Displaying items by tag: Enrique Mazzola

There’s a reason Elton John’s Broadway musical adaptation of ‘Aida’ was one the most popular musicals of the early aughts. Verdi’s classic has all the romance and tragedy that opera fans crave, but with a relatively easy to follow plot. For that reason, ‘Aida’ is a more accessible work for the unindoctrinated. It’s a great opera to cut one’s teeth on along the same lines as ‘La Boheme’ (which was adapted into RENT).

‘Aida’ returns to Lyric after a decade, and who better to revive it than world renown Verdi interpreter (and Lyric’s Music Director), Enrique Mazzola? Previously he’s conducted Verdi classics: ‘Luisa Miller’, ‘Macbeth’, ‘Ernani’ and ‘Don Carlos’ and like those that came before, ‘Aida’ does not disappoint.

‘Aida’ premiered on Christmas Eve, 1871 as a commission by the government of Cairo and quickly had a European premiere in early 1872. It’s been staged almost 1500 times since then. While the plot is inspired by African lore, much of this story is Verdi’s own creation. He was not only a masterful composer but a compelling storyteller. Plots can often be an afterthought when it comes to opera and many are downright weird, or even offensive by today’s standards. Verdi’s tragedy is tragic in the sense that its principal characters die, but somehow there’s more lightheartedness here than say, ‘Romeo + Juliet’.

A trio of incredible voices and performers tell the story of all that’s fair in love and war. Michelle Bradley sings the title role, while Jamie Barton sings the role of her captor, Amneris. They’re both in love with the dashing army general Radames (Russell Thomas) but Amneris is the king’s daughter. Aida’s homeland is conquered by Radames who enslaves her father. Despite the brutality, Aida is hopelessly in love with Radames, but as the victor, he’s promised Amneris’ hand in marriage as a reward. The twist? Radames reciprocates Aida’s love and ultimately betrays his king for her.

Michelle Bradley stars in 'Aida'.

As always, the visual spectacle created on stage at Lyric perfectly matches the gorgeous music flowing from the pit. Four acts (and three hours) breeze by in swift transitions and huge choral numbers. ‘Aida’ lends itself well to musical adaptation as ballet and dance also serve to further the plot and communicate emotions without words.

Though it does beg the question, would this opera be as interesting without a million dollars’ worth of staging? The answer is always yes. The three main vocalists prove that while the staging is great, what opera fans really come for is first and foremost, the music. When all three are on stage, you forget that anything else exists. Even the perceived “villain” Amneris lights up the stage with her perfect comedic timing.

‘Aida’, like many classic operas continues to find enthusiastic audiences because of the solid story, excellent music and epic scale. If you missed ‘Aida’ ten years ago at Lyric, now’s your chance to see it bigger, better, and even grander under the direction of a Verdi master.

Through April 7 at Lyric Opera Chicago. 20 N Wacker Drive. 312-827-5600

For tickets and/or more show information, click here. 

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.