Category Archives: Music

Lyric Opera’s Eugene Onegin: Tatiana’s Triumph

Like Shakespeare’s Julius Caesar, Pytor Tchaikovsky’s Eugene Onegin is not eponymous. The play is named, not, as Dostoyevsky famously argued, for the play’s main character, but rather for the character who sets the main character in action. The main character in Tchaikovsky’s opera is, instead, the country girl, Tatiana Larina. And Tatiana might owe her […]

Lyric Opera’s CARMEN: Ashford and Calleja Make History

“Bullfighting is the only art form that both represents something and is that thing at the same time: the matador’s elegant immobility in the face of the bull not only represents man’s defiance of death, it is a man defying death, and there are women who do it too.”[i] In Rob Ashcroft’s magnificent new telling of Bizet’s Carmen, the […]

Lyric Opera: Chicago’s Third Great NORMA

As late as 1920, American musicologists considered Vincenzo Bellini’s Norma “an improbably old-fashioned, almost hurdy-gurdy work.” But thanks to Chicago sopranos, that opera has become a standard of the American operatic canon. Written when Bellini (1801-1835) was just thirty years old, Norma had played in Chicago since the mid-nineteenth century by various visiting opera companies. […]

My 10 Favorites of 2016, In No Particular Order

KING CHARLES III – Chicago Shakespeare THE AMISH PROJECT – Interrobang WONDERFUL TOWN – Goodman THE MERCHANT OF VENICE – Shakespeare’s Globe at Chicago Shakespeare THE SEAGULL – The Artistic Home COMPANY – Writers’ Theatre A LOSS OF ROSES – Raven Theatre PYGMALION – Remy Bumppo THE TROJANS – Lyric Opera THE MAGIC FLUTE – […]

LYRIC OPERA’S MAGIC FLUTE: A Metatheatrical Spectacular

Reviewing an 1879 production of Mozart’s The Magic Flute, the anonymous Chicago Tribune critic noted, “it would be absurd to try to explain the plot…. All sorts of explanations have been attempted but, if anyone ever really knew what it meant, he died before he said anything about it. It is a hodge-podge, nonsense, and […]

Lyric Opera’s DON QUICHOTTE: A Hymn to a Holy Fool

A dying Jules Massenet wrote Don Quichotte knowing the woman he loved, soprano Lucy Arbell, would play the courtesan-lady Dulcinee after his death. Rather than create his own libretto from Cervantes’ mammoth novel, Massenet used Jacques Lorrain’s bastardized and abridged verse play, Le Chevalier de la longue figure, for his libretto. La Lorrain’s short play […]

Lyric Opera’s THE TROJANS: The “Most Profoundly Moving Experience”

“For grandeur of conception, nobility of tone, and imaginative range [Berlioz’ The Trojans] has scarcely a rival in operatic history.”[i] The words of the great musicologist Winton Dean would seem impossible to fulfill in production. But, after seeing the Lyric Opera of Chicago’s brilliant production of The Trojans, Mr. Dean may have been understating the […]

Interrobang’s THE AMISH PROJECT: An Icon of Forgiveness

In his famous Law of the Drama, the French critic Ferdinand Brunitiere (1849-1906) insists on the primacy of  “conflict” in dramatic literature: “Drama is a representation of the will of man in conflict with the mysterious powers or natural forces which limit and belittle us; it is one of us thrown living upon the stage […]

Lyric Opera’s Lucia di Lammermoor: Superlative Voices Reign Supreme

+ You can hear it in films – not just in The Great Caruso (1951), but also in The Departed (2006), Man on the Moon (1999), two Mickey Rooney  movies, Captain January (1936),Little Women (1933), Scarface (1932) , with the Marx Brothers in Animal Crackers (1930), and even in the Bugs Bunny/Road Runner Movie (1979). […]

Remy Bumppo’s Pirandello’s HENRY IV: A Modern Masterpiece Given Life

Though considered a major modern playwright, the plays of Luigi Pirandello are rarely produced. The reasons are numerous. First, the large casts require large budgets. Second, the plays’ philosophical facades are difficult to crack. And third, directors struggle to find a production style which makes the plays both clear and exciting to an audience. Consequently, […]