Home

Displaying items by tag: Mozart

Monday, 19 February 2024 12:45

What you need to know about Mozart's Requiem

Lyric Opera of Chicago will present two performances of Mozart's Requiem for the first time in the company's history on March 22 and 24, 2024. These special events also represent a first for Lyric Music Director Enrique Mazzola, who will be conducting his first Mozart work for North American audiences.

The creation of this special program by Maestro Mazzola has two distinct parts. The first, featuring the incidental music that Mozart composed for the play Thamos, King of Egypt, is full of splendid and dramatic choruses, a perfect showcase for the Lyric Opera Chorus, prepared by Lyric Chorus Director Michael Black, along with the forces of the Lyric Opera Orchestra. The second half is a performance of Mozart's Requiem, one of the world's greatest choral pieces, with esteemed guest artists.

Four internationally acclaimed vocal soloists will take center stage to perform the Requiem's profoundly moving score: soprano Heidi Stober, mezzo-soprano Elizabeth DeShong, tenor Matthew Polenzani, and bass-baritone Kyle Ketelsen.

  • Soprano Heidi Stober has performed several roles at Lyric. Notable appearances include Gretel in Hansel and Gretel (2022/23) and Dalinda in Ariodante (2018/19). Beyond Lyric, her career has flourished since her acclaimed debut at Deutsche Oper Berlin in 2008, and she has graced stages worldwide, including Semperoper Dresden and the Metropolitan Opera.

 

  • Mezzo-soprano Elizabeth DeShong, a Patrick G. and Shirley W. Ryan Opera Center alumna, is well known to Lyric audiences with 14 roles since the 2005/06 Season, including standout performances of Pauline in The Queen of Spades (2019/20) and Adalgisa in Norma (2016/17). Her recording of Messiah with the Toronto Symphony, conducted by former Lyric Music Director Sir Andrew Davis, received two Grammy nominations in 2018.

 

  • Tenor Matthew Polenzani, also a Ryan Opera Center alumnus, has portrayed 15 roles at Lyric since the 1995/96 season, including recent performances as the title role in Idomeneo (2018/19) and the Duke in Rigoletto (2017/18). Polenzani's 2023/24 season includes engagements at Wiener Staatsoper, Teatro di San Carlo, and a return to the Metropolitan Opera.

 

  • Bass-baritone Kyle Ketelsen has performed seven roles on Lyric's stage since the 2004/05 season, including Dulcamara in L'elisir d'amore (2021/22) and the King of Scotland in Ariodante(2018/19). Ketelsen's 2023/24 season includes a debut at Opéra National de Paris and performances at Staatsoper Hamburg and the Metropolitan Opera.


Production details:

  • Only two chances to see these special performances with very limited ticket availability: Friday, March 22 at 7:00 p.m. and Sunday, March 24 at 2:00 p.m.
  • Performed in German and Latin with projected English titles above the stage.
  • A running time of 2 hours and 15 minutes, including 1 intermission.
Published in Upcoming Theatre
Tuesday, 20 February 2024 10:33

Review: 'The Magic Flute' at Goodman Theatre

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.

Published in Theatre in Review
Friday, 22 November 2019 13:55

Lyric Opera’s Don Giovanni Comes to a Fiery End

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

Published in Theatre in Review

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.

 

Published in Theatre in Review

Casting for Lifeline Theatre’s production of “Native Son” adapted by Chicagoan Nambi E. Kelley, May 10 - June 30

28 March 2024 in Upcoming Theatre

Lifeline Theatre and Artistic Director ILesa Duncan announce the casting for Chicagoan Nambi E. Kelley's "gutsy, powerful, and relentless" adaptation of Richard Wright's powerful introspection…

A.B.L.E. presents "The Odyssey" at Chicago Shakespeare Theater on May 11

27 March 2024 in Upcoming Theatre

A.B.L.E.—Artists Breaking Limits & Expectations—a Chicago-based nonprofit that creates theatre and film for, with, and by individuals with Down syndrome…

Review: Remy Bumppo Theatre Company's "Love Song' at Theater Wit

26 March 2024 in Theatre in Review

When a play’s opening moment is mystifying and its closing moment is satisfying, the stuff in between must be doing…

“Navigating Family, Truth, and Legacy: A Must-See Journey in ‘Purpose’”

26 March 2024 in Theatre in Review

The expansive, opulent home exudes an air of solid middle-class comfort, boasting a formal dining area, an upright piano, and…

Eddie Izzard performs Shakespeare’s "Hamlet" in limited engagement, April 19–May 4

26 March 2024 in Theatre in Review

Chicago Shakespeare Theater announces today a thrilling addition to the season: Tony Award-nominated actor Eddie Izzard brings her celebrated solo theatrical performance of Hamlet to…

Identity Performing Arts presents spring concert “Muted”

26 March 2024 in Upcoming Dance

Identity's Spring concert offers a captivating performance with two dissimilar works in its dynamic. Join us for the premiere of choreographer…

Joffrey Ballet closes season with remount of crowd favorite, Alexander Ekman's "Midsummer Night's Dream"

25 March 2024 in Upcoming Theatre

The Joffrey Ballet boldly closes its 2023-24 season with the return of Midsummer Night's Dream by internationally renowned Swedish choreographer Alexander Ekman. Premiered by The…

Breaking Through The Winter Blues: Cirque du Soleil Crystal Sparkles at NOW Arena

23 March 2024 in Theatre Reviews

Like any good Chicago March, the city cannot make up its mind about what season it is in. This weekend…

Review: A Streetcar Named Desire at Copley Theatre

22 March 2024 in Theatre in Review

If there's one play every American should see in their lifetimes, without a doubt it's Tennessee Williams' perennial classic A…

Five Plays by Spanish Speaking Female Playwrights Selected for Series at Instituto Cervantes

20 March 2024 in Upcoming Theatre

Instituto Cervantes of Chicago (31 W. Ohio St.), the city's primary non-profit center for Spanish language and cultural exchange, is pleased to present,…

Macbeth Gets Upended in ‘What the Weird Sisters Saw'

20 March 2024 in Theatre in Review

I love all things Shakespeare, particularly modern iterations and adaptations of his works, and I’ve had good experiences with Idle…

ON YOUR FEET! THE STORY OF EMILIO & GLORIA ESTEFAN Is Now Playing

19 March 2024 in Upcoming Theatre

Broadway In Chicago is pleased to announce the smash-hit musical, ON YOUR FEET! THE STORY OF EMILIO & GLORIA ESTEFAN is now…

Casting Announced for Drury Lane Theatre's production of Guys and Dolls April 10 – June 9, 2024

18 March 2024 in Upcoming Theatre

Drury Lane Theatre is thrilled to announce casting for its first show of the 2024/2025 season, Guys and Dolls, making its triumphant return to…

Writers Theatre announces 2024-2025 season

18 March 2024 in Upcoming Theatre

Artistic Director Braden Abraham and Executive Director Kathryn M. Lipuma announce Writers Theatre's 2024/25 season. The season launches with the Chicago premiere of the acclaimed musical Natasha,…

Music Theater Works’ ‘The 25th Annual Putnam County Spelling Bee’ a sparkling and witty production

17 March 2024 in Theatre in Review

Who will the best speller be? Who will be able to withstand the pressures of competition? Who wants it the…

BLACK SUNDAY, a new, dust bowl-era drama by Dolores Díaz, directed by Sandra Marquez, storms in as TimeLine Theatre's 2023-24 finale

16 March 2024 in Upcoming Theatre

TimeLine Theatre announces the world premiere of the latest play developed through the company’s Playwrights Collective—Black Sunday, by Chicago playwright Dolores…

Marriott Theatre Continues Thrilling 2024 Season with "The Music Man"

15 March 2024 in Upcoming Theatre

Marriott Theatre continues its thrilling 2024 season with MEREDITH WILLSON'S THE MUSIC MAN, the six-time Tony Award-winning musical comedy, directed and choreographed…

Red Theater presents HAMLET

15 March 2024 in Upcoming Theatre

Red Theater is thrilled to present its second show of the 23/24 season: Shakespeare’s HAMLET, directed by Jeff nominated director Wyatt Kent, running April 26…

Margaret Atwood's 'The Penelopiad' Is a Zesty Romp, Even If a Bit Cerebral

15 March 2024 in Theatre in Review

“The Penelopiad” is a zesty romp and very entertaining. With a script by a writer I adore, Margaret Atwood of “The…

City Lit announces first season under incoming Executive Artistic Director Brian Pastor

14 March 2024 in Upcoming Theatre

City Lit Theater has announced its programming for the 2024-25 season, the company’s 44th. The season is the first to…

GIORDANO DANCE CHICAGO DEBUTS "GERSHWIN IN B" CHOREOGRAPHED BY EMMY AWARD-WINNER AL BLACKSTONE IN SPRING HARRIS ENGAGEMENT APRIL 5 & 6

13 March 2024 in Upcoming Dance

Giordano Dance Chicago (GDC) presents their "Season 61 | UNLIMITED!" Spring engagement at the Harris Theater at Millennium Park, 205…

Steppenwolf Theatre Announces 2024/25 Season

12 March 2024 in Upcoming Theatre

Steppenwolf Theatre Company, under the leadership of Artistic Directors Glenn Davis and Audrey Francis and Executive Director Brooke Flanagan, today announced its 2024/25 Season, featuring a dynamic…

Pretty Woman is now playing at CIBC Theatre

12 March 2024 in Upcoming Theatre

Broadway In Chicago is delighted to announce PRETTY WOMAN: THE MUSICAL is now playing at Broadway In Chicago's CIBC Theatre (18 W.…

'Bill W. and Dr. Bob' Tells About AA Founders, and What It Was Really Like to be their Wives

11 March 2024 in Theatre in Review

“Bill W. and Dr. Bob,” in its Chicago premiere at the Biograph Theater, tells the exciting story of the 1935…

MOMIX: ALICE is Spectacular!

10 March 2024 in Dance in Review

I’ve seen quite a lot of wonderful, entertaining dance productions in Chicago lately - creations that include music and modern…

Review: 'Aida' at Lyric Opera Chicago

10 March 2024 in Theatre in Review

There’s a reason Elton John’s Broadway musical adaptation of ‘Aida’ was one the most popular musicals of the early aughts.…

Deathtrap: A Thriller to Die For

09 March 2024 in Theatre in Review

It was a dark and stormy night (yes, it really was!) – the perfect ambiance for taking in one of…

Pre-Broadway World Premiere DEATH BECOMES HER Announces Complete Casting

05 March 2024 in Upcoming Theatre

Broadway In Chicago and Universal Theatrical Group announced today complete casting for the world-premiere Chicago production of the drop-dead hilarious new musical comedy, DEATH…

Black Ensemble Theatre's 'The Time Machine: A Tribute To The 80’s' celebrates a transformative era of music

05 March 2024 in Theatre in Review

Black music in the 1980’s was transformative. It was the decade where Black music exploded in diversity and influence. It…

‘Meditations on Being’ an uplifting, healing experience

04 March 2024 in Dance in Review

Chicago Danztheatre Ensemble (CDE) in collaboration with Duncan Dance Chicago has put together a production that undoubtedly will tap into…

 

 

         17 Years and counting!

Register

 

     

Latest Articles

Guests Online

We have 290 guests and no members online

Buzz Chicago on Facebook Buzz Chicago on Twitter 

Does your theatre company want to connect with Buzz Center Stage or would you like to reach out and say "hello"? Message us through facebook or shoot us an email at This email address is being protected from spambots. You need JavaScript enabled to view it.

*This disclaimer informs readers that the views, thoughts, and opinions expressed in the text belong solely to the author, and not necessarily to Buzz Center Stage. Buzz Center Stage is a non-profit, volunteer-based platform that enables, and encourages, staff members to post their own honest thoughts on a particular production.