd with the movements of the story, while also providing a few jokes to keep us laughing. Various props were used in effort to bring the concert to life, including devil horns for Hades, picket signs with jokes, and teddy bears held by the Greek gods as they slept in the massive bed on center stage.

Following a 20-minute intermission, Part II of the concert transitioned into a varied program of operatic and non-operatic selections. Most of which were solo singer performances accompanied by the orchestra. Adia Evans, a soprano, sang a beautiful opera song from Hérodiade called “Vision Fugitive” by Jules Massenet in French. Evans showcased impressive vocal projection, sustaining long phrases between breaths with a rich, beautiful tone.

Another standout artist was Christopher Humbert Jr., a Bass-Baritone who sang Charles Gounod’s “Le veau d’or” from the five-act opera called Faust. Humbert made a dynamic entrance, cueing the music with a snap before launching into song with his deep, animated voice that immediately drew in the crowd. He brought extra energy by encouraging the ensemble to join him, and his performance stood out for its vocal power and crystal-clear enunciation.

One of the final solo performances stood out for its departure from traditional opera. Baritone Finn Sagal delivered a beautiful rendition of “Que Reste-t-il de Nos Amours?” (“I Wish You Love”) by Léo Chauliac. Entering with a microphone in hand and accompanied by a pianist, Sagal captured the audience with his melodic, Sinatra-style vocals infused with operatic nuance. His heartfelt performance brought out genuine emotion and highlighted the versatility of opera singers, setting him apart from the rest of the ensemble.

The show concluded with the completion of Part II of the Orepheus in the Underworld opera performance with Enrique Mazzola’s brilliant leadership as the musical conductor. Mazzola led the music for Orpheus in the Underworld with great finesse, earning enthusiastic cheers from the audience as he stepped into the orchestra pit. In the second half of the concert, Chi-Yuan Lin took the baton, conducting a wide range of operatic and non-operatic selections. As only the second artist appointed to the Ryan Opera Center’s conductor position, Lin impressed with her precise and supportive accompaniment, skillfully guiding the ensemble through each performance

Throughout the lively evening, the Civic Opera House was nearly full, with concertgoers and proud family members of the ensemble filling the seats. The auditorium rang with enthusiastic cheers between performances, and bursts of laughter echoed often, thanks to the show’s playful humor and lighthearted moments. The night ended on a high note with a well-deserved standing ovation and thunderous applause from the crowd.

The 'Rising Stars in Concert' delivered three hours of musical entertainment, which, while a bit lengthy, felt appropriate given the significance of celebrating the Ryan Opera Center’s monumental 50th anniversary. The performance offered a glimpse into the bright future of opera, showcasing the immense talent of up-and-coming singers. As someone not deeply versed in the opera world, I was thoroughly impressed by the powerful voices and extraordinary musical gifts of the ensemble.

If you are interested in listening to or watching the show, ‘Rising Stars in Concert’ has been recorded and will be broadcast on 98.7 WFMT and streaming on wfmt.com on Sunday, May 18, 2025 at 5:00 p.m. CT.

The repertoire for this fabulous program - A WONDROUS SOUND, showcasing the full force of Lyric’s amazing orchestra and chorus, was developed in collaboration between Lyric Conductor Enrique Mazzola and Chorus Director Michael Black.

The orchestra started it off with the thrilling overture from Carmen, followed by some of that beloved opera’s most famous choral numbers. My enjoyment was vastly enhanced by John Morgan, Lyric’s General Director, President, and CEO (whew! Keeping exalted company here!) who periodically took the podium with explanations and introductions. I’d not known, for example, how shocking mid-1850’s audiences found Carmen: operas were supposed to be about noble characters in elegant settings, yet here was this baseborn girl working in a cigarette factory! Despite (or possibly because of) this whiff of scandal, it was, and remains, thunderously popular. And I never realized how Rossini’s William Tell helped spur the Swiss people to rise up against Austrian rule and gain their independence.

The William Tell overture, made familiar to everyone by The Lone Ranger, reminded me that the early cartoons were accompanied by classical music, chosen to familiarize kids with the finer things in life. Franz Liszt's 'Hungarian Rhapsody No. 2' was featured in Tom & Jerry’s Cat Concerto and Bugs Bunny’s Rapsody Rabbit, among many others. In What's Opera, Doc? Bugs and Elmer do Wagner; and who could forget Peanuts’ Schroeder serenading Lucy with Beethoven's Moonlight Sonata?

I’d better make a confession: I am a musical philistine. Attending the symphony is nice and all, but I only truly enjoy the allegro movements, and usually spend the adagios mentally reviewing my grocery list. What can I say? I like to be livened up. Also, one of my peculiarities (some would say the least of these but that’s neither here nor there) is that I prefer listening to music I already know. Both these inclinations made A WONDROUS SOUND the perfect program for me, featuring the most beloved (and thereby well-known) overtures and choral numbers from opera and musical theater. And President Morgan’s marvelous commentary added the pleasure of edification to make it a thoroughly splendid afternoon.

Mazzola, as a native Italian, explained to us how selections by Wagner and Verdi in the mid-19^th century were focused on themes of peace and unity, helping to motivate the quarrelsome politically independent city-states (Milano, Venezia) to conjoin, creating the single entity we now know as Italy. Cool, yeah? And the ‘Humming Chorus’ from Puccini’s Madama Butterfly was a revelation to me: an entire song hummed, in 4-part harmony … who knew?

The program progressed into the 20^th century, and it was a delight to see the austere Lyric Chorus transmute their operatic strains into the giggles and exclamations in “America” from Bernstein’s West Side Story. The program concluded with Rodgers and Hammerstein’s “You’ll Never Walk Alone” and “Climb Ev’ry Mountain” (which I had to restrain myself from singing along with).

Those who hurried out during the prolonged standing ovation may have got their cars out of the garage quickly, but they missed Mazzola calling Choral Director Michael Black to the stage to help direct an encore! My companion, faculty from the School of the Art Institute, was moved to hear the overture from Sondheim’s Sunday Afternoon in the Park with George, while knowing the Seurat painting that inspired it was hanging less than two miles away.

I have already enumerated the (less than complimentary) reasons why I so loved this concert, but one would need a totally tin ear not to appreciate it. During a traditional opera the audience must keep their attention on the supertitles to follow the plot, but A WONDROUS SOUND allowed us to simply sit back and enjoy the greatest choral music of all time, from opera’s archetypic gems to treasured Broadway classics.

The performers were obviously enjoying the program as much as we were. Maestro Enrique Mazzola – only the third conductor in the Lyric’s 71-year history – is invariably referred to as ‘beloved’, which he ably demonstrated in this performance. His direction is always buoyant but for A WONDROUS SOUND he was positively effervescent. He gesticulated, he sprang into the air, he beamed at the audience….

Mazzola was wonderfully generous with acknowledgements. Not satisfied with the abundant applause after each selection, he periodically drew his orchestra to their feet, inviting more acclaim for their genius. At the close of the program, he brought several individuals from the wings to receive applause (I’m not sure who they all were, but I clapped – if they’re good enough for Enrique, they’re good enough for me!), and I’ve already spoken of how much I appreciated President John Morgan’s delightful historical vignettes.

I wish I could tell you to go see this show immediately but alas! there were only two performances. We can but hope the reception they received will induce the Lyric to mount such a production again … maybe even regularly?

VERY Highly Recommended