REVIEW: THE CHICAGO PREMIERE OF CRITICALLY ACCLAIMED “MOBY-DICK” VIA CHICAGO OPERA THEATER

ChiIL Live Shows on our radar

CHICAGO OPERA THEATER PRESENTS THE CHICAGO PREMIERE OF CRITICALLY ACCLAIMED 

“MOBY-DICK” 

APRIL 25 AND 28 AT THE 

HARRIS THEATER FOR MUSIC AND DANCE


Photo Credit for all: Michael Brosilow

Guest Review:

by catherine hellmann

“Call me Ishmael.” As a grad student, those familiar words once filled me with dread, but now I am amused.

As Mark Twain noted, a “classic” is “something that everybody wants to have read and nobody wants to read.” Sums up my relationship with the 585-page tome. I can brag that I did actually read the entire novel, since it was required, while at Miami University. My father is the only person I know who read Moby Dick for fun. He was kind of an intellectual lunatic…

A common understanding when lovers of literature see a movie-based-on-a-book is,”The book was so much better.” For Moby Dick, the opera is sooooo much better!

Chicago audiences have one more opportunity to catch the Great White Whale (catchy, huh?) on Sunday April 28 at 3:00 at the Harris Theater on the edge of Millennium Park. It is a shame that COT does not offer more showings to give Chicagoans a longer opportunity to land this giant fish tale (and yes, I acknowledge that a whale is a mammal, not a fish...)

Chicago Opera Theater continues to impress with their season of non-standard performances. If you have had season tickets at Lyric and wonder why you must endure yet another damn Wagner marathon, please give Chicago Opera Theater a chance. They are doing exciting, unusual musical productions that you haven’t seen before. Moby Dick continues COT’s style of presenting a Chicago premiere. From their press release, “Jake Heggie and Gene Scheer’s grand American epic arrives in Chicago on the heels of critically acclaimed performances in Utah, Pittsburgh, and San Jose. Based on Herman Melville’s magnum opus, the opera brings the perilous adventures of the Pequod to the stage. Captain Ahab gathers a crew on his quest for revenge on the legendary whale that cost him a leg.”

Captain Ahab’s peg leg costume is ingenious; we both did double takes, wondering how that clever visual trickery was maneuvered. At Richard Cox’s curtain call, the fake leg had been removed, and he bemusedly tapped his normal leg. It was a lovely moment of levity after an intense performance.  

The set seemed promising, especially the map projected on the walls. The back walls open up like a giant window for us to see sailors on the deck and the stars. But my daughter pointed out that we could not see the singers on the mast from our angle in the balcony, “just singing legs,” which was frustrating. I had also hoped for an impressive sighting of the great white whale through those windows to convey the massive size of the beast, but was kind of disappointed by the lackluster reveal when M.D. is finally sighted. The costumes, by Jessica Jahn, are terrific, and the men’s chorus is truly one of the highlights of the show. Their offstage singing is simply gorgeous.

Also of special note is Baritone Andrew Bidlack as Greenhorn. He and Starbuck, played by Aleksey Bogdanov, possess beautiful voices and stage presences. First Mate Starbuck sings longingly for his wife and son back home, which is a tender moment against the lonely backdrop of the sea. Starbuck has a very revealing scene with the maniacal Ahab; he is the only crew member with the courage to contradict their obsessed boss and encourage him to turn the Pequod back to port. For his level-headedness, Ahab threatens to kill Starbuck, showing the single-mindedness of Ahab “going after that stupid whale.” (teen girl comment)  Starbuck, fearfully, sings,”Now all of us are Ahabs.”

This voyage will not end well.

If you’d like to know more about the industry of whaling and the real-life inspiration for Moby Dick, I highly recommend In the Heart of the Sea: The Tragedy of the Whaleship Essex by Nathaniel Philbrick. It reads like a novel and offers a fascinating history lesson about Nantucket, the tenacity of sailors, and the importance of whaling in the 1800’s. The book is classic, but not a classic, for it is one you will enjoy reading.

Catherine Hellmann grew up in Cincinnati when Jerry Springer was the mayor, which probably skewed her view of life. Chicago theaters and Wrigley Field are her happy places.

Jake Heggie and Gene Scheer’s Adaptation of Herman Melville’s American Epic to be Conducted by Lidiya Yankovskaya and Directed by Kristine McIntyre 

“Moby-Dick” is sung in English (with English supertitles) and 

runs 2 hours and 40 minutes.

Chicago Opera Theater (COT) caps its 2018/2019 season with the Chicago premiere of “Moby-Dick,” an epic adaptation of Herman Melville’s 1851 classic “Moby-Dick; or, The Whale” at the Harris Theater for Music and Dance (205 E. Randolph Street) Thursday, April 25 and Sunday, April 28. The production is co-produced by Utah Opera, Pittsburgh Opera, San Jose Opera and Gran Teatre del Liceu.

This grand American epic, featuring music by Jake Heggie and a libretto by Gene Scheer arrives in Chicago on the heels of critically acclaimed performances in Utah, Pittsburgh and San Jose. The production is conducted by Staley Music Director Lidiya Yankovskaya and directed by Kristine McIntyre. The design team includes David Jaques (Lighting), Erhard Rom (Sets) and Jessica Jahn (Costumes.) 

“‘Moby-Dick’ is a stunning work of extraordinarily powerful music and gripping storytelling,” said Yankovskaya. “Jake Heggie and Gene Scheer have drawn from the most compelling and dramatic passages of Melville’s epic, crafting a deft adaptation that has thrilled audiences across the globe. We’re proud to be bringing this important American opera to Chicago audiences for the first time.”

The opera focuses on the perilous adventures of the whaling ship Pequod, as Captain Ahab gathers a crew on his quest for revenge on the legendary whale that cost him a leg. Featuring a cast of more than 50 singers, including acclaimed American tenor Richard Cox as Captain Ahab and Russian-American baritone Aleksey Bogdanov as Starbuck, the spectacular production was hailed as “a stunning achievement… imposing, monumental, goose bump-inducing orchestral and choral writing” by Opera Today and “a modern masterpiece” by OperaWire. Other principal singers include Vince Wallace (Queequeg), Andrew Bidlack (Greenhorn), Summer Hassan (Pip), Aaron Short (Flask), Christopher Magiera (Captain Gardiner) and David Govertsen (Stubb). The chorus features more than 30 male voices. For more information on the cast, click here.

“Moby-Dick” will be performed Thursday, April 25 at 7:30 p.m. and Sunday, April 25 at 3 p.m.  at the Harris Theatre for Music and Dance, 205 E. Randolph Street. Tickets, which range in price from $45-$145, are available now on the Chicago Opera Theater website or by calling (312) 704-8420.



About Chicago Opera Theater
Chicago Opera Theater (COT) is a nationally recognized opera company based in Chicago, now in its 46th season. COT expands the tradition of opera as a living art form, with an emphasis on Chicago premieres, including new contemporary operas for a 21st century audience.

In addition to its programmed mainstage season, COT is devoted to the development and production of new opera in the United States through the Vanguard Initiative, launched in the Spring of 2018. The Vanguard Initiative mentors emerging opera composers, invests time and talent in new opera at various stages of the creative process and presents the Living Opera Series to showcase new and developing work.

Since its founding in 1973 by Alan Stone, COT has staged more than 125 operas, including over 65 Chicago premieres and more than 35 operas by American composers.

COT is led by Stefan Edlis and Gael Neeson General Director Ashley Magnus and Orli and Bill Staley Music Director Lidiya Yankovskaya. As of fall 2018, Maestro Yankovskaya is the only woman with the title Music Director at any of the top 50 opera companies in the United States. COT currently performs at the Studebaker Theater (Michigan & Congress) and the Harris Theater for Music & Dance (Michigan & Randolph).

For more information on the Chicago Opera Theater and its programs please visit chicagooperatheater.org.

CHICAGO PREMIERE OF CRITICALLY ACCLAIMED “MOBY-DICK” VIA CHICAGO OPERA THEATER AT THE HARRIS THEATER FOR MUSIC AND DANCE APRIL 25 AND 28, 2019

ChiIL Live Shows on our radar

CHICAGO OPERA THEATER PRESENTS THE CHICAGO PREMIERE OF CRITICALLY ACCLAIMED 

“MOBY-DICK” 

APRIL 25 AND 28 AT THE 

HARRIS THEATER FOR MUSIC AND DANCE

Production photos by my all time favorite theatre photographer, the incomparable Joe Mazza!

Jake Heggie and Gene Scheer’s Adaptation of Herman Melville’s American Epic to be Conducted by Lidiya Yankovskaya and Directed by Kristine McIntyre 

“Moby-Dick” is sung in English (with English supertitles) and 

runs 2 hours and 40 minutes.

ChiIL Mama will be out to review on the 25th, so check back soon for our full recap. Chicago Opera Theater (COT) caps its 2018/2019 season with the Chicago premiere of “Moby-Dick,” an epic adaptation of Herman Melville’s 1851 classic “Moby-Dick; or, The Whale” at the Harris Theater for Music and Dance (205 E. Randolph Street) Thursday, April 25 and Sunday, April 28. The production is co-produced by Utah Opera, Pittsburgh Opera, San Jose Opera and Gran Teatre del Liceu.

This grand American epic, featuring music by Jake Heggie and a libretto by Gene Scheer arrives in Chicago on the heels of critically acclaimed performances in Utah, Pittsburgh and San Jose. The production is conducted by Staley Music Director Lidiya Yankovskaya and directed by Kristine McIntyre. The design team includes David Jaques (Lighting), Erhard Rom (Sets) and Jessica Jahn (Costumes.) 



“‘Moby-Dick’ is a stunning work of extraordinarily powerful music and gripping storytelling,” said Yankovskaya. “Jake Heggie and Gene Scheer have drawn from the most compelling and dramatic passages of Melville’s epic, crafting a deft adaptation that has thrilled audiences across the globe. We’re proud to be bringing this important American opera to Chicago audiences for the first time.”

The opera focuses on the perilous adventures of the whaling ship Pequod, as Captain Ahab gathers a crew on his quest for revenge on the legendary whale that cost him a leg. Featuring a cast of more than 50 singers, including acclaimed American tenor Richard Cox as Captain Ahab and Russian-American baritone Aleksey Bogdanov as Starbuck, the spectacular production was hailed as “a stunning achievement… imposing, monumental, goose bump-inducing orchestral and choral writing” by Opera Today and “a modern masterpiece” by OperaWire. Other principal singers include Vince Wallace (Queequeg), Andrew Bidlack (Greenhorn), Summer Hassan (Pip), Aaron Short (Flask), Christopher Magiera (Captain Gardiner) and David Govertsen (Stubb). The chorus features more than 30 male voices. For more information on the cast, click here.

“Moby-Dick” will be performed Thursday, April 25 at 7:30 p.m. and Sunday, April 25 at 3 p.m.  at the Harris Theatre for Music and Dance, 205 E. Randolph Street. Tickets, which range in price from $45-$145, are available now on the Chicago Opera Theater website or by calling (312) 704-8420.

 

About Chicago Opera Theater
Chicago Opera Theater (COT) is a nationally recognized opera company based in Chicago, now in its 46th season. COT expands the tradition of opera as a living art form, with an emphasis on Chicago premieres, including new contemporary operas for a 21st century audience.

In addition to its programmed mainstage season, COT is devoted to the development and production of new opera in the United States through the Vanguard Initiative, launched in the Spring of 2018. The Vanguard Initiative mentors emerging opera composers, invests time and talent in new opera at various stages of the creative process and presents the Living Opera Series to showcase new and developing work.

Since its founding in 1973 by Alan Stone, COT has staged more than 125 operas, including over 65 Chicago premieres and more than 35 operas by American composers.

COT is led by Stefan Edlis and Gael Neeson General Director Ashley Magnus and Orli and Bill Staley Music Director Lidiya Yankovskaya. As of fall 2018, Maestro Yankovskaya is the only woman with the title Music Director at any of the top 50 opera companies in the United States. COT currently performs at the Studebaker Theater (Michigan & Congress) and the Harris Theater for Music & Dance (Michigan & Randolph).

For more information on the Chicago Opera Theater and its programs please visit chicagooperatheater.org.


Production photos by my all time favorite theatre photographer, the incomparable Joe Mazza!

Magnus Joins Music Director Lidiya Yankovskaya to Lead Chicago Opera Theater

As of January 2019, COT is a multimillion-dollar opera company led exclusively by women!

KUDOS TO ASHLEY MAGNUS, THE NEW STEFAN EDLIS AND GAEL NEESON GENERAL DIRECTOR

COT is now one of few multimillion-dollar opera companies led by women at both the board and executive level.

Formerly General Manager, Magnus Joins Music Director Lidiya Yankovskaya to Lead Opera Company

In late January, Chicago Opera Theater’s (COT) Board of Directors announced the promotion of Ashley Magnus to the role of Stefan Edlis and Gael Neeson General Director. Previously the company’s General Manager of Strategy and Development, Magnus will join Orli and Bill Staley Music Director Lidiya Yankovskaya at the helm, making COT one of few multimillion-dollar opera companies led by women at both the board and executive level. 

“In her time as General Manager, Ashley executed a successful multimillion dollar capital campaign, tripled recorded planned gifts and grew core annual fundraising by 28%,” stated Chicago Opera Theater Board President Susan Irion. “She has been an instrumental part of the COT leadership team and played a vital role in the development of the company’s long-term strategic goals. Her work in the industry and at COT positions her perfectly to achieve long-term success as COT’s Edlis Neeson General Director.”

Magnus began her career at Utah Symphony | Utah Opera as Production Coordinator for the opera department, and continued on to hold several leadership positions in events and development, including the role Director of Corporate Partnerships. She went on to earn an M.B.A. from the University of Utah, and specializes in business strategy, project management and the building of constructive community, individual and institutional partnerships. In 2013, she was selected to participate in Opera America’s Leadership Intensive. At Chicago Opera Theater, Magnus has managed all fundraising activities since 2015 and drives the strategy and implementation of the company’s long-term goals.

Magnus succeeds previous General Director Douglas R. Clayton. Clayton stated, “Having accomplished many goals since I joined Chicago Opera Theater in 2015, I’ve decided to step down to pursue other opportunities. I am excited to leave the company in Ashley’s and Lidiya’s capable hands and look forward to applauding the continued success and accomplishments of COT in the future.”

Magnus added, “Doug has been a huge asset in strategic planning and in setting the stage for a smooth transition. I'm thrilled to take the reins of Chicago Opera Theater in this exciting moment for the organization. Now, more than ever, COT represents the future of opera. We are dedicated to featuring local artists, to performing the work of living composers and to advancing opera as an art form that is forward-thinking, vibrant and very much alive.”

About Chicago Opera Theater
Chicago Opera Theater (COT) is a nationally recognized opera company based in Chicago, now in its 45th season. COT expands the tradition of opera as a living art form, with an emphasis on Chicago premieres, including new contemporary operas for a 21st century audience.

In addition to its programmed mainstage season, COT is devoted to the development and production of new opera in the United States through the Vanguard Initiative, launched in the Spring of 2018. The Vanguard Initiative mentors emerging opera composers, invests time and talent in new opera at various stages of the creative process and presents the Living Opera Series to showcase new and developing work.

Since its founding in 1973 by Alan Stone, COT has staged more than 125 operas, including over 65 Chicago premieres and more than 35 operas by American composers.

COT is led by Stefan Edlis and Gael Neeson General Director Ashley Magnus and Orli and Bill Staley Music Director Lidiya Yankovskaya. As of January 2019, COT is a multimillion-dollar opera company led exclusively by women. Maestro Yankovskaya is the only woman with the title Music Director at any of the top 50 opera companies in the United States. COT currently performs at the Studebaker Theater (Michigan & Congress) and the Harris Theater for Music & Dance (Michigan & Randolph).

For more information on the Chicago Opera Theater and its programs please visit chicagooperatheater.org.

OPENING: CHICAGO OPERA THEATER PRESENTS “THE SCARLET IBIS” and The Life and Death(s) of Alan Turing

ChiIL Live Shows on our radar

Adult Night Out: 

CHICAGO OPERA THEATER PRESENTS “THE SCARLET IBIS” FEBRUARY 16, 21 AND 24 AT HISTORIC STUDEBAKER THEATER

Operatic Adaptation of James Hurst’s 1960 Short Story Premieres in Chicago Having Received Rave Reviews at 2015 Prototype Festival

COT Presents First Concert Performance of “The Life and Death(s) of Alan Turing” February 15 Following a Week-Long Workshop

Next week we'll be checking out both of these operas. Check back soon for our full reviews. *Do note, The Life and Death(s) of Alan Turing is the result of a week-long workshop through COT's Vanguard Initiative. This opera is still in progress, so it will not be reviewed as a complete work.

Chicago Opera Theater (COT) continues its 2018/2019 season with the Chicago premiere of the contemporary opera “The Scarlet Ibis.” Composed by Stefan Weisman with libretto by David Cote, “The Scarlet Ibis” was declared an “outstanding new chamber opera” by David Allen of The New York Times upon its debut at the 2015 Prototype Festival. Chicago Opera Theater presents the first full production of this operatic adaptation of James Hurst’s 1960 short story (apart from its festival debut), featuring the artistry of stage director Elizabeth Margolius and conductor David Hanlon. The opera stars Annie Rosen (who also performed in COT’s season-opening production of “Iolanta”) as Brother and Jordan Rutter as Doodle. 

The opening night and press performance takes place Saturday, February 16 at 7:30 p.m. at the Studebaker Theater (410 S. Michigan Ave.) Additional performances will take place Thursday, February 21 at 7:30 p.m. and Sunday, February 24 at 3 p.m.  

That same week, COT will present a week-long workshop culminating in the first full concert performance of “The Life and Death(s) of Alan Turing” by composer Justine F. Chen and librettist David Simpatico as part of Chicago Opera Theater’s Vanguard Initiative to promote the creation of new opera.

“COT’s mission to support the creation of new operatic work is exemplified in our February programming, with the first production of ‘The Scarlet Ibis’ since its debut at the 2015 Prototype Festival, and the first concert performance of ‘The Life and Death(s) of Alan Turing’ as part of our Vanguard Initiative,” said Stefan Edlis and Gael Neeson General Director Douglas R. Clayton. “COT is proud to provide an opportunity for Chicago to see such new and exquisite operas for the first time.”

Based on James Hurst’s classic American short story, “The Scarlet Ibis” is a moving tale about brotherhood, nature and family, set in North Carolina against the backdrop of World War I. It tells the story of a young boy named Doodle and his relationship with his brother, exploring the ways people ‘other’ those who are different and questioning what it means to be ‘normal.’ The piece was commissioned and developed through the HERE Artist Residency Program (HARP) and Dream Music Puppetry Program and co-produced by Beth Morrison Projects, premiering at the Prototype Festival in January 2015 in New York City.

“It’s thrilling to see ‘The Scarlet Ibis’ picked up for a second production following its premiere at our Prototype Festival,” said co-producer Beth Morrison. “Chicago Opera Theater is a forward thinking opera company, truly embodying what a 21st century opera company should be.”

Composer Stefan Weisman spoke to the development process of the opera stating, “One element of creating this opera that felt really unique was that the two leads are a countertenor and mezzo-soprano, both high voices for male characters. And they are played by two different genders. We are playing around with traditional notions of gender and power—the weaker of the two is the male singer, and the stronger is the female singer.”

Librettist David Cote continued, “The story is very much in the tradition of Flannery O’Connor, Tennessee Williams, even William Faulkner. The language is lush and flowery, the emotions run high and the ending is both beautiful and tragic. I’m not a Southerner, I grew up in small-town New Hampshire, but I drew on memories of living near a lake and playing in the woods to create the sense of nature and wonder in the opera.”

In addition to Rosen and Rutter, “The Scarlet Ibis” cast includes Quinn Middleman as Mother, Sharmay Musacchio as Aunt Nicey, Bill McMurray as Father and dancer Ginny Ngo.

Creative Team for The Scarlet Ibis
Composer: Stefan Weisman
Librettist: David Cote
Conductor: David Hanlon
Stage Director: Elizabeth Margolius
Lighting Design: Charlie Cooper
Scenic Design: Jack Magaw
Costume Design: Brenda Winstead

Performance Schedule
Saturday, February 16, 7:30 p.m.
Thursday, February 21, 7:30 p.m.
Sunday, February 24, 3 p.m.

Tickets for “The Scarlet Ibis” ($45 - $145) can be purchased by calling 312.704.8414 or by visiting chicagooperatheater.org. For tickets to see “The Life and Death(s) of Alan Turing,” visit cot.org/Turing.

About Stefan Weisman
Stefan Weisman’s music has been described as "personal, moody and skillfully wrought" (The New York Times). His compositions include chamber, orchestral, theater, dance and choral pieces, and he has specialized in vocal works that explore edgy and compelling topics. His operas include “Darkling” (American Opera Projects), “Fade” (Second Movement), and “The Scarlet Ibis” (produced by HERE and Beth Morrison Projects and premiered in the 2015 PROTOTYPE opera festival). He is a graduate of Bard College (BA), Yale University (MA), and Princeton University (PhD). Presently, he is on the faculty of the Bard High School Early College in Queens, New York. 

About David Cote
David Cote is a playwright, librettist and arts journalist based in New York City. His operas include “Three Way” with composer Robert Paterson (Nashville Opera and BAM); “The Scarlet Ibis” (Prototype Festival) and “Fade” with Stefan Weisman. Other works include his plays “Otherland” and “Fear of Art;” song cycle with Paterson, “In Real Life;” choral works with Paterson, “Did You Hear?” and “Snow Day.” Cote was born and adopted in New Hampshire and is a proud alum of Bard College. His fellowships include The MacDowell Colony, and he is a member of the New York Drama Critics Circle, ASCAP and the Dramatists Guild.

About David Hanlon
David Hanlon is a composer, conductor and pianist praised by Maestro Patrick Summers as “one of the major compositional voices of the young generation.” He has often written work for Houston Grand Opera, including his chamber opera “Past the Checkpoints” about undocumented immigrants, the chamber vocal piece “The Ninth November I Was Hiding,” about his grandfather's arrest during Kristallnacht and “Power,” based on a text by a high-schooler about bullying. Hanlon was recently commissioned by the Opera For All Voices consortium to write a new chamber opera with librettist Stephanie Fleischmann, and recently conducted the premiere of his and Fleischmann's chamber opera “After the Storm” at Houston Grand Opera.

About Elizabeth Margolius
Elizabeth Margolius is a Chicago-based Joseph Jefferson Award-nominated stage and movement director with a primary focus in developing and directing new and rarely produced music theater, operetta and opera. Margolius’ Chicago and regional stage and movement directorial credits include “Miss Holmes” for Peninsula Players, “Machinal” for Greenhouse Theater, “The Bridges of Madison County” for Peninsula Players, “The Boy Who Grew Too Fast” for SUNY/Albany Opera Program and “Uncle Philip’s Coat” for Greenhouse Theater. Margolius has been a guest director, master artist and guest/adjunct lecturer at numerous colleges, universities and festivals including the University of Nebraska, DePaul University and SUNY Albany.

The Life and Death(s) of Alan Turing

February 15, 2019 @ 7:30pm

DePaul University School of Music - 

Gannon Concert Hall

2330 N Halsted St, Chicago

110 minutes; One Intermission

Performed & Discussed in English

"This opera celebrates the power of memory, creativity, and the potential within us all to live fully and truly.” 

Chicago Opera Theater joins American Lyric Theater  to bring this new opera to life as part of the Vanguard Initiative. After a week of workshops, COT presents a full concert performance of Justine F. Chen and David Simpatico’s intense and beautiful new work.

Featuring the Bienen School of Music Contemporary and Early Vocal Ensemble of Northwestern University, tenor Jonas Hacker (Lyric Opera’s Fellow Travelers), and baritone Jonathan Michie in the title role, don’t miss your chance to see this one-of-a-kind concert.

As part of Chicago Opera Theater’s Vanguard Initiative to promote the creation of new opera, COT joins American Lyric Theater to present a full concert performance of “The Life and Death(s) of Alan Turing” by composer Justine F. Chen and librettist David Simpatico. The opera delves deep into the mind of the groundbreaking coder often credited to be the father of modern computer science. Turing’s work during World War II designing a machine to break the code utilized by the Nazi’s Enigma Machine is estimated to have saved millions of lives. A homosexual, he was charged with gross indecency in the 1950’s and is believed to have committed suicide because of his persecution. Featuring the Bienen Contemporary and Early Vocal Ensemble of Northwestern University, baritone Jonathan Michie in the title role, tenor Jonas Hacker (Lyric Opera’s “Fellow Travelers”) and conducting by COT’s Orli and Bill Staley Music Director Lidiya Yankovskaya, the performance will take place at 7:30 p.m. on February 15, 2019 at the DePaul School of Music’s Gannon Concert Hall (2330 N Halsted St.).

In addition to Michie and Hacker, the cast includes Diana Newman as Sara Turing, Vince Wallace as Fred Clayton/Judge, Elise Quagliata as Joan Clark, Arnold Geis as Steve Todd/Arnold Murray and David Salsbery Fry as Don Bailey/Bobby/Prosecutor.

About Justine Chen
Composer and violinist Justine F. Chen has been the recipient of many prestigious awards and commissions, including New York City Opera, New York City Ballet, The Juilliard School, American Composers Orchestra and New York Festival of Song. Justine has won grants from BMI, ASCAP, the Frances Goelet Charitable Lead Trust, Opera America and the American Composers Forum through their Jerome Fund for New Music. In 2010, she joined American Lyric Theater’s Composer Librettist Development Program as a resident artist. She earned her DMA, MM, and BM from Juilliard in violin and composition, and specializes in contemporary music performance.

About David Simpatico
David Simpatico’s work has been presented at major theatres around the globe, including London’s Hammersmith Apollo, Williamstown Theatre Festival and the New York Shakespeare Festival. Highlights include the stage adaptations of Disney’s “High School Musical” 1 and 2; “Whida Peru,” with a score by Josh Schmidt; and “The Screams of Kitty Genovese,” a rock-opera with a score by Will Todd. David also wrote the libretto for Pulitzer Prize-winner Aaron J. Kernis’ millennium symphony, “Garden Of Light.” David Simpatico joined American Lyric Theater’s Composer Librettist Development Program as a resident artist in 2010. David attended at Northwestern University and received his Masters of Creative Writing at Southern New Hampshire University.

About Chicago Opera Theater
Chicago Opera Theater (COT) is a nationally recognized opera company based in Chicago, now in its 45th season. COT expands the tradition of opera as a living art form, with an emphasis on Chicago premieres, including new contemporary operas for a 21st century audience.

In addition to its programmed mainstage season, COT is devoted to the development and production of new opera in the United States through the Vanguard Initiative, launched in the Spring of 2018. The Vanguard Initiative mentors emerging opera composers, invests time and talent in new opera at various stages of the creative process and presents the Living Opera Series to showcase new and developing work.

Since its founding in 1973 by Alan Stone, COT has staged more than 125 operas, including over 65 Chicago premieres and more than 35 operas by American composers.

COT is led by Stefan Edlis and Gael Neeson General Director Douglas R. Clayton and Orli and Bill Staley Music Director Lidiya Yankovskaya. As of fall 2018, Maestro Yankovskaya is the only woman with the title Music Director at any of the top 50 opera companies in the United States. COT currently performs at the Studebaker Theater (Michigan & Congress) and the Harris Theater for Music & Dance (Michigan & Randolph).


For more information on the Chicago Opera Theater and its programs please visit chicagooperatheater.org.

CHICAGO OPERA THEATER PRESENTS “A COFFIN IN EGYPT” 4/25-5/3 AT THE HARRIS THEATER FOR MUSIC AND DANCE

Legendary Mezzo-Soprano Frederica von Stade Stars as Myrtle Blesdoe, 

a Role Originally Written for Her

Chicago Opera Theater (COT) presents a spring production of Ricky Ian Gordon’s fascinating “A Coffin in Egypt” April 25 through May 3 at The Harris Theater for Music and Dance (205 E. Randolph). The opera, written for legendary mezzo-soprano Frederica von Stade tells the haunting tale of memory and murder, racism and recrimination, based on a play by Horton Foote.

The production runs April 25 and 29 and May 1 and 3, 2015. Tickets are now on sale at chicagooperatheater.org for $35-$125. 

“It is an incredible honor and rare opportunity to have the regal Frederica von Stade fill the powerful lead role in ‘A Coffin in Egypt’ written precisely for her,” said Andreas Mitisek, Chicago Opera Theater’s General Director. “Working closely with the renowned composer Ricky Ian Gordon and librettist and director Leonard Foglia, COT will present an intriguing and powerful production with a touching score that tells an unforgettable story of one woman’s last moments of reflection and forgiveness.”

Supporting Frederica von Stade in her tour de force performance are: veteran actors, David Matranga, and Carolyn Johnson, Lyric Opera Ryan Center alums soprano Kimberly E. Jones and tenor Bernard Holcomb, current COT Young Artists baritone Nicholas Davis, and mezzo soprano.The production will be directed by librettist Leonard Foglia and conducted by Emanuele Andrizzi.

Performance Schedule and Ticket Information 

“A Coffin in Egypt” will be performed at the Harris Theater, 205 E. Randolph. The performance schedule is as follows:

• Saturday, April 25, 2015 – 7:30 p.m.

• Wednesday, April 29, 2015 – 7:30 p.m.

• Friday, May 1, 2015 – 7:30 p.m.

• Sunday, May 3, 2015 – 3 p.m.

Tickets are priced from $35 - $125 and can be purchased by calling 312.704.8414 or via chicagooperatheater.org. Tickets can also be purchased at the Harris Theater box office.

About “A Coffin in Egypt”

Myrtle Bledsoe is at the end of her life in Egypt, Texas, trying to face her past and deciding whether or not her life was well–lived. In her earlier years, she was a member of the bigoted upper class of Texas, but also seemed to have a sense of injustice. In order to escape her neglectful, adulterous husband, she travelled to New York, London, Paris, Rome and the nation of Egypt with her two daughters. When the money runs out during the Great Depression, Myrtle is forced to come back to her husband’s plantation, where she outlives him and her two daughters and is left alone to resolve old conflicts and reflect on her life. We watch Myrtle as she struggles to find peace at the end of her life.

About Ricky Ian Gordon: Composer

Ricky Ian Gordon was born in Oceanside, New York in 1956. After studying composition at Carnegie Mellon University, Gordon's work quickly took off in art song, opera and musical theater. Gordon's work has been performed by renowned singers such as Renée Fleming, Dawn Upshaw, Nathan Gunn, Judy Collins, Kelli O'Hara, Audra MacDonald, Kristin Chenoweth, Nicole Cabell, the late Lorraine Hunt Lieberson, Frederica Von Stade, Andrea Marcovicci, Carolyn Blackwell, Betty Buckley and many more.

Gordon has received numerous honors such as The Stephen Sondheim Award, The Helen Hayes Award, an Alumni Merit Award for exceptional achievement and leadership from Carnegie-Mellon University, the Shen Family Foundation Award, grants from the National Endowment Association and The Gilman and Gonzalez-Falla Theatre Foundation Award. Gordon was commissioned by both Opera Theatre of St. Louis to compose 27 with librettist Royce Vavrek, an opera about Gertrude Stein at 27 rue de Fleurus, for acclaimed mezzo-soprano Stephanie Blythe and The Metropolitan Opera, with Pulitzer Prize/McArthur Award winning playwright Lynn Nottage, to adapt her award-winning play “Intimate Apparel.”

Just recently, Gordon completed an operatic adaptation of Giorgio Bassani's novel “The Garden of the Finzi-Continis,” with librettist Michael Korie; “The Grapes of Wrath,” and “Morning Star” with a libretto by William M. Hoffman, premiering at Cincinnati Opera in their 2015 season. In addition, Gordon’s opera “The Tibetan Book of the Dead,” with a libretto by Jean Claude Van Itallie, which was commissioned by and premiered at Houston Grand Opera in 1996, had its West Coast Premiere with The Bay City Symphony in May, 2014 .

Gordon's “A Coffin in Egypt,” was co-commissioned by Houston Grand Opera, The Wallis Annenberg Center for the Performing Arts and Opera Philadelphia. Known for opera, art song, and musical theater, composer Ricky Ian Gordon and librettist/director Leonard Foglia based the opera on a play by Horton Foote, providing the perfect showcase for beloved mezzo-soprano Frederica von Stade.

About Emanuele Andrizzi: Conductor 

Emanuele Andrizzi is a conductor with a strong connection to the rich musical tradition of Rome's Conservatory from which he graduated with diplomas in opera and orchestral conducting, and a ten-year diploma in composition. During the past decade, he has worked extensively throughout Europe and the U.S. as a conductor, pianist and music teacher. He is making his Chicago Opera Theater debut with this production.

As a conductor, Andrizzi has collaborated with various symphonic and operatic companies. In the last few years, Mr. Andrizzi has conducted the Lyric Opera of Chicago, Orchestra della Città di Ravenna, New Philharmonic Orchestra, Chicago Opera Vanguard and the Cervantes Orchestra, among others. In addition, he has worked in some of the finest opera theaters both in the US and in Europe, including the Los Angeles Opera, the Dallas Opera and the Rome’s Opera Theater. He has also collaborated with important music festivals, including the Millennium Park Festival and the Ravinia Festival.

An active teacher and performer, Andrizzi has worked since 2013 as the Conductor and Head of the Orchestra Program at the prestigious Chicago College of Performing Arts at Roosevelt University. In addition, he often collaborates with young artist programs. Lately, he conducted Rossini’s “Il Barbiere di Siviglia” at the Ryan Opera Center - the Lyric Opera of Chicago’s Young Artist Program, - Mozart’s “Le Nozze di Figaro” and Donizetti’s “Lucia di Lammermoor” at the International Festival La Musica Lirica and Mozart’s “Così Fan Tutte” at Northwestern University. Andrizzi has taught and collaborated with important European musical institutions, including Rome’s Conservatory, the Piaget University and the Escola Profisional de Música of Mirandela. Andrizzi will lead the All-State Orchestra in January 2016. 

Andrizzi is a recipient of the Honorable Mention award at the International Competition for Conductors of Contemporary Music “4X4 Prize” and a winner of the “P. Barrasso” International Competition for Chamber Music. In addition to his diplomas in conducting and composition at the “Santa Cecilia” Conservatory in Rome, Andrizzi has earned a doctorate in Orchestral Conducting at Northwestern University, a MFA in Conducting at Bard College and a Performance Diploma in Piano at the “A. Casella” Conservatory.

About Leonard Foglia: Librettist and Director

Leonard Foglia is a theater and opera director as well as librettist and author. His work has been seen on Broadway, across the country, as well as internationally.

As a director, Foglia’s opera credits include the premiers of three operas by Jake Heggie: “Moby-Dick” (Dallas Opera, San Francisco, San Diego, Calgary, Opera of South Australia, The Kennedy Center) – The San Francisco production was filmed for PBS Great Performances; “Three Decembers” (Houston Grand Opera, San Francisco, Chicago) and “The End Of The Affair” (HGO, Madison, Seattle). Foglia’s production of Heggie's ”Dead Man Walking” has been seen across the country.

As a librettist, Foglia’s first opera “Cruzar La Cara De La Luna” (To Cross the Face of the Moon), music by Jose "Pepe" Martinez, was commissioned by Houston Grand Opera where it had its premier in 2010 and was performed at the Théâtre du Châtelet in Paris in the fall of 2011. Since then it has been presented by Houston Grand Opera as well as San Diego Opera, Lyric Opera of Chicago and Arizona Opera.

As a director, Foglia’s theater credits include the original Broadway productions of “Master Class;” Thurgood” (which was filmed for HBO), and “The People In The Picture” as well as the revivals of “Wait Until Dark” and “On Golden Pond.” Off Broadway, as well as on tour, he directed Anna Deavere Smith's “Let Me Down Easy” (which was filmed for PBS Great Performances); “One Touch Of Venus,” for City Center's Encores! He is the co-author, with David Richards of five books: “1 Ragged Ridge Road;” “Face Down In The Park;” “The Sudarium Trilogy;” “The Surrogate” and “The Son and The Savior.”

About Horton Foote: Playwright

For more than seventy years, beginning in 1939, when he penned his first play, “Wharton Dance,” Horton Foote was regarded as one of America's most revered dramatists. With his probing and perceptive dramas, he succeeded in charting the landscape of small-town America while creating classics of modern theatre and film that have found devoted audiences around the world. Foote wrote more than a hundred plays and screenplays for cinema, theater and television, and was equally successful in all three mediums-a record of variety and productivity unmatched by any other writer.

Inspired by his hometown of Wharton, Texas, Foote’s work is rooted in the tales, the troubles, the heartbreak and the hopes of all he heard and saw there. As a young man, he left Wharton to become an actor and soon discovered the easiest way to get good roles was to write the plays himself. Among other things, he did a magnificent job of adapting Harper Lee's classic “To Kill a Mockingbird” for the silver screen, and writing his wonderful “The Trip To Bountiful” and so many other tales of family, community and the triumph of the human spirit.

“A Coffin in Egypt” Cast: 

Frederica von Stade: Myrtle Bledsoe

Recognized as one of the most beloved musical figures of our time, Frederica von Stade has enriched the world of classical music for three decades with her appearances in opera, concert and recital. The mezzo-soprano is well known to audiences around the world through her numerous featured appearances on television including several PBS specials and "Live from Lincoln Center" telecasts. She has made more than 60 recordings with every major label, including complete operas, aria albums, symphonic works, solo recital programs and popular crossover albums. Her recordings have garnered six Grammy nominations, two Grand Prix du Disc awards, the Deutsche Schallplattenpreis, Italy's Premio della Critica Discografica and "Best of the Year" citations by Stereo Review and Opera News. Von Stade was awarded France's highest honor in the arts when she was appointed as an officer of L'Ordre des Arts et des Lettres, and in 1983 she was honored with an award given at The White House by President Reagan in recognition of her significant contribution to the arts.

David Matranga: Hunter 

David Matranga is thrilled to return to the role of Hunter in “A Coffin in Egypt.” Matranga previously played the role of Hunter in the workshop and world premiere production at Houston Grand Opera, before traveling to Los Angeles and Philadelphia with the show. He has also performed in productions at Stages Repertory Theatre, The Alley Theatre and The Actors Theatre of Louisville.

Carolyn Johnson: Elsie/Clerk

Carolyn Johnson is an actress and singer currently residing in Houston, Texas. She has performed at Stages Repertory Theatre, Theatre Under The Stars, Houston Shakespeare Festival and was a company member of Noble Fool Theatre.

“A Coffin in Egypt” Gospel Quartet:

Leah Dexter (Mezzo-Soprano)

Leah Dexter is making her debut with Chicago Opera Theater. Dexter has performed leading and supporting roles with companies including Michigan Opera Theatre, Sarasota Opera, Arbor Opera Theater, Opera Theatre of St. Louis, New York Harlem Theater, Motor City Lyric Opera and Opera Festival of Rome, among many others.

Bernard Holcomb (Tenor) 

Bernard Holcomb is an alum of the Ryan Opera Center and has performed with Renée Fleming and Patrick Stewart in “Second City’s Guide to the Opera,” “Il Duca in Rigoletto” (Opera in the Heights) Alfredo in “La Traviata” (Pine Mountain Festival), Nathanaël in “Les Contes d’Hoffmann” (Lyric Opera of Chicago), Rodolfo in “La Bohéme” (Civic Orchestra of Chicago), and Gastone in “La Traviata” (Michigan Opera).

Kimberly E. Jones (Quartet Soprano) 

Kimberly Eileen Jones is an alum of the Ryan Opera Center. Her performances at the Lyric Opera of Chicago include “Margru,” in the world premiere of Anthony Davis' “Amistad,” Olga in “Fedora,” Princess Xenia in “Boris Godunov” and Despina in “Cosi Fan Tutte.” With the Ryan Opera Center, she portrayed Laetitia in “Old Maid and the Thief.” Additionally, she made her Grant Park debut as Zerlina “Don Giovanni” and Adele “Die Fledermaus” the following season.

Nicholas Davis (Baritone)

Nicholas Davis is a recent alum of the University of Michigan School of Music, Theatre, & Dance. He has performed a variety of roles including: Don Basilio in “Il Barbiere di Siviglia,” Colline in “La Boheme,” Abimelech in “Samson et Dalila,” Papageno in “The Magic Flute,” the Pirate King in “The Pirates of Penzance.” Davis is currently a young artist at Chicago Opera Theatre.

Upcoming Chicago Opera Theater Productions

“Lucio Silla” 

Composed by Wolfgang Amadeus Mozart

Libretto by Giovanni de Gamerra

Sung in Italian with English Supertitles

September 26 and 30 and October 2 and 4

Artists TBD

Composed by the 16 year old Mozart, this tale of a tyrannical dictator was one of the young prodigy’s earliest successes. When Silla is denied the heart of the woman he desires, he commits his considerable power and influence to force matters in his favor. He soon discovers that his are not the only plots and conspiracies hidden in the streets of Rome. This saga of deceit, love and intrigue is punctuated by awe-inspiring arias and ravishing melodies.

Harris Theater for Music and Dance

205 E. Randolph Street

312.334.7777

www.harristheaterchicago.org

About Chicago Opera Theater

Chicago Opera Theater is an innovative, nationally recognized opera company that inspires a diverse community through immersive and thought-provoking opera experiences. COT, established in 1974 by Alan Stone, is a founding resident company of the Harris Theater for Music and Dance in Millennium Park. General Director Andreas Mitisek is known for his adventurous repertory, visionary leadership, fundraising skills and innovative audience-building initiatives.

Chicago Opera Theater has carved a significant place for itself in the operatic life of Chicago and has reached an audience of hundreds of thousands through its main stage performances, community engagement, education programs in Chicago Public Schools, as well as its renowned Young Artist Program.

Experience MORE OF THE DIFFERENT with Chicago Opera Theater!

For more information on the Chicago Opera Theater and its programs please visit www.chicagooperatheater.org.

ACT OUT OPENING TONIGHT: Philip Glass’ The Fall of the House of Usher 4 Shows Only

#3 – Suzan Hanson as Madeline and Ryan MacPherson as Roderick 

All photos by Keith Ian Polakoff, courtesy of Long Beach Opera.

 Chicago Opera Theater presents the Chicago Premiere of

THE FALL OF THE HOUSE OF USHER

By Philip Glass

The Chicago Opera Theater opens its 2013 season, the inaugural season of new general director Andreas Mitisek, with Philip Glass’ The Fall of the House of Usher, in four performances only February 27-March 1.  This gothic tale of suspense, horror and the supernatural is based on a story by Edgar Allen Poe.  

ChiIL Live Shows will be there...will YOU?!   We've been promoting this production for months and it's finally here.   We'll be reviewing opening night, tonight, and can't wait.   We heard two numbers at a sneak peek at Facets Multimedia last weekend featuring the film, Koyaanisqatsi, with a score also by Philip Glass.   They had me at "goth-punk moving men"--four of my fav words all in one character description!

Andreas Mitisek Takes Audiences to the Edge of Madness in

His First Season as Chicago Opera Theater’s General Director

Philip Glass’ The Fall of the House of Usher, a gothic horror story which blurs the line between the real world and the supernatural, opens Chicago Opera Theater's 2013 Season, titled “Power of Love, Love of Power.”  This is Andreas Mitisek's inaugural season as General Director of Chicago Opera Theater since assuming the position in June 2012.  

Glass' haunting 1987 score for Edgar Allan Poe's macabre masterpiece, with lyrics by Arthur Yorinks, provides the perfect backdrop for this nightmarish journey to the edge of madness.  The Fall of the House of Usher, taking place at the Harris Theater for Music and Dance, 205 E. Randolph Drive, runs for four performances only: Saturday, February 23 at 7:30 p.m., Sunday, February 24 at 3 p.m., Wednesday, February 27 at 7:30 p.m. and Friday, March 1 at 7:30 p.m.  

#1 – Lee Gregory as William, Nicholas Shelton as the Servant, 

Ryan MacPherson as Roderick 

The Fall of the House of Usher is a co-production with Long Beach Opera (LBO), whose production opens January 27.  An opera in two acts, The Fall of the House of Usher takes the audience deep into the eerie realm of the House of Usher.  When William receives a letter from his long lost friend Roderick Usher, apparently suffering from illness and requesting William’s presence, he journeys to the sinister mansion where Roderick and his twin sister Madeline live as the last of the Usher bloodline.  At first William tries to aid his friend by reminding Roderick of his passion for art, music and literature, but William soon becomes swallowed up in a world where the border separating real and supernatural is blurred, and paranoia then takes control.  Taken from one of Edgar Allan Poe’s most popular tales, this unsettling story explores the line between truth and imagination, all set against Glass' haunting and suspenseful music.   COT has also performed Glass’ opera Akhnaten in 2000.

“Our 2013 Season emphasizes the tension between the power of love and the love of power,” explains Mitisek, who conducts both the COT and LBO performances.  “The Fall of the House of Usher is about internal and external collapsing worlds.  Glass’ music suspends reality and time, hypnotizing us on this journey to the edge of sanity.  It’s a 90-minute psychological roller coaster ride.”

Ken Cazan returns to COT to direct Usher after directing the acclaimed Death in Venice (2004), Bluebeard’s Castle (2007), Erwartung (2007) and Shining Brow (1997).  He is the Resident Stage Director for the Thornton School of Music at the University of Southern California.  One of America’s most sought-after directors, he has directed more than 100 productions for more than 40 opera companies, including the Santa Fe Opera, Central City Opera, Atlanta Opera, and Seattle Opera, among others.  Of Usher, Cazan says, “Things are rarely what they seem in Gothic horror tales.  What on the surface feels like a tragic and spooky story (which it is), instinctively, upon the first hearing and reading of Glass’ opera, felt like something very different to me.  William feels an unusual sense of passion for Roderick, whom he hasn’t seen since childhood.  William very forcefully speaks of taking Roderick away, of saving him.  And what of Madeleine, Roderick’s ailing ‘identical’ twin sister?  In the opera, William hears her without seeing her.  Does she really exist?”

TICKETS

The Fall of the House of Usher runs for four performances February 23, 24, 27, and March 1 at the Harris Theater for Music and Dance in Millennium Park.  Individual tickets to are on saleJanuary 21 and range from $45 – $125.  Tickets may be purchased through Chicago Opera Theater at www.chicagooperatheater.org, by phone at 312-704-8414, or through the Harris Theater at www.harristheaterhicago.org and 312-334-7777.  COT offers half-off tickets to students in sections A, B, C and D. 

Subscriptions to all three operas in Chicago Opera Theater’s 2013 season are available through March 1 and prices range from $95 – $356. Subscriptions include The Fall of the House of Usher, Astor Piazzolla’s María de Buenos Aires (April 20, 24, 26 and 28) and Giuseppe Verdi’s Joan of Arc (Giovanna d'Arco)(September 21, 25, 27 and 29).  New subscribers received 50% off in sections A, B and C. 

#2 – Lee Gregory as William, Ryan MacPherson as Roderick, 

Suzan Hanson as Madeline

CAST

COT DEBUT: Suzan Hanson (Madeline Usher) is a multi-faceted artist who combines work in opera and music-theater.  Her recent performances of Poulenc’s La Voix Humane was described as “fresh and forceful…[with] blazing dramatic fervor…” by The San Francisco Chronicle.  Hanson has performed with companies such as Arena di Verona, Arizona Opera, Carnegie Hall, Edinburgh, Long Beach Opera, Maggio Musicale (Florence), New Israeli Opera, Pittsburgh Opera Theater, and San Francisco Opera.  Often sought for new works, Hanson has originated many roles, including Hanako in Sound of a Voice.  She is a regular with LBO and has sung Pat Nixon in Nixon in China, Medea in Meda by Cherubini and Margarita inAinadamar by O. Golijov.  Hanson originated the role of Madeline in The Fall of the House of Usher in the World Premiere production by American Repertory Theater.

COT DEBUT: Lee Gregory (William) hails from Houston, Texas.  His recent performances include Silvio in I Pagliacci with Arizona Opera Company, Richard Nixon in Nixon in China with Eugene Opera, Schaunard in La bohème with Michigan Opera Theatre, and the title role in Il barbiere di Siviglia with Opera Theatre of the Rockies.  He reprises the role of William in COT’s production, having sung it with Nashville Opera.

COT DEBUT: Jonathan Mack (Physician) has performed over fifty roles during his eighteen seasons with the Los Angeles Opera, including Ferrando in Mozart’s Cosi fan tutte, Kudrjas in Janacek’s Katya Kabanova, Quint in Britten’s Turn of the Screw, and Orpheus in Offenbach’s Orpheus in the Underworld.  He has also worked with Netherlands Opera, Kentucky Opera, Vancouver Opera and Opera Columbus.

COT DEBUT: Ryan MacPherson (Roderick Usher) sings this season with Virginia Opera as Alfred in Die Fledermaus and returns to the Buxton Festival as Horace in Gounod’s La colombeand Kornélis in Saint-Saëns’ La princesse jeune.  He has performed with Dayton Opera, Utah Opera, Portland Opera and Nashville Opera, among others.  With New York City Opera he created the role of Iff, the Water Genie, in Wuorinen’s Haroun and the Sea of Stories.

COT DEBUT: Nick Shelton (Servant) has garnered unanimous accolades for his dark, piercing voice, refined musicianship, and commanding stage presence.  Recent season highlights include Jose Tripaldi in Golijov's Ainadamar with Long Beach Opera, of which Gazettes.com raved “that is some terrific voice!” and called him “a name to remember.”

CREATIVE TEAM

COT DEBUT: Set designer Alan E. Muraoka has been working in the entertainment industry as a production designer and art director for film and television, as well as a theatrical set designer for over 25 years.  He has been honored with two Emmy® Award nominations and three Art Directors’ Guild Award nominations.  His design credits include Dirty Girl andBaadAsssss!  He has collaborated with Mitisek at Long Beach Opera, designing Ricky Ian Gordon’s Orpheus and Euridice, staged in an Olympic swimming pool, and an opera adaptation ofThe Diary of Anne Frank staged in an underground parking garage. 

Costume designer Jacqueline Saint Anne is an Emmy Award-winning costume designer and former President of the Costume Designers Guild.  Saint Anne returns to COT with The Fall of the House of Usher, having debuted with Owen Wingrave in 2010.  This also marks Saint Anne’s second production with Long Beach Opera, where she debuted with The Cunning Little Vixen in 2009.  With Ken Cazan, she has designed for the Thornton Opera at USC: Don Giovanni, Gianni Schicchi, Three Decembers, The Rape of Lucretia and Summer and Smoke, among others.

COT DEBUT: Lighting designer David Martin Jacques’ collaborations with director Cazan include The Fall of the House of Usher with Long Beach Opera, West Side Story with the Vancouver Opera Company, and A Little Night Music, Gianni Schicchi, Oklahoma! and Seven Deadly Sins with Central City Opera.  Jacques also serves as Professor of Theatre and Head of Stage Design at California State University Long Beach.

Mitisek’s work as director, designer and conductor for site-specific productions in parking garages, swimming pools, night clubs and warehouses has become a successful hallmark of his work with Long Beach Opera, and he anticipates incorporating such innovative projects into the COT repertoire.  In addition to being named “LA Tastemaker” by LA Times Magazine in 2009and highlighted as one of “2012 People” by LA Weekly, in 2012 Mitisek was named by Opera News as one of the 25 people that will be a major force in the field of opera in the coming decade.  Recent LBO credits as director, designer and conductor include Golijov’s Ainadamar, Piazzolla’s Maria de Buenos Aires (which will be the second production of COT’s 2013 season), Lang’s Difficulty of Crossing a Field, Cherubini’s Medea and Glass’ Akhnaten. 

ABOUT PHILIP GLASS

Through his operas, his symphonies, his compositions for his own ensemble, and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg, Woody Allen to David Bowie, Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times.  His operas – Einstein on the Beach, Satyagraha,Akhnaten and The Voyage, among many others – play throughout the world’s leading houses.  Glass has written music for experimental theater and for Academy Award-winning motion pictures such as “The Hours” and Martin Scorsese’s “Kundun.”  He was born in 1937, grew up in Baltimore, and studied at the University of Chicago, the Juilliard School and in Aspen with Darius Milhaud.

ABOUT CHICAGO OPERA THEATER

Founded in 1974 by Alan Stone, Chicago Opera Theater has carved a significant place for itself in the operatic life of Chicago and has reached an audience of hundreds of thousands through its main stage performances, community engagement, education programs in Chicago Public Schools, as well as its renowned Young Artist Program.  Chicago Opera Theater presents first-class productions of operatic repertoire, ranging from the great works of the 17^th, 18^th and 20^th centuries to intimate and innovative contemporary productions by top-tier, internationally renowned conductors, directors and designers.

PROGRAM INFO

Philip Glass

THE FALL OF THE HOUSE OF USHER

February 23, 24, 27, and March 1 at the Harris Theater for Music & Dance

Book by Arthur Yorinks and Philip Glass

Based on the Story by Edgar Allan Poe

Lyrics by Arthur Yorinks 

Conductor:                                            ANDREAS MITISEK

Director:                                               KEN CAZAN

Set Designer:                                       ALAN E. MURAOKA

Costume Designer:                               JACQUELINE SAINT ANNE

Lighting Designer:                                DAVID JACQUES

Sung in English with English supertitles.

Role                                                     Cast (Alphabetical)                                          

Madeline Usher (Soprano)                     SUZAN HANSON 

William (Baritone)                                 LEE GREGORY 

Physician (Tenor)                                 JONATHAN MACK

Roderick Usher (Tenor)                        RYAN MACPHERSON

Servant (Bass-Baritone)                                    NICHOLAS SHELTON 

GOTH-PUNK MOVING MEN:  Joshua Banks, Curtis Bannister, Nathan Gardner, Jamal Howard, Matt Messina, Jordan Phelps, Will Snyder.

The Fall of the House of Usher is generously supported by Orli & Bill Staley and The Andrew W. Mellon Foundation.

For more information on the Chicago Opera Theater and its programs please visit www.chicagooperatheater.org.