Displaying items by tag: Giacomo Puccini

Opera Festival of Chicago opens its 2026 festival season with Very Verismo!, that includes a VIP reception and a captivating concert celebrating the richness and beauty of Italian opera through works by leading verismo composers. The concert takes place Saturday, June 13 at 7:30 p.m. at the Jarvis Opera Hall in the Holtschneider Performance Center at DePaul University School of Music, 800 W. Belden Ave. Single tickets are $150. VIP tickets are $250 and include an exclusive pre-show reception beginning at 5:30 p.m., drinks and hors d’oeuvres, access to a silent auction and opportunities to meet festival artists. Tickets are $25 – $91 for the two mainstage productions in Opera Festival of Chicago and information are available at OperaFestivalChicago.org.

This special concert features headlining artists from the 2026 Opera Festival of Chicago season, an organization devoted to presenting world-class productions of rarely performed Italian opera masterworks while fostering a vibrant and accessible operatic culture in Chicago. The evening features music by renowned verismo composers including Puccini, Leoncavallo, Mascagni and Giordano, performed by an exceptional lineup of artists.

Soprano Alexandra Razskazoff, a Grand Finals winner of the 2022 Metropolitan Opera Laffont Competition, has been praised by The New York Times as a “richly faceted, slinky soprano” and by Opera News for a voice that is “rich, distinctive of timbre, penetrating, and possessing a lovely bloom on top.” She is joined by dramatic soprano Zhanna Alkhazova, heralded by Opera News for her “bright, sword-flashing sound”; tenor Nathan Granner, acclaimed for his “marvelous intensity” (Gramophone) and described as “a stirring tenor of equal parts metal and warmth” (Opera News) and baritone Franco Pomponi, praised by the Chicago Tribune as “the real article, a baritone with a warm focused tone and a genuine feel for true Italian legato singing.”

The Opera Festival of Chicago 2026 will also present two Mainstage productions: 

La Bohème (New Production) by Giacomo Puccini

Friday, June 26 at 7:30 p.m., Wednesday, July 1 at 7:30 p.m. and Sunday, July 5 at 2 p.m.

George Van Dusen Theatre, North Shore Center for the Performing Arts, Skokie

Directed by Sasha Gerritson

Conducted by Emanuele Andrizzi

La Bohème tells the story of young artists navigating love, friendship and poverty in 1830s Paris. The production stars Alexandra Razskazoff (Mimì), Nathan Granner (Rodolfo), Joe Lodato (Marcello), Catherine Antonia Samartin (Musetta), Jonathan Wilson (Schaunard), Anthony Reed (Colline) & William Powers (Benoit & Alcindoro).

Widely regarded as one of the greatest operas ever written, La Bohème follows a group of young artists struggling to survive in 1830s Paris. At its center is the poetic love story between Rodolfo and Mimì, unfolding against themes of poverty, friendship and the fleeting nature of life. Puccini’s unforgettable score captures universal emotions of joy, loss and heartbreak.

Adriana Lecouvreur (New Production) by Francesco Cilea

Sunday, June 28 at 2 p.m. and Friday, July 3 at 7:30 p.m.

George Van Dusen Theatre, North Shore Center for the Performing Arts, Skokie

Directed by Shifra Werch

Conducted by Emanuele Andrizzi

Adriana Lecouvreur is a verismo masterpiece exploring love and rivalry within the world of the 18th-century Comédie-Française. Set at the Comédie-Française, the opera follows the celebrated actress Adriana Lecouvreur as she becomes entangled in a tragic love triangle with a noble soldier and a vengeful princess. The cast includes Zhanna Alkhazova (Adriana), Jeremy Brauner (Maurizio), Franco Pomponi (Michonnet), Viktoria Vizin (Principessa di Bouillon), Chris Filipowicz (Principe di Bouillon) and David Cangelosi (L’Abate di Chazeuil). The opera has not been staged in Chicago in more than 70 years, when legendary soprano Renata Tebaldi sang the title role.

Both mainstage productions, La Bohème and Adriana Lecouvreur, feature the Opera Festival of Chicago Orchestra and Chorus.

Cast and creative teams are subject to change. 

ABOUT OPERA FESTIVAL OF CHICAGO

The Opera Festival of Chicago is dedicated to presenting world-class productions of rarely performed Italian opera masterworks while cultivating a vibrant and accessible operatic culture in Chicago. By celebrating Italy’s rich artistic heritage and nurturing the next generation of performers, the Festival aspires to become America’s leading hub for Italian opera, bringing exceptional artistry, cultural depth and homegrown talent to the forefront of the city’s cultural landscape.

Opera Festival of Chicago performances have been broadcast on WFMT, WETA, and other classical radio stations across the United States and internationally. The company has received critical recognition from local and national media, including Opera News and Chicago Classical Review. Its production of Il prigioniero by Luigi Dallapiccola was selected by the Chicago Tribune as one of the city’s best opera productions of the year.

The Opera Festival of Chicago announces its sixth season with the theme Bohemian Tragedy and that tickets are now on sale for the 2026 season, June 13 - July 5.

The 2026 Opera Festival of Chicago kicks off with its leading artists in concert in Very Verismo! on Saturday, June 13 at 7:30 p.m. at the Jarvis Opera Hall at DePaul University, 800 W. Belden Ave.  

The first fully-staged opera, La Bohème by Giacomo Puccini, opens Friday, June 26 at 7:30 p.m. with additional performances Wednesday, July 1 at 7:30 p.m. and Sunday, July 5 at 2 p.m. at the George Van Dusen Theatre at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd., Skokie.

The final production of the season is Adriana Lecouvreur by Francesco Cilea, Sunday, June 28 at 2 p.m and Friday, July 3 at 7:30 p.m., also at the George Van Dusen Theatre at the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd., Skokie.

Press release, images and headshots here: https://drive.google.com/drive/folders/1RDBX-1yxprtvF9XogxojSb7O0RCFVfHk?usp=sharing

More information here: OperaFestivalChicago.org

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.