Lyric Opera of Chicago

Lyric Lately

Experience the “vocal thunder” and “visceral grit” in IL TROVATORE

"It seems like Lyric Opera can do no wrong this season"  - or so says the Chicago Classical Review. Lyric's production of Verdi's epic  Il Trovatore  is another bonafide hit. Your fall is not complete without seeing this "blazing romantic drama" (Chicago Stage Standard), now at Lyric through November 29.

"It seems like Lyric Opera can do no wrong this season"- or so says the Chicago Classical Review. Lyric's production of Verdi's epic Il Trovatore is another bonafide hit. Your fall is not complete without seeing this "blazing romantic drama" (Chicago Stage Standard), now at Lyric through November 29.

"Lyric's 'Il Trovatore' is grand opera at its finest" - Wynne Delacoma, Chicago Sun-Times

"Lyric Opera delivers the vocal thunder in a dark and combustible 'Trovatore'" - Lawrence A. Johnson, Chicago Classical Review

"an effective amalgam of visual beauty and visceral grit" - Mark Thomas Ketterson, Chicago Tribune

 "This is a performance worth seeing, if only for the tremendous performances by each star in the ensemble. Whether this is your first opera or your 60th, the Lyric's Il Trovatore does not disappoint." - Tim Corpus, Chicago Stage Standard

"I've experienced the delirious pleasure of Il Trovatore many times before, but never get tired of it—especially when the intoxicating masterpiece is mounted with Lyric's magnificent attention to detail and flair for exceptional dramatization." - Betty Mohr, Le Bon Travel and Culture

The Can't-Miss Cast 

Yonghoon Lee as Manrico

" Tall, slim and handsome, Lee unleashed his agile tenor with youthful ardor." - Wynne Delacoma, Chicago Sun-Times

" the Korean tenor sang with imposing power and lyric sensitivity" - Lawrence A. Johnson, Chicago Classical Review

"he is like a reborn Golden Age tenor having returned to the opera stage." - William Burnett, Opera Warhorses

Quinn Kelsey as Count di Luna

"Kelsey has now fully graduated into the leading Verdi baritone roles he was clearly born to sing." - Mark Thomas Ketterson, Chicago Tribune

"the Ryan Center alum proved an explosive presence as Count di Luna" - Lawrence A. Johnson, Chicago Classical Review

"While singing his heartfelt aria about his love for Leonora, his performance shakes you to the point where, for a moment, you forget he is the bad guy." - Tim Corpus, Chicago Stage Standard  

Amber Wagner as Leonora

"It was clear from the first time Lyric put her on a Chicago stage that Wagner has that rarity, a voice that's not just excellent but—in its power and unique timbre—actually thrilling over most of its range. That voice, like a searchlight in a room full of candles, is magnificently on display in Lyric Opera's current production of Giuseppe Verdi's Il Trovatore." - Deanna Isaacs, Chicago Reader

"Amber Wagner spun reams of gorgeous, creamy tone"  - Mark Thomas Ketterson, Chicago Tribune

"Amber Wagner brought the crowd to a roaring applause" - Tim Corpus, Chicago Stage Standard

"…she belongs in any list of the world's great Verdian sopranos" - William Burnett, Opera Warhorses

Stephanie Blythe as Azucena

Stephanie Blythe's "big, rich mezzo-soprano combined both ringing clarity and smoky depths as the tormented gypsy poured out her tale of sorrow and vengeance." - Wynne Delacoma, Chicago Sun-Times

"As Azucena, Stephanie Blythe comes through with a delicious mezzo-soprano that reverberates with her tale of woe and desire for revenge." - Betty Mohr, Le Bon Travel and Culture

"No singer can sing everything, with just one caveat: Stephanie Blythe. Her characterization of the gypsy Azucena was appropriately gripping, and I’m certain she could have been heard in the theater at any vocal level she desired from the comfort of her dressing room." - Aaron Hunt, New City

The Lyric Opera Orchestra and Chorus

"Conductor Asher Fisch drew a most satisfying account of the score from his players (not to mention those anvils!)." - Mark Thomas Ketterson, Chicago Tribune

"Even by their current elevated standard, Michael Black's chorus sang with tremendous strength and sonorous impact, with the soldier's choruses especially resounding."  - Lawrence A. Johsnon, Chicago Classical Review

"Soft-edged, plangent woodwinds underscored the opera's melancholy mood, and pulsing strings were a comforting presence its opera's quiet moments. But when the famous Anvil Chorus erupted, the dry ring of massive hammers on unforgiving metal was both thrilling and chilling." - Wynne DelacomaChicago Sun-Times

Photo credits

  • Lyric Opera of Chicago's production of Il Trovatore (credit Michael Brosilow)

 

Your guide to an operatic Halloween

No need to go as a superhero or your favorite president for Halloween this year - opera is full of larger-than-life characters, from Azucena to the Commendatore, that will make you the talk of your costume party.

No need to go as a superhero or your favorite president for Halloween this year - opera is full of larger-than-life characters, from Azucena to the Commendatore, that will make you the talk of your costume party. 

Azucena from Il Trovatore

 
The revenge-obsessed gypsy 

 
Costume: Think of it as peasant-chic. A colorful bohemian blouse and skirt with beaded necklace. Bed head is encouraged!

Must-have accessory: Convince some friends to join in the fun and sing the Anvil Chorus wherever you go. Or just carry around a knife to lend that authentic touch.

Optional: Make it a night to remember by orchestrating the demise of your adopted son, who is actually the brother of your sworn enemy.

Henry VIII from Anna Bolena

 
The lustful king

Costume: An ermine robe is the only way to go, plus the latest in 16th century fashion: doublet, jerkin, and hose.

Must-have accessory: Crown and scepter.

Optional: Have a second date lined up for later in the night just in case you have to move on to plan B...for Boleyn. 

 Floria Tosca from Tosca


The ultimate diva

Costume: A diva never leaves the house in anything less than her best gown. Hair and jewelry should be over-the-top. Think bling!

Must-have accessory: A handsome painter who calls you his muse.

Optional: A willingness to take a big leap in the name of love

Venus from Tannhäuser

The goddess of love

Costume: A seductive goddess gown will help lure men into your realm.

Must-have accessory: A giant bed always helps when you're encouraging people to give in to the pleasures of the flesh.

Optional: To truly mimic the pleasure of Venusburg, surround yourself with a coterie of attractive ballet dancers at your Halloween bacchanal.

Manrico from Il Trovatore


The warrior-troubadour and devoted son

Costume: A puffy shirt, tight pants, and leather boots are your preferred look.

Must-have accessories: A lute to serenade your beloved and a sword to fight your enemies.

Optional: An ongoing feud with your arch-nemesis, who also happens to be your brother.

Donna Elvira from Don Giovanni

 
The independent lady

Costume: Think 1920s chic…pants, pin-curled hair, and a take-no-prisoners attitude. Donna Elvira would probably love hanging out with a young Amelia Earhart.

Must-have accessory: Motorcycle

Optional: If you can recreate the Picasso dress from Lyric's new production, go nuts!!!

The Commendatore from Don Giovanni


The murdered father / escort to the underworld

Costume: Channel your inner statue - paint any suit or military outfit green and gray and be sure to cover your face and hair in a ghost-like sheen.

Must-have accessory: Bring your own pedestal, for better lurking in a cemetery.  

Optional: We're not saying that you have to condemn someone to hell, but it's nice to know you have the power.

Photo credits

  • Stephanie Blythe in Lyric's production of Il Trovatore; credit Michael Brosilow / Lyric Opera of Chicago
  • Kyle Ketelsen as Henry VIII in Anna Bolena; credit Michal Daniel / Minnesota Opera
  • Doina Dimitriu (left) and Violeta Urmana at Lyric; credit Dan Rest / Lyric Opera of Chicago
  • Michaela Schuster in 

    Tannhäuser; credit 

     Clive Barda / Royal Opera House
  • Yonghoon Lee in Il Trovatore at Lyric; credit Michael Brosilow / Lyric Opera of Chicago
  • Ana María Martínez in Don Giovanni at Lyric; credit Todd Rosenberg / Lyric Opera of Chicago

  • Andrea Silvestrelli 

    Don Giovanni at Lyric; credit Todd Rosenberg / Lyric Opera of Chicago

 

Craig Terry takes you “Beyond the Aria”

Ryan Opera Center music director Craig Terry takes you on a guided tour of the new cabaret series Beyond the Aria, which kicks off on Oct. 21 with performances by Ana María Martínez, Bo Skovhus, and J’nai Bridges.

This season, Lyric is proud to collaborate with the Harris Theater for Music and Dance at Millennium Park for their production of Beyond the Aria, a series of four intimate cabaret-style performances that showcase opera singers in the repertoire they enjoy outside of the operatic realm. Selections will range from a variety of genres, from Broadway to jazz to folk, so audiences can expect the unexpected.

The series kicks off on Tuesday, October 21 with Ana María Martínez (currently on stage in Don Giovanni), Bo Skovhus (on stage in Capriccio), and Ryan Opera Center ensemble member J'nai Bridges. The series continues on November 10, January 14, and March 10. Ryan Opera Center music director Craig Terry is artistic director for this new series, and he gives us some insight into this unique program.

How did the series come about?

Last October, I played on the Harris Theater's 10th anniversary gala with Stephanie Blythe, and afterwards, Michael Tiknis approached me about ways he thought we might collaborate together.  When I suggested a recital series with stars from Lyric and including the Ryan Opera Center, it seemed like a perfect match! For someone who does what I do, an incredible opportunity such as this rarely presents itself. Lucky me indeed!   

How have you approached song selection for the series?

As I have performed previously with many of the singers on this first series, I had an idea of the way that some of the recitals might be successfully programmed. Each artist has a different way of telling stories through singing, and sharing these stories with an "up close and personal" audience aspect is the aim of these programs. To take the first concert as an example, I hoped that Bo Skovhus might sing some Schubert, Ana María would sing a bit in Spanish, and that they might together sing some duets that would surprise the audience. I pitched some ideas to them, and they were immediately game, made some suggestions of their own, and voilà, we had a program! 

Has anything surprised you about the planning process? Have anyone's song choices or preferences been unexpected?

My personal goal in the planning process was to be sure that the singers LOVE every song they sing, and that the process and performance are a joyful music making experience for everyone. To give a specific example, there is one piece that I'm certain hardly anyone will have ever heard that has very special meaning for Ana María. I'm thrilled that she will be able to share it with this audience. And I must say, I was worried that I might have asked for a couple selections that were out of the group's collective comfort zone, but those have perhaps been the MOST fun to rehearse!

This seems like an amazing moment for the Ryan Opera Center members - how has the collaboration and rehearsal process affected them as young singers on their way to great careers?

The most fun for the Ryan Opera Center members is the ability to stand side by side with these incredibly accomplished artists and collaborate with them in a way that raises their level and expectation of performance. To give one example, J'nai Bridges sang her set of songs last week for Bo, who offered some incredibly helpful and invaluable insight.  That opportunity alone was worth the entire experience.  

For each performance, what can people expect?

People can expect to hear and FEEL the visceral effects of experiencing world class voices in an intimate, stunningly beautiful space.  Audiences can also expect a wide range of repertoire, with some certain fun to be had along the way! I also believe that the audience will leave feeling as though they truly got to know the artists on a personal level.  

What do you think is most special or unique about this series? 

As the music director of the Ryan Opera Center, what I find the most special about the series is the unparalleled opportunity ANYWHERE for a gifted young singer to stand beside two absolute titans of the opera world, and experience what it feels like to share words, music, and joy with them as an equal. The Harris has given us a tremendous gift, and I couldn't be more grateful (or EXCITED!) for the possibilities! 

Beyond the Aria 2014-15 season

Tuesday, October 21, 2014, 7:30PM 
Featuring Ana María Martínez, soprano • Bo Skovhus, baritone • J'nai Bridges, mezzo-soprano

Monday, November 10, 2014, 7:30PM 
Featuring Stephanie Blythe, mezzo-soprano • Quinn Kelsey, baritone • Laura Wilde, soprano  

Wednesday, January 14, 2015, 7:30PM 
Featuring Jamie Barton, mezzo-soprano • Bryan Hymel, tenor • Anthony Clark Evans, baritone  

Tuesday, March 10, 2015, 7:30PM 
Featuring Amber Wagner, soprano • Brandon Jovanovich, tenor  • Will Liverman, baritone

Photo credits:

  • Top: Craig Terry at the piano (credit Jaclyn Simpson / Lyric Opera of Chicago)
  • Oct. 21 performance: Bo Skovhus (credit Balmer and Dixon), Ana María Martínez (credit Tom Specht), J'nai Bridges (credit Devon Cass)
  • Nov. 10 performance: Stephanie Blythe (courtesy Opus 3 Artists), Quinn Kelsey (credit Ken Howard), Laura Wilde (credit Devon Cass)
  • Jan. 14 performance: Jamie Barton (credit Jonathan Timms), Bryan Hymel (credit Dario Acosta), Anthony Clark Evans (credit Devon Cass)
  • Mar. 10 performance: Will Liverman (credit Devon Cass), Amber Wagner (courtesy IMG Artists), Brandon Jovanovich (credit Peter Dressel)
Subjects:

Opera 101: When a cover singer gets “the call”

Second-year Ryan Opera Center member  Richard Ollarsaba is covering roles in Don Giovanni and Capriccio and has had the very unusual experience of being asked to perform in both operas in the span of one week. He takes us through the process of being a cover singer and what happens when the call comes.

Second-year Ryan Opera Center member Richard Ollarsaba is living the dream of a young opera singer. This talented bass-baritone is covering Mariusz Kwiecień in the title role of Don Giovanni and David Govertsen as the Majordomo in Capriccio.  (He is also in the cast as a servant). In a completely unprecedented turn of events, he was asked to go on in both roles within one week.

On Wednesday, October 8, he performed the Don for the matinee performance, subbing for the indisposed Kwiecień. The following Wednesday, Peter Rose (La Roche in Capriccio) could not perform, which put the domino effect into motion: Govertsen performed the role of La Roche; Ollarsaba performed as the Majordomo; and Lyric Opera Chorus member Kenneth Nichols took Ollarsaba's place as one of the servants in the ensemble.

First things first - what is a cover?

Basically the cover is an operatic understudy. Ollarsaba describes it as, "being ready in the event that the principal artist that you are covering is unable to perform." Now that he's done it, he also adds: "It's a lot of responsibility and you don't fully realize that until you're actually doing it. This is what you prepare for; this is exactly why they hired you. You have to be ready to go."

Practice makes perfect

At Lyric, covering a principal role is a thorough and intense process. "We are present from day one of rehearsals and we are obligated to be at every rehearsal up until the first performance, which is different from a lot of other companies I've been acquainted with," says Ollarsaba. At other companies, the covers are only brought in during the tech period to learn the blocking and other stage directions. 

The advantage to this process at Lyric is having complete access to the music and staging rehearsals: "You see the entire process, so when things change on a dime in rehearsals, you're actually there to see it instead of just hearing about it days later."

Once the rehearsal period moves to the stage, all of the covers participate in cover staging, which is an abbreviated scene-by-scene runthrough so the covers can go through the blocking to address the technical aspects: "This gives us the opportunity to flesh out the characters the way the principals did, just in case we do have to go on."

Ollarsaba had the added benefit of studying and performing the title role in the Ryan Opera Center's summer workshop production of Don Giovanni (pictured right). 

When the phone rings…

For Don Giovanni, Ollarsaba had to work quickly: "I found out for sure at 10am for a 2pm curtain that Mariusz was not going to perform that day. I was as calm and composed as I could be in that situation, but that didn't stop the adrenaline from pumping through my body."

He not only had to be prepared to sing the role, but also cope with the very dramatic staging:  "There are, of course, a lot of variables that you specifically have not rehearsed with the cast on the completed set. I was very well acquainted with the production from having sat in on rehearsals, and on a few occasions I was able to rehearse scenes when Mariusz wasn't available, but having to do an entire show, on short notice, was very surreal."

As the performance drew closer, "I tried very hard not to let my subconscious check in and say 'Do you know what's going on?' I tried very much to say to myself, 'No, it's all about the music and the production.'"

Don Giovanni, of course, has some very intimate and visceral moments with the characters of Donna Anna (Marina Rebeka) and Zerlina (Andriana Chuchman), but Ollarsaba credits the cast for putting him at ease: "They are all the utmost professionals and they all knew exactly what needed to be done. They could not have been more supportive and courteous. With everyone, I kept asking, 'What do you need?' and they could answer, 'No, no, no, what do you need?'"

After such a high-profile substiution the week before, Ollarsaba felt a bit more at ease as the Majordomo during Capriccio:  "We had a little more notice, and it helped that it was an evening performance so I had more time during the day. I love Capriccio, it's very conversational and less action-packed - there are not any specific technical things that you need to accomplish. It's very realistic, so it was a lot easier to go into that. The overall atmosphere was a lot more relaxed."

(Ollarsaba, far left, with his fellow servants in Capriccio)

Costume crunch time

In addition to having to prepare to sing on short notice, Ollarsaba still had to find something to wear as Don Giovanni. The costume department's priority for any production is perfecting the principals' wardrobe. They do not create duplicate costumes for the covers, so in the event of a substitution, everyone has to work quickly. 

"I probably wore about 10 or maybe 20% of Mariusz's actual costumes. He and I are such different body types, so they really couldn't use most of his pieces on me," he laughs. (Ollarsaba is one of the tallest singers at Lyric!) He was able to wear one coat and one robe - for the rest, the wardrobe staff culled pieces from the stock collection to create a series of costumes that mimicked very closely Ana Kuzmanic's period-specific designs. (Don Giovanni's robe, pictured right)

Ollarsaba was already in the cast as one of the servants in Countess Madeleine's household in Capriccio, so the staff was able to fairly easily adapt his existing costume to fit the Majordomo's role.

Staying focused in performance

Ollarsaba went on and the show proceeded without a hitch, though much of his performance in Don Giovanni is still a blur: "I don't know I how I did! I had some ears in the audience, and there was a good reception for sure. But as far as what I thought of myself, I just wanted to make sure that I did my job and lived up to the expectations of the cast and the production, so it could still go on smoothly for an audience."

The one time that he was able to actually think about what he was doing was at the very end of the show, during the technically dazzling descent into hell devised by director Robert Falls and set designer Walt Spangler.

"I will say that the descent was the easiest part of the whole show. One, because it's literally the last two minutes. Two, because the table does all the work and I just have to sing my lines and hang on. It was actually the one time during the show where I was able to check in and think 'This is a lot of fun!' My responsibility in the show was coming to an end, so I could just be like a little kid. I'm sliding down a table, and there's a giant hole with lights and smoke coming out of it. I couldn't help smiling."  

Richard Ollarsaba will be on stage at Lyric as a servant in the remaining performances of Capriccio  on October 22, 25, and 28. You can also see him in Anna Bolena (Rochefort), Tosca (Angelotti) and The Passenger (SS officer) later this season. He is covering Henry VIII in Bolena and Biterolf in Tannhäuser

Photo credits:

  • Top: Richard Ollarsaba (credit Devon Cass); Monsieur Taupe and the Majordomo in Capriccio and the title role of Don Giovanni (credit Todd Rosenberg / Lyric Opera of Chicago)
  • Ollarsaba as Don Giovanni in the Ryan Opera Center's summer workshop (credit Jaclyn Simpson / Lyric Opera of Chicago)
  • Ollarsaba and his fellow servants in Capriccio (credit Todd Rosenberg / Lyric Opera of Chicago)

 

Subjects:

Select an image to pin

    << November 2014 >>
    Sun Mon Tue Wed Thu Fri Sat
                1
    2 3 4 5 6 7 8
    9 10 11 12 13 14 15
    16 17 18 19 20 21 22
    23 24 25 26 27 28 29
    30            

    Subjects

    Tags