It’s interesting to view the world through the lens of an early 20th century Italian opera composer. When “Madama Butterfly” by Puccini premiered in Milan in 1904 it was met with abysmal reviews. Audiences clamored that he had recycled music from his previous hit “La Boheme” which seems like the least of this opera’s problematic themes by today’s standards. After some quick revisions, “Madama Butterfly” emerged as one of the most recognizable operas in the world. Lyric Opera kicks off 2020 with a thrilling revival.
“Madama Butterfly” is itself an adaptation of an 1898 short story by John Luther Long. Puccini worked with librettist Luigi Illica to bring this tragic semi-true story to the stage. The beloved opera has since been adapted many times since, mostly notably as “Miss Saigon”. Puccini’s opera tells the story of a teenage girl who marries an American naval officer on a tour of duty in Japan. To him it’s a fake marriage so that he may sleep with her. To her, it’s true love. Predictably, the naval officer Pinkerton (Brandon Jovanovich) abandons her and she is left with a naïve hope that he will return to her. Despite other offers of marriage, Butterfly clings to the fantasy of Pinkerton while her maid Suzuki (Deborah Nansteel) shields her from a bitter reality.
The opera was originally written in two acts, but audiences were left confused and disappointed. Puccini split the second act in two and inserted a hauntingly beautiful entr’act. Is this the best Puccini opera? Probably not. Where it excels at drama, it somewhat falters in the catchy melodies traditionally expected of Puccini. Afterall, it is Puccini whom we have to thank for influencing some of the best modern musical theatre composers like Andrew Lloyd Webber and Boublil/Schonberg.
Lyric’s gorgeous revival directed by Louisa Muller seems understated. A subdued orchestra puts the spotlight on the cast, who more than delivers. Lyric stage favorite Ana Maria Martinez and Deborah Nansteel give two powerhouse performances. Martinez has a sung the role many times in her storied career and Lyric’s current production should be considered a real treat.
Puccini and Illica’s perception are that Americans take what “fortunes” they want around the world with little regard to those they hurt. Puccini even goes so far as to sample the American national anthem many times throughout the opera. It’s deployed at such opportune moments that it would be impossible to read as flattery. Though, Puccini’s problematic orientalism in many of his operas often makes patrons bristle at unintentional stereotyping of Asian culture. While some of the themes of “Madama Butterfly” make modern audiences uncomfortable, what can’t be denied is that Puccini gave us some of the most accessible and entertaining operas ever composed. “Madama Butterfly” despite its flaws achieves what good theatre should. It grabs us by the heartstrings with an enchanting score and a compelling script.
Through March 8th at Lyric Opera Chicago. 20 N Upper Wacker Drive. (312) 827-5600
“I’ve always favored unbridled passions,” sings Wotan in the Lyric Opera’s new production of Richard Wagner’s “Die Walküre” This is the second installment in Wagner’s epic 4-opera cycle “Das Rheingold” Lyric produced the first opera last season and will sequentially include the next two operas in their forthcoming seasons. In 2020, there will be a special presentation of all four productions.
Five hours is a long time to spend in a theater. Wagner is especially challenging for those not particularly versed in classical music. That said, this gorgeous production by David Pountney is well worth the time. If you’re wondering if you needed to see the first opera to understand the second, you absolutely do not. “Die Walküre” is a standalone with a clear conclusion. Most will at least be familiar with “The Ride of the Valkyries”
“Die Walküre” is sung entirely in German with projected subtitles. Try to imagine a time in which there were no subtitles. The plot is very weird, perhaps it was best to only assume what’s going on. Essentially, this is an opera about incest and that seems pretty racy for its 1870 premiere. The music is incredible though, which likely contributed to its cannon status.
The first act is surely what to come for, coincidentally it’s also the shortest. In the first act we meet the incestuous lovers Siegmund (Brandon Jovanovich) and Sieglund (Elisabet Strid). Siegmund rescues Sieglund from an unhappy marriage and wards off her husband with a magical sword only he’s able to pluck from a tree stump. He then impregnates his sister wife, despite that they know they’re related. Insert shrug emoji here. Staging in the first act is pretty sexual for a 19th Century opera. Siegmund’s sword is an obvious phallic symbol and Pountney’s blocking leaves little to the imagination. The blatant eroticism helps spice up the melodrama.
Logically, this affair angers the gods and they send favored Valkyrie Brünnhilde to kill Siegmund. Reknown soprano Christine Goerke reprises the role of Brünnhilde, which she’s previously sung for a few other companies. For those unfamiliar with this opera, it would seem like a bit of a surprise that the story really ends up being about Brünnhilde and her relationship with her father Wotan (Eric Owens). The two shine together in the final act, despite the nearly agonizing repetition of dialogue.
This is an exciting and beautiful production. The aesthetic is almost like an old movie set. The horses upon which the Valkyries fly are hand operated by the ensemble. It makes you wonder, how did Wagner envision this special effect at the time he wrote it? Each scene is darkly lit and costumes are trimmed in red. The time period seems to be undecided as costumes appear to span the decades.
With only seven performances, this special production is a must-see for local opera enthusiasts. For those unfamiliar with opera, attend without trepidation. The production may run just a little under five hours (with two 30-minute intermissions), but the evening seems to fly by.
Through November 30th at Lyric Opera of Chicago. 20 N Wacker Drive. 312-332-2244
Artemisia announces it’s 13th season will open with a immersive soundscape production of GOODS by Lauren Ferebee, directed by Erin…
Chicago Opera Theater premiered a one-act opera, “Before It All Goes Dark,” in two performances over Memorial Day weekend at…
I love stories about World War II, particularly about survivors of the Holocaust and the Camps. And I love stories…
Celebrating its 50th anniversary season, The Patrick G. and Shirley W. Ryan Opera Center, Lyric Opera of Chicago's premier artist-development program, is proud to…
Steppenwolf Theatre is pleased to present Rachel Bloom's sell-out off Broadway hit Death, Let Me Do My Show, playing a limited engagement August 14 -…
“Viva La Mort: A Play With Songs” mines the 1956 Swiss novel “The Visit” by Friedrich Durrenmatt that came to…
Marriott Theatre brings the heat this summer with a rockin' tribute to the music of the 1960s, with BEEHIVE: THE 60'S MUSICAL. Directed…
Language may be the backbone of human communication, but there’s a lot that happens between the lines. Sanaz Toosi’s 2023…
Lifeline Theatre’s production of "Native Son," directed by Ilesa Duncan and adapted by Nambi E. Kelley from Richard Wright’s seminal…
It's showtime! Broadway In Chicago is thrilled to announce that BEETLEJUICE, the edgy and irreverent Broadway smash hit musical comedy, is now playing…
An artist. A terrorist. A child. A brand new car. A porn star. These are all the things that Anne…
There are no words. Well, obviously that’s not true cos I’m about to say a whole bunch of words –…
Drury Lane Theatre continues its 2024/25 Season with The Audience. Masterfully blending the personal and the political, The Audience gives an extraordinary glimpse into…
International sensation The Choir of Man today announces a second season following the completion of its initial run on May 26, 2024.…
The Joffrey Ballet announces the programming for the Joffrey for All free performance, which will feature a mixed repertory program in Millennium Park…
“James was deeply aware of the anguish associated with denying others their authenticity; His famous Frankenstein wasn’t a murderous monster.…
It’s often quoted in reviews that we are unworthy of such beauty or splendor the arts and humanities afford us.…
TimeLine Theatre has entranced me for years with its historically- and politically-significant plays, riveting and educational – just my cup…
Midsommer Flight, a company that has brought free performances of Shakespeare's plays to Chicago Park District parks since 2012, will…
Steppenwolf Theatre Company, the nation's premier ensemble theater company, is pleased to conclude its 48th season with the world premiere of Little…
Chicago continues to produce some of the most exciting work in the country this Summer, offering a wide variety of plays…
Token Theatre, Chicago's Asian American theatre company, announces the company's first full production, ZAC EFRON, written by Artistic Director David Rhee, co-written by Managing…
I arrived at City Lit Theater’s MURDER IN THE CATHEDRAL expecting a heavy, serious, doubtless thought-provoking but rather intimidating major…
Porchlight Music Theatre is proud to announce the return of its free summer concert series Broadway in your Backyard, now in its…
Despite the fact that I have never read the Newberry Award-Winning children’s book called Last Stop on Market Street, I…
I’m amazed that it’s been 18 years or so since I first saw a Hell in a Handbag production. Though…
“Together we created this nothingness,” says Audrey Francis in Steppenwolf’s production of Larissa Fasthorse’s ‘The Thanksgiving Play’. Hot off its…
Bramble Theatre Company, is proud to announce the third annual Festival of Unfinished Work at the new Bramble Arts Loft located on the second…
Broadway In Chicago is excited to announce that individual tickets for the world premiere of the first ever touring production…
Chicago Shakespeare Theater presents The Enigmatist, an immersive and captivating experience of illusions, puzzles, and cryptology, written and performed by renowned magician…
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.