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Showing posts with label Chicago's Lyric Opera. Show all posts
Showing posts with label Chicago's Lyric Opera. Show all posts
Friday, April 10, 2026
Lyric Opera Presents Disney’s Mary Poppins in Concert Live to Film April 10 and 11th, 2026
Friday, September 23, 2022
REVIEW: Fiddler on the Roof at Lyric Opera Through October 7, 2022
ChiIL Mama’s ChiIL Picks List
Fiddler on the Roof
Production photos by Todd Rosenberg
REVIEW
By Catherine Hellmann, Guest Critic
I admit I had never seen Fiddler on the Roof before, and it wasn’t a musical that I felt compelled to see. But this fabulous North American premiere at Lyric Opera imported from the Komische Oper Berlin has made me a believer. Every aspect of this classic musical is incredible: the performers, the costumes, the direction, the staging, dancing, and the amazing set. I only wish it was playing longer so more people could see this because everyone should.
The show opens startlingly with a young boy in a bright green hoodie on a modern scooter. (Drake Wunderlich, a very talented 5th grader from the Chicago Youth Symphony Orchestra.) He rides across the vast Lyric stage and parks in front of a large door. He locates a violin case in the closet and begins to play a familiar tune. What’s this kid doing here? We hear a knock from inside, and there is Tevye. The connection from present to past is jarring. Is this Tevye’s great-great-great-great-grandson? Certainly the importance of family and yes, “tradition!” is ever-present in Jewish culture. I like to think it’s a nod to Tevye’s family’s resiliency and survival; he will have heirs into the current age despite countless obstacles.
And then it seems the whole town of Anatevka pours onto the stage like an outpouring of clowns from a Volkswagon at the circus…if the clowns were Jewish and in much drabber clothes. The Lyric stage (the biggest in downtown Chicago) is used to full effect with the set which is composed of wood furniture like Grandma’s house has gone onto the market. Rufus Didwiszus is the set designer and Klaus Bruns is the mastermind behind the clever set. Characters are constantly appearing from behind closed armoires, making me wonder if Aslan might make a surprise visit as well. (As an English teacher, I racked my brain trying to pinpoint the symbolism of all those wardrobes and cabinets…”when God closes a door, He opens a window?” like Mother Superior says in Sound of Music? We may be against an obstacle, but another opportunity awaits---we just need the courage to step through? Or does it represent how the Jewish people cannot depend on stability? They always seem to be packing up belongings and moving because of religious persecution?? No matter the significance, it looks cool as hell.)
Steven Skybell was born to play Tevye, the poor milkman struggling to feed his family of six women, his steadfast wife Golde (a charming Debbie Gravitte) and his five headstrong daughters. Skybell is mesmerizing as the questioning, funny, philosophic, stubborn patriarch. He doesn’t understand his three older girls’ defiance to marry men they love, rather than those chosen for them. The three girls and their loves are all outstanding. Lauren Marcus as oldest daughter, Tzeitel, begs her father to allow her to marry her poor but devoted tailor, Motel, sung by Drew Redington. They are so sweet together. Austen Danielle Bohmer as Hodel falls for the adorable Perchik, a tutor to her sisters and a devotee of the brewing Russian revolution. He is sung beautifully by Adam Kaplan. Maya Jacobson is Chava, and she melted my heart as the defiant daughter who faces her father’s wrath by loving a Christian boy. Michael Nigro sings Fyedka, the intellectual with an incredible voice. He holds forth on a sustained note over the crowd in an earlier scene that made me jot down,”Who sang that long note?”
Alas, loving someone outside the faith is a travesty that Tevya cannot forgive. Chava is dead to him. It’s the one time in the show that I don’t feel sorry for Tevya. He’s being a stubborn dad.
The Lyric Opera Chorus is to be commended for their commanding presence. And I love that a woman conductor, Kimberly Grigsby, led the orchestra.
I didn’t expect the humor of the script, as when Tevya beseeches to God, ”I know we’re the chosen people, but can you sometimes pick someone else?” And Golda asks one of her girls, who doesn’t want to marry an older man with no hair,”You want hair? Marry a monkey!”
Tevya and Golda’s song about arranged marriage “Do You Love Me?” is so endearing. They may have been chosen to be together by their parents, but their love for each other has become genuine.
Another noteworthy song is the Day-of-the-Dead-type number where Tevya must confess to Golda that Tzeitel is no longer marrying the wealthy, older butcher. But he can’t simply admit that, so he stages an elaborate nightmarish dream to break the news to his wife. It’s a hoot with the skulls and surreal quality of the intricate lie.
I overheard a woman in the lobby at intermission proclaiming,” The dancing is stupendous!” Indeed. The “Matchmaker, Matchmaker” number by the three girls with potential suitors is incredibly sweet. The whole production is simply wondrous.
“Anastasia” is another Russian show currently playing downtown several blocks away. The snow in that musical is a fake projection. The “snow” keeps falling continuously in Act II at the Lyric. It’s a cool detail that reveals this was a full-out don’t-hold-back stunning production. It’s one of those truly special shows that will be talked about and remembered for years. Please see it. You’re welcome.
Highly recommended. 4 out of 4 stars ★★★★
Catherine Hellmann loves theater, Chicago, her kids, travel, coffee in the morning, Chardonnay at night, long walks, reading on the train, and Cincinnati Skyline chili. The order of her favorites is in no particular order and is subject to change.
More About Fiddler on the Roof
The North American premiere of a bold new production of Fiddler on the Roof comes to Chicago’s biggest stage September 17 to October 7, 2022. Audiences are invited to experience Jerry Bock and Sheldon Harnick’s Broadway classic on a musical and theatrical scale only Lyric Opera of Chicago can offer.
A new Fiddler arrives in Chicago. Following the success of the production at its critically acclaimed 2017 premiere at the Komische Oper Berlin, innovative director Barrie Kosky ties this version of Fiddler on the Roof to his Jewish ancestry and heritage, centering tradition in every aspect of his thrillingly theatrical production. Accomplished conductor Kimberly Grigsby (Broadway’s Spring Awakening and Flying Over Sunset) makes her Lyric debut revitalizing the celebrated music of Fiddler with the incomparable Lyric Opera Orchestra.
The traditional Fiddler you know, but seen and heard like never before. More than 50 years after its premiere, Fiddler on the Roof remains a story that still resonates with audiences of today. While the musical has always explored themes of tradition, family, and love, Kosky’s brave direction offers an even closer look into how communities like Anatevka are still struggling in today's world. This widely acclaimed production is supported by a massive ensemble of nearly 100 musical and dramatic artists, paving the way for audiences to enjoy another boldly unique musical theater experience that has become a Lyric Opera of Chicago signature.
A miracle of miracles! Experienced Broadway performers Steven Skybell and Debbie Gravitte make their Lyric debuts as Tevye and Golde. Skybell, who won the Lucille Lortel Award for outstanding performance by a lead actor as Tevye in the 2018 Yiddish production in New York, brings his exceptional capacity for this role to Lyric. The accomplished cast also includes Glencoe native Lauren Marcus in the role of Tzeitel in her Lyric debut. She’s joined by Broadway veteran—and Lyric newcomer—David Benoit in the role of Lazar Wolf. Joy Hermalyn rounds out this stellar lineup of Lyric debuts as Yente.
The other talented singing actors in the cast include Austen Bohmer as Hodel, Maya Jacobson as Chava, Drew Redington as Motel, Adam Kaplan as Perchik, Michael Nigro as Fyedka, Liliana Renteria as Shprintze, Omi Lichtenstein as Bielke, Jackson Evans as Mendel, Tommy Novak as Avram, Steven Strafford as Mordcha, Bill McGough as the Rabbi, William Brown as the Constable, and Melody Betts as Grandma and Fruma Sarah.
Tradition comes alive with a world-class creative team. Lyric’s Fiddler on the Roof features Rufus Didwiszus as set designer and Klaus Bruns as costume designer, both in their Lyric debuts, along with the lighting design of Diego Leetz skillfully recreated by Marco Philipp in a Lyric debut for both designers. Otto Pichler’s original choreography is masterfully recreated for Lyric by Silvano Marraffa. The robust forces of the Lyric Opera Chorus bring the village of Anatevka to life under the steady leadership of Lyric’s chorus master Michael Black—culminating in a musical production that is as wholly reimagined as it is filled with endless talent.
Shout l’chaim from the rooftops, with 11 chances to see Fiddler on a scale only Lyric Opera of Chicago can produce. Through Joseph Stein’s book, Jerry Bock’s music, and Sheldon Harnick’s lyrics, audiences become a part of Tevye’s family with this timeless tale of the fragility of love, community, and tradition.
There are 11 performances of Fiddler on the Roof: September 17, 18 matinee, 22, 23, 24, 28 matinee, 29 matinee, 30, and October 2 matinee, 6, and 7, 2022.
For updated information about Lyric’s ongoing health and safety protocols, visit lyricopera.org/safety
One of the world's leading opera directors, Barrie Kosky is celebrated from Vienna to Paris and from Bayreuth to London, where his new Ring cycle will take the stage at the Royal Opera starting next year. When his production of Fiddler on the Roof premiered at Komische Oper Berlin in 2017, international critics heralded the arrival of a completely original and unique experience created from this revered, Tony Award-winning masterpiece. "Songs many of us have heard our whole lives sentimentalized...are given weight and take on deep meaning," raved the Los Angeles Times. Experience a Fiddler like no other, with the full power of the Lyric Opera Orchestra and Chorus as well as a production that is both grand in scale and intimate in its power to bring you directly to the heart of the village of Anatevka. Join us as Tevye, his wife Golde, and their five daughters experience the real joys and sorrows that have made this meaningful work an enduring part of our culture.
Please note, Fiddler on the Roof will not have an at-home streaming option.
Language: Sung in English
Running Time: 3 hours 15 minutes with 1 intermission
Location: Lyric Opera House
Lyric’s presentation of Fiddler on the Roof is generously made possible by Lead Sponsor The Negaunee Foundation with additional support from Production Sponsors the Gramma Fisher Foundation of Marshalltown, Iowa, The Zell Family Foundation, Marlys A. Beider, The Davee Foundation, Invenergy LLC, The Harris Family Foundation, Randy L. & Melvin R.* Berlin and Ethel & William Gofen.
*deceased
Lyric Opera of Chicago thanks its Official Airline, American Airlines, and acknowledges support from the Illinois Arts Council Agency.
About Lyric
Lyric Opera of Chicago is committed to redefining what it means to experience great opera. The company is driven to deliver consistently excellent artistry through innovative, relevant, celebratory programming that engages and energizes new and traditional audiences.
Under the leadership of General Director, President & CEO Anthony Freud, Music Director Enrique Mazzola, and Special Projects Advisor Renée Fleming, Lyric is dedicated to reflecting, and drawing strength from, the diversity of Chicago. Lyric offers, through innovation, collaboration, and evolving learning opportunities, ever-more exciting, accessible, and thought-provoking audience and community experiences. We also stand committed to training the artists of the future, through The Patrick G. and Shirley W. Ryan Opera Center; and to becoming increasingly diverse across our audiences, staff, programming, and artists—magnifying the welcoming pull of our art form, our company, and our city.
Through the timeless power of voice, the splendor of a great orchestra and chorus, theater, dance, design, and truly magnificent stagecraft, Lyric is devoted to immersing audiences in worlds both familiar and unexpected, creating shared experiences that resonate long after the curtain comes down.
Join us @LyricOpera on Twitter, Instagram, and Facebook. #LongLivePassion
For more information, visit lyricopera.org/newseason.
Thursday, February 27, 2020
HELP OUT: Share Your Parenting Stories With Lyric Opera Through February 28 and Be Part of An Interactive Arts Project
Get involved with Thoughts on Parenthood
*As a special thank you for your time, survey participants can enter to win tickets to special Lyric performances and events!*
Thoughts on Parenthood is an interactive arts project presented by Lyric Opera of Chicago in conjunction with the upcoming Midwest premiere of Blue. With the help of activist and photographer Tonika Johnson, this project will connect with communities across the city of Chicago, gathering personal stories of parents – their greatest wishes, biggest needs, and proudest moments.
Take the survey HERE: lyricopera.org/ChillMama
How does it work?
Participating in this project is easy!
Parents are invited to take a short survey capturing stories about their experiences. The deadline for the survey process is February 28. 15–20 respondents will be selected to be profiled on Lyric's website with an interview and portrait by artist and activist Tonika Johnson.
Starting in May, the public is invited to visit Lyric's website to view selected profiles of parents from across the city.
As a special thank you for your time, survey participants can enter to win tickets to special Lyric performances and events!
Meet Tonika JohnsonTonika Johnson is a visual artist/photographer from Chicago’s Englewood neighborhood. As a trained photojournalist and teaching artist, she has been engaged in building an artistic legacy that gained citywide recognition in the last two years.
Coming this June: Blue
Blue
June 19-28, 2020
Sung in English with projected text
Presented at the Yard at Chicago Shakespeare
Navy Pier, 800 E. Grand Ave., Chicago
Tickets start at $35
Lyric Opera of Chicago
20 N. Wacker Drive
Chicago, IL 60606
United States
Lyric premiere of Blue is made possible by support from Gene and Jean Stark, Allstate Insurance Company, Baker & McKenzie, BMO Harris Bank, Conagra Brands Foundation, the Eisen Family Foundation, Virginia and Gary Gerst, Eric and Deb Hirschfield, the Lauter McDougal Charitable Fund, Magellan Corporation, Drs. Walter and Anne-Marie Bruyninckx, Debbie K. Wright.
What does "parent" mean?
For the purposes of this survey, a “parent” is defined as anyone who has taken legal and/or social responsibility for a child. The goal of this project is to include as many unique stories of parenthood as possible. So, if you consider yourself to be a “parent,” please feel free to participate!
Examples of parents include, but are by no means limited to:
Biological parents
Adoptive parents
Step-parents
Foster parents
Caregivers (grandparents, aunts/uncles, family friends, etc.)
Parents who conceived through alternative means (surrogacy, IVF, IUI, etc.)
Parents whose children are adults
Estranged parents or parents separated from their children
For more information, you can also go to www.lyricopera.org/parenthood.
Lyric Opera of Chicago is conducting a project in conjunction with their upcoming production of a new opera by Tazewell Thompson and Jeanine Tesori, Blue. Thoughts on Parenthood is an interactive arts project examining the unique experience of parenthood. With the help of activist and photographer Tonika Johnson, Lyric will connect with communities across the city of Chicago, gathering personal stories of parents – their greatest wishes, biggest needs, and proudest moments. Share your story and personal experience as a parent by completing this short survey: www.lyricopera.org/ChillMama
Friday, April 19, 2019
OPENING: West Side Story at Lyric Opera of Chicago May 3 – June 2, 2019
ChiIL Live Shows on our radar
FIRST LOOK:
Corey Cott as Tony and Mikaela Bennett as Maria in
Lyric Opera’s new grand-scale coproduction of
WEST SIDE STORY
May 3 – June 2, 2019
Mikaela Bennett as Maria and Corey Cott as Tony in Lyric’s West Side Story. Photo by Todd Rosenberg.
It's time to rumble on an epic scale, with a Sharks and Jets showdown, Lyric Opera style! I'll be out for the press opening, May 4th, with my son, so check back soon for our full review. We can't wait to catch this classic, ill fated love story, with an astonishing cast of nearly 100 artists and musicians. Don't miss this!
Lyric’s new grand-scale coproduction of Leonard Bernstein and Stephen Sondheim’s masterpiece West Side Story opens next month and features Broadway star Corey Cott as Tony and rising star Mikaela Bennett as Maria. Additional lead casting includes Brett Thiele (Riff), Amanda Castro (Anita), Manuel Stark Santos (Bernardo), and Adam Soniak (Action). Performances run May 3 – June 2, 2019 at the Lyric Opera House, 20 N. Wacker Drive, Chicago. Tickets are on sale now starting at $26 and can be purchased at lyricopera.org or by calling 312-827-5600.
With a cast of nearly 100 artists and musicians, Lyric’s coproduction brings a new energy and scale to West Side Story, which transports the story of Romeo and Juliet to the backstreets of New York and features iconic songs “Tonight,” “America,” “I Feel Pretty,” “Maria” and more. Staged by internationally acclaimed opera and theater director Francesca Zambello, the production features members of the Lyric Opera Chorus and Orchestra conducted by James Lowe.
West Side Story is a coproduction with Houston Grand Opera and Glimmerglass Festival. Zambello, who serves as the artistic director of the Glimmerglass Festival and Washington National Opera, returns to Lyric for the first time since the premiere of her production of Show Boat (2011/12) and has also directed Lyric productions of Tristan und Isolde (2008/09) and Salome (2006/07). West Side Story features the original choreography by Jerome Robbins, recreated for Lyric by Julio Monge. Set designs are by Peter J. Davison, with costumes designed by Jessica Jahn and lighting designed by Mark McCullough. Mark Grey is sound designer and Michael Black is chorus master.
ARTIST BIOS
COREY COTT (Tony), a graduate of Carnegie Mellon School of Drama, received critical acclaim on Broadway for his performance in the Tony Award-winning musical Bandstand. He made his Broadway debut as Jack Kelly in Disney’s Newsies for two years, followed by the revival of Gigi starring opposite Vanessa Hudgens. On television, he appeared opposite Christina Ricci in the Amazon series Z: The Beginning of Everything and co-starred alongside Hattie Morahan in the BBC/PBS miniseries My Mother and Other Strangers. He can also be seen in a recurring role on The Good Fight (CBS All Access). Other credits include The Interestings (Amazon pilot), Madam Secretary, Public Morals, Law and Order: SVU, and recently completed filming a role in the new Fox pilot, Filthy Rich. A native of Chagrin Falls, Ohio, Mr. Cott previously starred in Ms. Zambello’s staging of West Side Story in Concert with the National Symphony Orchestra at the Kennedy Center, conducted by Steven Reineke. He recently made his Carnegie Hall debut singing with the New York Pops.
MIKAELA BENNETT (Maria) is a graduate of the Juilliard School and is celebrated as a singer and actress for her work on stage and in the concert hall. In 2019 she was honored with a Lincoln Center Award for Emerging Artists. On stage, she made her professional debut starring as Penelope/The Golden Apple at City Center Encores! She originated the role of Norma/Renascence in Dick Scanlan and Carmel Dean’s new musical in New York City, and at the Prototype Festival she originated the title role/Acquanetta in a new opera composed by Michael Gordon. In the concert hall she has made her debuts with some of the world’s leading orchestras, including the John Wilson Orchestra (as Maria/West Side Story, concert performance at the BBC Proms), the New York Philharmonic under Leonard Slatkin, the Philadelphia Orchestra under Yannick Nézet-Séguin, and both the San Francisco Symphony Orchestra and Los Angeles Philharmonic under Michael Tilson Thomas. She has also appeared as a soloist at the Kennedy Center and Carnegie Hall.
AMANDA CASTRO (Anita) has previously appeared in West Side Story as both Anita (Atlanta Opera, Glimmerglass Festival) and Consuelo (Lyric Opera of Kansas City, Houston Grand Opera). Castro has appeared widely in America and also abroad (London, Germany, South Africa). A California Institute of the Arts alumna, she was a principal dancer of the renowned Brooklyn-based company Urban Bush Women for four years. In the Run the Night competition at New York’s Highline Ballroom, she won in 2016 and placed second in 2017 with Soles of Duende, her all-female percussive trio. Other New York credits include a recently completed year-long creative residency with Soles of Duende at Dixon Place Theatre; assisting choreographer Nick Kenkel at BC Beat; working as a model and movement specialist in New York Fashion Week; and dancing at Radio City Music Hall for the Ellie Awards. Castro was dance captain at Geva eater (Rochester, New York) for In the Heights. Choreography credits include the American Dance Awards, several works for Urban Bush Women, and multiple set pieces for Northeast competition studios.
BRETT THIELE (Riff) has appeared in multiple Broadway productions including Escape to Margaritaville, Miss Saigon, and Spiderman: Turn Off the Dark. A native of New Orleans, Thiele has appeared off-Broadway in Clueless, The Musical at the New Group. Regionally, he has appeared as Tulsa/Gypsy at the Maltz Jupiter Theatre, The First Wives Club at the Oriental Theatre in Chicago, Follies at the Repertory Theatre of St. Louis, and as Dakin/The History Boys at the Uptown Players in Dallas. His previous West Side Story performances include Riff with the St. Petersburg Opera Company and Action at the Asolo Theatre in Florida.
MANUEL STARK SANTOS (Bernardo) previously played this role at Ogunquit Playhouse. He has also portrayed Chino at New York’s Palace Theatre and Riff at Carnegie Hall. Santos has appeared on Broadway as Kassim/Aladdin (subsequently on the production’s first national tour), Bonfils/Gigi, and S. Uperman/On the Town. In New York he has also been seen at the Public LAB (Venice: A New Musical), City Center Encores! (Do I Hear a Waltz, Little Me, Applause, Irma La Douce, The Most Happy Fella), Paper Mill Playhouse (Paul San Marco/A Chorus Line), New York Music Theater Festival (Rio), Houston’s Theater Under the Stars (Disney’s When You Wish), Atlanta’s Alliance Theatre (world premiere of Bull Durham), and Pittsburgh Civic Light Opera (Ren/Footloose). He was also seen in 14 episodes of the NBC television series Smash.
ADAM SONIAK (Action, u/s Riff) comes to Lyric following the national tour of the American-premiere production of Andrew Lloyd Webber’s Love Never Dies. No stranger to West Side Story, he has played Riff at Casa Mañana and the Westchester Broadway Theatre, as well as in major cities across Europe with the international touring company. Regionally, he has appeared at Paper Mill Playhouse (The Sound of Music) Walnut Street Theatre (Saturday Night Fever), and Riverside Theatre (Hello, Dolly!). To honor this production, Soniak has made a donation to the Illinois Coalition for Immigrant and Refugee Rights.
About Lyric Opera of Chicago
Lyric Opera of Chicago’s mission is to express and promote the life-changing, transformational, revelatory power of great opera. Lyric exists to provide a broad, deep, and relevant cultural service to Chicago and the nation, and to advance the development of the art form.
Founded in 1954, Lyric is dedicated to producing and performing consistently thrilling, entertaining, and thought-provoking opera with a balanced repertoire of core classics, lesser-known masterpieces, and new works; to creating an innovative and wide-ranging program of community engagement and educational activities; and to developing exceptional emerging operatic talent.
Under the leadership of general director, president & CEO Anthony Freud, music director Sir Andrew Davis, and creative consultant Renée Fleming, Lyric strives to become The Great North American Opera Company for the 21st century: a globally significant arts organization embodying the core values of excellence, relevance, and fiscal responsibility.
To learn more about Lyric’s next season, go to lyricopera.org. You can also join the conversation with @LyricOpera on Twitter, Instagram and Facebook.
WEST SIDE STORY
Based on a conception of JEROME ROBBINS Book by ARTHUR LAURENTS
Music by LEONARD BERNSTEIN Lyrics by STEPHEN SONDHEIM
Original production directed and choreographed by JEROME ROBBINS
This production is a coproduction of Lyric Opera of Chicago, Houston Grand Opera, and Glimmerglass Festival.
Lyric premiere of Bernstein’s West Side Story generously made possible by Lead Sponsor The Negaunee Foundation and cosponsors an Anonymous Donor, Randy L. and Melvin R. Berlin, Robert S. and Susan E. Morrison, Mrs. Herbert A. Vance and Mr. and Mrs. William C. Vance, and Northern Trust. Major in-kind audio support provided by Shure Incorporated.
Thursday, December 13, 2018
Lyric Opera of Chicago's La bohème and Cendrillon Return in January With Discounts For Children and College Students
ChiIL Live Shows on our radar
Two favorites return to Lyric Opera of Chicago in the New Year:
La bohème (January 10-31) and
Cendrillon (January 11-20)
Photos: Todd Rosenberg
Lyric Opera of Chicago kicks off 2019 with two acclaimed productions: the return of the new production of Puccini’s captivating and tragic love story La bohème, and the Midwest premiere of a beloved production of Cendrillon, based on the Cinderella story. La bohème is a quintessentially Italian opera and the plot is forever youthful and eternally fresh. Cendrillon features an intelligent blend of wit, sensitivity, and elegance against the backdrop of a familiar storybook kingdom.
La bohème opened on October 6, 2018 to critical and audience acclaim and reopens on Thursday, January 10, 2019 at 7 p.m. for eight performances at the Lyric Opera House (20 N. Wacker Drive, Chicago) through January 31. Single tickets start at $39 and are available now at lyricopera.org/laboheme or by calling 312-827-5600.
Cendrillon premiered at Lyric on December 1, 2018 to the delight of audiences and critics alike, and retakes the stage on Friday, January 11 at 7 p.m. with three performances through January 20. Single tickets start at $49 and are available now at lyricopera.org/cendrillon or by calling 312-827-5600.
Special pricing is available for children’s tickets for all opera performances at Lyric when purchased with adult tickets. Children’s tickets ($20-$50) are available by calling Audience Services at 312-827-5600. Full-time college students may register for Lyric’s NEXT student discount tickets ($20) for select performances at lyricopera.org/next.
LA BOHÈME
One of the most popular – and most performed – operas in the world, La bohème inspired the hit musical Rent and follows six relatable young-adult Bohemians experiencing the highs and lows of 1830s Paris. The cast stars Italian soprano Maria Agresta as Mimì, American tenor Michael Fabiano as Rodolfo this past October 2018, Australian soprano and Emmy Award winner Danielle de Niese as Musetta, American baritone Zachary Nelson as Marcello, and Romanian bass Adrian Sâmpetrean as Colline. Rounding out the principal roles are Puerto Rican baritone Ricardo José Rivera as Schaunard and American bass-baritone Jake Gardner as Benoît & Alcindoro.
The cast for the January performances of La bohème is the same as for the October performances. Venezuelan-Swiss conductor Domingo Hindoyan will lead all but the Jan. 31 performance, which will be conducted by Stefano Sarzani in his Lyric debut. British director Richard Jones created the new production, with set and costume designs by Stewart Laing and lighting designed by Mimi Jordan Sherin. Michael Black is chorus master.
CENDRILLON
Lyric’s Cendrillon (Cinderella) cast includes several artists who made triumphant company debuts in December. Australian soprano Siobhan Stagg portrays Cendrillon, and Prince Charming is played by British mezzo-soprano Alice Coote, who returns to Lyric in the title role of Handel's Ariodante in March. Canadian coloratura soprano Marie-Eve Munger is the Fairy Godmother, American mezzo-soprano Elizabeth Bishop is Cendrillon’s stepmother Madame de la Haltière, and Australian bass-baritone Derek Welton is Cendrillon’s father Pandolfe. Ryan Opera Center ensemble members soprano Emily Pogorelc and mezzo-soprano Kayleigh Decker are Cendrillon’s stepsisters.
Lyric’s music director Sir Andrew Davis conducts the Cendrillon performances January 17 and 20. Canadian-Italian conductor Francesco Milioto makes his company debut leading the January 11 performance. French director Laurent Pelly created the production and designed the whimsical costumes, with scenery by Belgian designer Barbara de Limburg and lighting designed by Duane Schuler. Choreography is by Laura Scozzi, revived for Lyric by Karine Girard. Michael Black is chorus master.
New Lyric Opera coproduction of Puccini’s La bohème generously made possible by the Julius Frankel Foundation, Abbott Fund, Liz Stiffel, The Michael and Susan Avramovich Charitable Trust, Howard L. Gottlieb and Barbara G. Greis, and Roberta L. and Robert J. Washlow.
Lyric’s premiere presentation of Massenet’s Cendrillon generously made possible by the NIB Foundation and Invesco QQQ.
About Lyric Opera of Chicago
Lyric Opera of Chicago’s mission is to express and promote the life-changing, transformational, revelatory power of great opera. Lyric exists to provide a broad, deep, and relevant cultural service to Chicago and the nation, and to advance the development of the art form.
Founded in 1954, Lyric is dedicated to producing and performing consistently thrilling, entertaining, and thought-provoking opera with a balanced repertoire of core classics, lesser-known masterpieces, and new works; to creating an innovative and wide-ranging program of community engagement and educational activities; and to developing exceptional emerging operatic talent.
Under the leadership of general director, president & CEO Anthony Freud, music director Sir Andrew Davis, and creative consultant Renée Fleming, Lyric strives to become The Great North American Opera Company for the 21st century: a globally significant arts organization embodying the core values of excellence, relevance, and fiscal responsibility.
To learn more about Lyric’s season, go to lyricopera.org. You can also join the conversation with @LyricOpera on Twitter, Instagram, and Facebook. #Lyric1819 #LongLivePassion
Friday, December 7, 2018
REVIEW: Massenet’s Cendrillon at Lyric Opera of Chicago Through January 20, 2019
ChiIL Live Shows on our radar
Dynamic French Cinderella Story Dazzles at
Lyric Opera
Image by Bill Cooper/Royal Opera House
Running Time: 2 hours, 45 minutes with 1 intermission
Guest Review
By Milan Pejnovich
Jules Massenet’s "Cendrillon" (Cinderella) returns to Chicago for the first time in over 100 years in a dazzling must-see production now playing at the Lyric Opera through January 20. A critical and popular success during the composer’s lifetime, the opera was the culmination of over 35 years of experience trotting out hits for the opera houses of Paris and the rest of Europe, so it has all of the trademarks of an audience-pleasing favorite – romance, heart, solos, duets, choruses, dance numbers, and (spoiler alert?) a happy ending. For some reason or other, however, the opera soon fell out of favor along with most of the rest of the composer’s oeuvre after his death, not returning to the standard repertoire until a Massenet resurgence in the 1970s. Thankfully for all us, it’s been back to stay ever since, because it truly is a textbook example of a lush French Romantic opera.
One should be familiar enough with the story, a creation of French writer Charles Perrault from the turn of the 17th century. Cinderella lives with her father, stepmother, and stepsisters but is made to do all the housework with none of the fun, including attending a lavish ball at the king’s castle designed to find the young Prince Charming a wife. Her Fairy Godmother intervenes, dressing up Cinderella in a beautiful gown and sending her off to the ball in an elegant carriage with the express command of needing to return home at the stroke of midnight. She and the prince fall in love, but in her rush to get home in time, she leaves with no contact information, but for her one forgotten glass slipper. In his search for her, the prince calls for all of the single ladies in the land to try on the slipper and reveal themselves, which Cinderella does and (spoiler alert?) all lived happily ever.
For the purpose of investing the plot with a little more drama and artistic merit, Massenet departed from the fairy tale in some significant ways. Cinderella’s father is a loving but henpecked man who understands that both his and his daughter’s lots in life would be better if they fled. Her stepmother and stepsisters aren’t so much sadistic or brutish as they are self-centered and vapid. And there’s a scene after the ball where Cinderella and Prince Charming both individually plead with the Fairy Godmother among the dark and mysterious rooftops of Paris to help them find one another. All of this helps create some alternately beautiful and amusing moments for the whole family to enjoy.
And speaking of families, all ages will be dazzled with this production by director Laurent Pelly, which has been seen all over the world, including Covent Garden and the Met, but is new to Lyric, as is the opera itself. The costumes are lavish, the set is both dynamic and ingenious, and the backdrop is designed with text from the original French tale written all over it in homage. Four of the five principal singers are all experienced in the roles but making their Lyric debuts, while most of the rest of the cast is comprised of current Ryan Opera Center members having their moments in the big house. It all truly is a feast for the eyes and ears, and is certainly one of the most charming and beautiful productions to grace Lyric’s stage in recent memory. It’s an unforgettable night at the opera.
We have a special treat and a first here at ChiIL Mama, dual reviews!
Guest Review
by Flo Mano
I was eagerly anticipating Lyric's sold out opening night premiere of "Massenet's Cendrillon". The curtain rolled up to the set design (Barbara De Limburg) of a wall text in French, homage to Perrault. We see a meek, remorseful father (Pandolfe-Derek Welton). Then, emerged the commanding, controlling, contoured Mme. de la Haltiere (Elizabeth Bishop), stepmother, followed by her two giggly, clumsy, naïve daughters, Noemie (Emily Pogorelc) and Dorothee (Kayleigh Decker). An amazing upwelling of laughter greeted their entrance, reminiscent of commedia del'arte, sans masks. Credit to the direction and costume designer, Laurent Pelly! The whole imagery "had me at hello".
There's a chair with the letter "C" and as they're planning for the ball, Lucette (Siobhan Stagg) Cendrillon, peeks her head through a porthole and sheepishly appears after they left for the ball. Lamenting in a soulful aria, wishing, the fairy godmother (Marie-Eve Munger) magically appears and grants her a few hours that'll change the course of her axis. A carriage appears with the most regal of white horses galloping in synchronized choreography!
Prince Charming (Alice Coote)is struck, mesmerized by her elegant beauty, as she enters the ball, in her white, sparkling gown, stark contrast to everyone dressed in ovate shaped crimson red! They dance, stricken by cupids arrow, enchanted, till the stroke of midnight chimes.
Back home she worries for her lost glass slipper. The sycophants return, retelling a distorted perspective, that hurts Lucette, whose sympathetic, loving father offers they go away. She goes to the rooftops of Paris and in a dream, lives a loving moment with the prince! She falls ill at the news that the prince is searching for the "unknown beauty" and is elated when the shoe fits! This familiar storyline is magically reawakened in the melodic composition of Massenet and libretto by Henri Cain, conducted by Sir Andrew Davis!
I'm a visual person, so my favorite elements of this opera are many, including the fonts and set design, costumes, choreography, puppetry/horses, orchestration, singing, and the comedic humor!
Chicago is fortunate to have the world class Lyric Opera, a leader of firsts in
one of North America's most beautiful opera houses, the Civic Opera House — now known as the Lyric Opera House. The opera house was envisioned by billionaire utility magnate and president of the Chicago Civic Opera Association, Samuel Insull (1859-1938).
The building is shaped like a huge chair, and is sometimes referred by its shape as "Insulls chair"! From this vantage, we immensely enjoyed the Lyric's visually stunning production of "Massenet's Cendrillon. Absolutely Exquisite! Timeless! Memorable on every level! I'd see it again and again!!...and Again!!
Flo Mano is a CPS elementary teacher/librarian, hairdresser, and theater/film fanatic who catches hundreds of Chicago shows annually. She's been known to pull over while driving, spring from her car, and excitedly hug favorite actors if she sees them on the street! Flo has an uncanny knack for remembering faces and roles for decades. She volunteers at numerous film venues and theaters, and she has otherworldly ticket karma, frequently showing up at sold out shows and getting standby tickets.
"A magical, mystical view of Cendrillon."
"Vocal flourishes and glistening orchestration."
"Light as air, fanciful to the core and — yes — very, very funny."
"Wickedly amusing costume design."
"★ ★ ★ ★"
–Chicago Tribune
"The charming Cendrillon delights at Lyric."
"Full of pageant, mischief, wish fulfillment and beguiling tenderness."
"★ ★ ★ ★"
–Chicago Sun-Times
"Stunning costumes."
"A talented ensemble and striking design approach bring magical life to this familiar story."
–Picture this Post
What You Need to Know About
CENDRILLON at Lyric Opera of Chicago
Six performances December 1 – January 20
A whimsical retelling of the classic fairytale Cinderella, in which a mistreated girl overcomes the odds to find her Prince Charming -- with a little help from her fairy godmother.
· Delectably inviting music: French composer Jules Massenet’s Cendrillon is equal parts witty and romantic. From the stepsisters’ funny outbursts, to the soaring melodic lines of Cinderella and Prince Charming’s duet, Massenet has crafted the perfect music to match a delightful fairytale.
· Family-friendly fun: Children and adults alike will love this familiar story and will marvel at the beautiful singing and charming visuals.
· A whimsical and inventive production: "I am thrilled to introduce this enchanting and magical piece to Lyric audiences for the first time," says Lyric general director Anthony Freud. "Laurent Pelly's production is endlessly witty and alluring, and Sir Andrew Davis, a distinguished interpreter of Massenet, will bring this beautifully romantic score to irresistible life."
· Enchanting performances are in store: Australian soprano Siobhan Stagg makes her American debut as the titular Cinderella, English mezzo-soprano Alice Coote plays the energetic and passionate prince, and Quebecoise soprano Marie-Eve Munger (Lyric debut) sings stratospherically high notes as the fairy godmother. Cinderella’s tenderhearted father Pandolfe is sung by Australian bass-baritone Derek Welton (Lyric debut). American mezzo-soprano Elizabeth Bishop (Lyric debut) plays the imperious stepmother, while Ryan Opera Center singers Emily Pogorelc and Kayleigh Decker play the absurdly funny stepsisters.
· Lyric Opera’s own musical director Sir Andrew Davis conducts the Lyric Opera Orchestra, while Francesco Milioto makes his Lyric Opera debut conducting the January 11th performance of Cendrillon.
·A feast for the senses! The hyper-theatrical costume designs by Laurent Pelly and Barbara de Limburg's clever set designs, which make scenery out of the storybook pages and words, are guaranteed to astonish and amuse. (The renowned director-costume designer and set designer are both French and both making Lyric debuts.) Duane Schuler's lighting designs enhance the magical atmosphere.
·A vibrant collection of courtiers has their turn in the spotlight through some of the most visually stunning and energetic scenes in the show, portrayed by the Lyric Opera Chorus, prepared by chorus master Michael Black. The original choreography for the ball scene by Laura Scozzi, with revival choreography by Karine Girard (both Lyric debuts), is a dance the audience won’t soon forget.
·A Cendrillon Chicago has not seen yet: This beloved production of Cendrillon is making its premiere at Lyric, and the opera itself has not graced Chicago since 1911—long, long ago!
· See it if you like: Family-friendly entertainment, a perfect date-night show, gorgeous music, enchanting visuals, and a blissfully happy ending!
·Running Time: 2 hours, 45 minutes with 1 intermission: Enjoy an exceptional live experience in the beautiful surroundings of the Art-Deco theater and foyer.
· Sung in French with projected English translations.
· Six performances Dec. 1, 5, 8, and Jan. 11, 17, and 20 at Lyric Opera House, 20 N. Wacker Drive, Chicago. Weekend evening performances start at 7:30 pm and please note the earlier start time for weeknight performances at 7:00 pm.
· For more information and to order tickets, visit lyricopera.org/Cendrillon or call 312-827-5600. Tickets start at $69 and special children's ticket prices ($20-$50) are available to order by phone.
· For information about pre-performance dining options at Lyric, visit lyricopera.org/dining to learn about on-site restaurants, pop-up sushi bar, beverage service, and more.
About Lyric
Lyric Opera of Chicago’s mission is to express and promote the life-changing, transformational, revelatory power of great opera. Lyric exists to provide a broad, deep, and relevant cultural service to Chicago and the nation, and to advance the development of the art form.
Founded in 1954, Lyric is dedicated to producing and performing consistently thrilling, entertaining, and thought-provoking opera with a balanced repertoire of core classics, lesser-known masterpieces, and new works; to creating an innovative and wide-ranging program of community engagement and educational activities; and to developing exceptional emerging operatic talent.
Under the leadership of general director Anthony Freud, music director Sir Andrew Davis, and creative consultant Renée Fleming, Lyric strives to become The Great North American Opera Company for the 21st century: a globally significant arts organization embodying the core values of excellence, relevance, and fiscal responsibility.
To learn more about Lyric’s current season, go to lyricopera.org. You can also join the conversation with @LyricOpera on Twitter, Instagram, and Facebook. #Lyric1819 #LongLivePassion
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