Displaying items by tag: live opera

With Halloween creeping closer, there’s something fitting about revisiting one of opera’s earliest flirtations with macabre horror - especially in a production presented and performed by Chicago City Opera (COT). Der Vampyr may not enjoy the mainstream familiarity of later supernatural works, but its mix of moonlit superstition, doomed romance, and aristocratic menace makes it an ideal October offering. As audiences lean into the season’s appetite for the eerie, Marschner’s opera emerges as a surprisingly modern ancestor to everything from Victorian melodrama to contemporary horror musicals.

Though often treated as a standalone curiosity, Der Vampyr has a lineage that begins well outside the opera house. The story originates with John Polidori’s 1819 prose tale The Vampyre, one of the first works to codify the seductive, aristocratic vampire archetype. Polidori’s narrative was adapted into a German stage play by Heinrich Ludwig Ritter, whose dramatization became the direct source for Wilhelm August Wohlbrück’s libretto. Heinrich Marschner’s 1828 opera builds on Ritter’s theatrical version, shaping the material into a darkly romantic, musically driven narrative that blends early Romantic lyricism with gothic theatrics. In short: Polidori’s story inspired Ritter’s play, and Ritter’s play became the foundation for Marschner’s opera.

Set in early 19th century Scotland, the opera follows Lord Ruthven, a charismatic nobleman cursed with vampirism and bound to claim new victims before dawn or face eternal damnation. After surviving a near fatal attack, the young hero Edgar becomes unknowingly entangled in Ruthven’s hunt. Ruthven first targets the innocent Janthe, luring her to a ruined castle under the guise of seduction, and later sets his sights on Malwina, Edgar’s beloved, whose wedding night becomes his final opportunity to fulfill his deadly pact. As Edgar pieces together the truth, the opera accelerates toward a frantic race against sunrise: Ruthven’s identity is exposed, his supernatural bargain collapses, and the community rallies to save Malwina as the vampire is ultimately destroyed. What remains is a blend of gothic suspense, romantic rescue, and early Romantic moral drama - a seasonally perfect slice of operatic horror as Halloween approaches.

Jeremiah Strickler commands the evening as Lord Ruthven, delivering a performance that blends aristocratic charm with a chilling, predatory stillness. His presence anchors the production - vocally assured, theatrically magnetic, and always in control of the opera’s gothic pulse. Opposite him, Jordan Loyd brings a clear, earnest intensity to Edgar Aubry, shaping the role with a bright tenor and a palpable sense of moral urgency. Loyd had some of the most spectacular and heartfelt vocal moments of the evening, particularly toward the end of Act II as he reflects on his past love. Jessie Lyons’ Malwina adds welcome tenderness, her lyrical phrasing and grounded sincerity adding to the opera’s romantic core. Ariel Emma’s Janthe provides one of the night’s most striking early moments, her brief arc handled with vivid color and fearless commitment, and some of the notes she held were genuinely astounding - the kind that stop the room for a beat. Keaton Payne’s Humphrey von Davenaut provides a sturdy, authoritative counterweight, shaped by both his assured delivery and his expressive, sharply drawn presence. Meanwhile, Molly Clementz (also the production’s graphic designer) brings Emmy Perth to life with bright energy and an impressive finesse that lifts every moment she’s given, adding flashes of warmth, wit, and a polished musicality - especially in the way she shapes and sustains her notes with such control and clarity.

Bat Collazo’s George Dibdin and Kevin Wheatle’s John Berkley round out the ensemble with crisp, well-shaped character work that keeps the world of the opera humming with specificity.

Jerimiah Strickler (rear) Molly Clemenntz (left) and Bat Collazo in Chicago City Opera's Der Vampyr.

One of the unexpected pleasures of the evening was simply hearing each singer on their own - every voice carrying its own color, character, and emotional weight. But when paired, those timbres intertwined with a striking naturalness, and in the moments when all eight sang off one another at once, the result was nothing short of exquisite. The ensemble sound had a richness and immediacy that felt almost architectural, each voice reinforcing the next until the room seemed to vibrate with a unified, resonant force. It was a reminder of how thrilling Marschner’s writing can be when performed by artists who listen as intently as they sing.

Behind the scenes, Alexis Enyart conducts with sharp dramatic instinct, shaping Marschner’s score with clarity and momentum. SarahAnn Sutter’s direction deepens the production’s impact, treating Der Vampyr not merely as gothic spectacle but as a living, breathing psychological drama. She embraces the opera’s supernatural flair with confidence - the shadows, the proximity, the sudden shifts in tone - yet she never lets the human stakes slip away. Sutter has a keen sense for spatial storytelling, using the venue’s architecture to heighten tension and intimacy; she sends performers through the aisles and along the home’s sweeping historic staircase, activating much of the house as part of the dramatic landscape. Her staging choices reveal a director who understands how early Romantic horror works best: not through excess, but through precision, ambience, and emotional clarity. Supported by Jordan Crice’s deft piano work and Adam Nicholson’s distinctive set design, the result is a production where every element feels intentionally placed and dramatically charged. Thanks to this talented cast and creative team, Chicago City Opera builds a world where early Romantic horror feels both stylish and surprisingly immediate.

Although Der Vampyr travels through a handful Chicago area venues during its run, the performance I attended on opening night unfolded inside the storied Colvin House - a location that feels almost predestined for this opera. Colvin House, beautifully placed across the street from Lake Michigan on the corner of Thorndale Avenue and Sheridan Road, proves to be an inspired setting for Der Vampyr, its historic architecture and intimate, richly textured rooms amplifying the opera’s gothic mood in ways a traditional proscenium simply can’t match. The building’s carved woodwork, shadow friendly corners, period furnishings, and old-world elegance create a natural sense of suspense and closeness, allowing the audience to feel almost inside the drama rather than observing it from a distance. The scale of the space heightens the tension - Ruthven’s entrances feel more dangerous, Janthe’s fate more immediate, Malwina’s peril more personal. Colvin House becomes a living extension of the opera’s supernatural world and a perfect match for Marschner’s early Romantic horror.

Despite all its strengths, the evening wasn’t without a minor but noticeable drawback. Although brief stretches of dialogue were exchanged in English, the opera itself is sung in its original German, making the surtitles essential for most. Unfortunately, the monitor displaying those subtitles sat off to the front side and too low to be easily seen by much of the audience; only those in the unobstructed front section had a consistently clear view. Sitting in the third row opposite the monitor side, I was able to catch most of the surtitles when first‑row head movement allowed, but many around me – and further back - were blocked entirely. I’m no set designer, but raising the monitor and centering it - even if it encroached slightly into the stage picture - would make the surtitles far more accessible, a small trade off that would greatly improve audience experience. In the meantime, I strongly recommend that attendees read the Act I and Act II synopsis in the program before the performance begins; with that context in hand, most will have a solid grasp of the unfolding drama even if the surtitles prove difficult to see.

Regardless of that small hiccup, the opera itself remained a beautiful, wonderfully performed experience - rich in mood, artistry, and musical power.

Der Vampyr is recommended as a rare and atmospheric experience - the kind of intimate, site specific opera that feels tailor made for October. For audiences looking to embrace the season with something truly unique, this production offers a gothic thrill you won’t find anywhere else. Upcoming performances include Wednesday, October 7 at Colvin House (7pm), Friday, October 9 at Fulton Street Art Center (7pm), and Sunday, October 11 at Skokie Theatre (3pm).

https://www.chicagocityopera.com/

Great Lakes Operetta is delighted to present its first full-length, fully-staged operetta, Jacques Offenbach’s seminal work, Orpheus in the Underworld!

Originally premiering as Orphée aux enfers, this musical spoof of the Orpheus myth was the Hadestown of 1858’s Paris and had a cultural impact comparable to Hamilton or Phantom of the Opera. It is often considered the first operetta and inspired many other composers, most notably Johann Strauss Jr. The original book was written in part by Ludovic Halévy, of Carmen fame, and the score introduced the now world-famous “can-can” (known in the show as the “Infernal Gallop”). The show is raucous, wacky, and surprisingly modern, and the score is one of Offenbach’s best, ensuring its continued popularity.

Orpheus was initially controversial: in this version, Orpheus and Eurydice can’t stand each other and there is no moral redemption for anyone (although there is a singing bug, pictured below). Offenbach actively lampoons the tropes of classicism – both the original Greek myths and the revered operatic versions of those myths, such as Gluck’s Orfeo (which is even quoted musically in a very meta moment). Critics of the day felt Offenbach was disrespecting the Arts and Culture of the past – among other things – but Parisian audiences couldn’t get enough and allegedly the show only closed after running for 2 years straight (unheard of at the time) because the cast was exhausted.

20 years later, Offenbach released what might now be called a “Special Edition” version, turning the original 2 act show into a 4 act extravaganza with multiple new ballet numbers, more characters, and special effects. Most modern productions, including Great Lakes Operetta’s version, are 2 act versions with some elements of the 1874 production retained.

Great Lakes Operetta’s production will be in a new (premiere) English translation by Francis Lynch, who has translated three other French operetta works for Evanston Chamber Opera. The production will be directed by GLO Artistic Director SarahAnn Sutter, music directed by Lindsey Baer, assistant music directed by Anna Therese George, and produced by Kristin Weed. The production will be fully staged and presented with a small chamber ensemble.  Tickets are on sale now and are available here; tickets will also be available at the door (while supply lasts).

Cast & Creative Team

Great Lakes Operetta’s Orpheus in the Underworld is presented by two outstanding casts, as follows. Whichever cast you choose to watch, you are in for a treat! (And you might enjoy it all so much that you come back to watch the other cast!)

Orpheus: Mason Montuoro  (All dates)

Eurydice: Gabrielle Goudard (July 11, 17, 19); Gabrielle Haigh (July 10, 12, 18)

Public Opinion: Jennifer Barrett (July 11, 17, 19); Isabella Daltoso (July 10, 12, 18)

John Styx: Solamada Pando Girard (All dates)

Pluto: Jonathon Joseph Larson (July 11, 17, 19); Sasha Tomasevich (July 10, 12, 18)

Jupiter: Alexander Quackenbush (All dates)

Diana: Halle Rosemond (July 11, 17, 19); Catherine Larson (July 10, 12, 18)

Cupid: Hillary Esqueda (July 11, 17, 19); Abigail Greer Arcomona (July 10, 12, 18)

Venus: Alexandra Kassouf (July 11, 17, 19); Val Beck (July 10, 12, 18)

Mercury: Kristin Weed (July 11, 17, 19); Kelly Killorin (July 10, 12, 18)

Minerva: Allison Mann (July 10, 11, 12); Eugenia Bouboudakis (July 17, 18, 19); 

Juno: Katarina Bakas (All dates)

Mars: Jonathan Rodney (All dates)

Bacchus: Lucas Gassmann (All dates)

Vesta: Solamada Pando Girard (All dates)

Location

Great Lakes Operetta is proud to present its first full-length, fully-staged production on the stage of the Beatrice Theatre at the beautiful Bramble Arts Loft in the Andersonville neighborhood of Chicago. Located on the second floor the historic Capital Garage building (with an ADA-accessible elevator!), this lovely, intimate space is one of Chicago’s newest performing arts venues.

For tickets, click here.

Created in 1904, Giacomo Puccini’s Madama Butterfly has become one of the world’s greatest and most popular operas.  New York’s Metropolitan Opera alone had performed it 902 times prior to the beginning of its 2023-24 season.  Renowned for his gifts for melody, Puccini’s musical component is ravishingly beautiful.  His manner of intermixing cultural references into his orchestration also makes it exquisitely complex.  Enhanced with a gripping story about the power of trust and the fragility of love, Madama Butterfly qualifies as an irrefutable masterpiece. Throughout its existence though, the opera has also been an artistic triumph with issues.

An adaptation of a one-act play written in 1900, which itself was based on a short story by an American author, John Luther Long two years earlier, it’s been criticized as being a flawed fantasy.  One created by white men about the essence of another culture.  In this case, Japan.  In Madama Butterfly, an American, Lt. B. F. Pinkerton, arrives in the island country and soon begins a quest for love.  A love that he never plans to be lasting.  Once he returns state side, he’ll re-enter the mainstream and marry traditionally.

Since its origin, issues of perception and portrayal have always haunted Puccini’s Madama Butterfly.  He composed it in partnership with Giuseppe Giacosa and Luigi Illica who wrote the text or libretto.  For most of the opera’s existence, the way Japanese culture and its people were projected robbed them of dimension and ultimately diminished their humanity.  In both early productions of the opera and in virtually all that followed, Japanese men saw their virility erased while Japanese women watched their deference be reduced to an exaggerated docility.  As intrinsically lovely Madama Butterfly is as a creative jewel, for the Japanese people and many others of color, it has also been deeply problematic.

For Matthew Ozawa, Director and Chief Artistic Officer of the Lyric Opera of Chicago, it was as well.  As a Japanese-American director of operatic works, his relationship with Puccini’s masterpiece has been fraught.   He knew intrinsically as a director he could never present it in a conventional way.  If he were ever to take on the challenge of staging the piece, he would do it through more enlightened eyes.  The current production of Madama Butterfly he directs at the Lyric, running through April 12^th, shows how spectacular a 122-year-old classic can look and feel with a total makeover by a gifted artisan.

Ozawa’s Madama Butterfly, co-produced by the Cincinnati Opera, Pittsburg Opera, Detroit Opera and the Utah Opera, dismantles the old format and completely rebuilds it in a contemporary context.  The overhaul was so comprehensive, keeping the original orchestration and libretto unaltered and intact was a condition for greenlighting his vision.   

The Company of Madama Butterfly.

Like many men of his generation, Ozawa loved playing video games growing up.  It wasn’t a leap for him to envision Madama Butterfly taking on the features of a machine generated video game offering a portal to an alternate reality.  Pinkerton (tenor Evan LeRoy Johnson) would travel to Japan through his headset and begin a journey that would lead to the devastating consequences we all know will follow.

But first, like any talented leader, Ozawa needed to assemble a team to bring his concept to fruition.  Based on opening night’s performance at the Lyric, a better dream team probably doesn’t exist.  Recruiting all females as his key collaborators, who were either Japanese or Japanese-American, cultural accuracy and agency would no longer be a concern.  Each of them a heavy hitter in her respective craft, the composite experience they created was so remarkable it could easily be considered revelatory.  The superb impact of Kimie Nishikawa’s set designs and Yuki Nakase Link’s lighting talents made on the production’s visual potency and dynamism can’t be overstated. 

A muted background would suddenly blaze in dramatic color and fill with subtly ornate splendor when Pinkerton donned the goggles that would transport him to Japan. There, Maiko Matsushima’s costume designs bowled you away with their texture, imagination, sophistication and beauty.

Even when we first finally meet Cio-Cio-San, Butterfly, played by Karah Son, we’re visited with the unexpected.  She’s as small and delicate as butterflies are, but in her words and carriage you sense the steel in her spine.  At 15, she may have become a geisha to support herself, but she’s clearly proud of the fact that she’s also “well-bred”.   That inner dignity is an ever-present element of her character. 

Son has played this crucial character in houses around the globe; in her native Korea, Warsaw, Berlin, Bologna, Los Angeles and San Francisco just to list a few.  This production marks her Lyric debut.  She knows this part.  From the excellence of her soprano Saturday night, and the flawlessness of her acting abilities, she is this part.   

Johnson, a wonderful tenor who’s also making his debut at the Lyric, makes a compelling Pinkerton.  He doesn’t quite comprehend the import of his words when Sharpless (Zachary Nelson) tells him to “Be Careful, she trusts you”, until it’s too late.  Finally realizing what that trust has cost releases his humanity.  But it can’t stop the payment deception exacts.

In the final scene, where only pathos is expected, this presentation all but blinds you with the complex beauty of real life through the fiction of a story.  Ozawa’s brilliant directing, Son’s gifts as a marvelous actress/vocalist and Puccini’s stunning score converge to cause the soul to quake.  

Puccini’s Madama Butterfly now truly soars.

Madama Butterfly

Through April 12, 2026

Lyric Opera of Chicago

20 N. Wacker Drive

Chicago, IL  60606

For more information and tickets:   https://www.lyricopera.org

Highly Recommended

This review is proudly shared with our friends at www.TheatreInChicago.com.