Lyric Opera of Chicago

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Critics agree: “The operatic stars are in alignment” for CAPRICCIO

Lyric's production of Strauss's Capriccio is opera at its finest, with a wonderful cast led by Renée Fleming, a sophisticated 1920s setting, and unparalleled musicianship from conductor Sir Andrew Davis  and the Lyric Opera Orchestra. Read what the critics have to say about this "intelligent, tasteful, funny, serious" opera.

The Chicago Tribune raves four stars for Capriccio: "the operatic stars are in alignment ... in Lyric's loving revival." Lyric's production of Strauss's final masterpiece is truly opera at its finest, with a wonderful cast led by Renée Fleming, a sophisticated 1920s setting, and unparalleled musicianship from conductor Sir Andrew Davis and the Lyric Opera Orchestra. This sophisticated drawing room comedy is at once "intelligent, tasteful, funny, serious" (Andrew Patner, Chicago Sun-Times), but it's only at Lyric through October 28, so grab your seat today!

Here's what else the critics are saying:

"Highly recommended" - Andrew Patner, Chicago Sun-Times 

This production makes a "lush argument for shaking hands across waters, for the marriage of words and music." - Aaron Hunt, New City

Renée Fleming is "as witty and charming as she is beautiful" with "peaches-and-creamy tone and melting phrases." - John von Rhein, Chicago Tribune 

Renée Fleming is "radiant … One can't imagine any singer today better suited to the role of the Countess Madeleine " - Lawrence A. Johnson, Chicago Classical Review 

"In the famous final aria, Fleming spins the silver threads of lyricism that Strauss made his unique gift to the soprano repertoire." - Aaron Hunt, New City

Sir Andrew Davis leads "a veritable master class in Strauss conducting." - John von Rhein, Chicago Tribune 

"Andrew Davis, always a superb Strauss conductor, and the Lyric Orchestra ... have outdone themselves" - Andrew Patner, Chicago Sun-Times

"More than anyone else, this was Sir Andrew Davis's show. Few conductors can equal the Lyric Opera's music director in Strauss, and Davis's fluent, spirited yet light-footed account of this score was masterful, maintaining a fleet, conversational pace and rising seamlessly to the breakout lyrical moments." - Lawrence A. Johnson, Chicago Classical Review 

 "Fully inside the opera's conversational ebb and flow, Davis elicited exceptionally sensitive, refined playing from the Lyric Orchestra, beginning with the sublime sextet that opens the opera and continuing through the touching final pages." - John von Rhein, Chicago Tribune 

"Even by their standard, the playing of the Lyric Opera Orchestra was beyond reproach, with a refined quicksilver quality that suits this restless music." - Lawrence A. Johnson, Chicago Classical Review 

"Lyric has surrounded its starry soprano with a top-drawer supporting cast" - Lawrence A. Johnson, Chicago Classical Review 

"Anne Sofie von Otter brought a natural vocal ease and willowy presence to the glamorous actress Clairon." - Lawrence A. Johnson, Chicago Classical Review 

"…the splendid Swedish mezzo-soprano played Clairon with a flamboyant hauteur to match her over-the-top flapper outfits." - John von Rhein, Chicago Tribune 

"American tenor William Burden captured the self-confidence and musicality as the composer Flamand." - Andrew Patner, Chicago Sun-Times

"Audun Iversen made a most impressive company debut as Olivier. The Norwegian baritone displayed a warm and flexible voice and deftly balanced the comedy with sincerity" - Lawrence A. Johnson, Chicago Classical Review 

"Peter Rose was ideal casting for the cynical yet savvy impresario La Roche" - Lawrence A. Johnson, Chicago Classical Review 

Bo Skovhus "provided the funniest moments of the evening with the gauche dilettante's atrocious acting." - Lawrence A. Johnson, Chicago Classical Review 

Photo credits:

  • Capriccio production photos credit Todd Rosenberg / Lyric Opera of Chicago

Capturing CAPRICCIO's magic on screen

Strauss's Capriccio  (on stage Oct. 6-28) is an intimate and sophisticated opera that takes place at a party at a gorgeous estate. Four presentations will feature live high-definition video broadcast to four screens placed in the balconies. How does the opera go from stage to screen? Matt Hoffman from HMS Media explains the basics of live production.

Richard Strauss's final opera Capriccio  (on stage Oct. 6-28) is an intimate and sophisticated opera that takes place at a party at a gorgeous estate. The stylish production  set in the 1920s and features intricate art deco details and an all-star including Renée Fleming, Anne Sofie von Otter, Bo Skovhus, William Burden, Audun Iversen, and Peter Rose.

For those who do not want to miss a moment, four presentations will feature live high-definition video broadcast to four screens placed in the balconies on Oct. 9, 15, 22, and 28. How does the opera go from stage to screen? Matt Hoffman from HMS Media will be directing all four live broadcasts and took us through some of the basics of live production, which is an art unto itself. 

How many cameras will there be?

We will have 5 cameras: two in the back of the house, one left and one right, and a robotic camera in the orchestra pit.

How do you prepare for the live performance?

The HMS team attended and recorded the Capriccio dress rehearsal. As the television director, I have been studying that recording and making script notes about blocking, timing, and other technical cues that will affect our coverage. 

What does your script look like for the broadcast?

The script contains notes about who is singing and how the performers are blocked in each scene. We will not pre-determine every shot, and our TV production team will be making live decisions based on the actors' performances in the moment. Our coverage will be different each night. We are performing just like the singers on stage.

How do you communicate during the live performance?

My assistant director will be continuously updating us on what's happening next based on the script and our notes. I direct the cameras and call the sequence of shots to be featured on screen. My technical director operates the switcher per my instructions sending the video to the screens. It's a tightly choreographed collaboration among the four camera operators in the house and our technical team in the booth. Unplanned events can happen. We at HMS specialize in covering live theater, music, and dance and are prepared for anything!

What is the biggest challenge you face?

Our biggest challenge on Capriccio will be covering the large scenes featuring many performers, capturing the nuances of what every person is doing on stage.

What about these broadcasts might surprise audiences?

I think that most audience members might not realize just how many people are working behind the scenes to make the television coverage happen. If they were standing in the control booth, I think they might be amazed by the constant high level of communication and activity.

What is the most fun part of the broadcast?

When our television production team is humming along in perfect sync with the performers, it's a beautiful and exhilarating time for all involved.

Learn more about the custom-made video screens for this production in the October edition of Lyric Notes, our monthly enewsletter.

Photo credits:

  • A look at the video screens during the Capriccio dress rehearsal. (Photo by Andrew Cioffi / Lyric Opera of Chicago)

 

Lyric Libations: DON GIOVANNI

Lyric's new production of Don Giovanni is so passionate that you need a cocktail just to relax after the show. Channel your favorite character with these beverages inspired by Mozart's masterpiece.

Lyric's new production of Don Giovanni is so passionate that you need a cocktail just to relax after the show. Channel your favorite character with these beverages inspired by Mozart's masterpiece.

The Don Juan 

Don Giovanni's voracious appetites are his downfall, and this drink might get you in trouble too. Like the lothario weaving his web of seduction, this drink's dangerous combination of tequila and rum has a sweet start, but an end that is not for the faint-of-heart.

  • 1 part dark rum
  • 1 part tequila
  • 1 part pineapple juice
  • ½ part grapefruit juice
  • Orange twist to garnish

Put lots of ice and all ingredients into a shaker and mix well for about 20 seconds.  Strain the mix into a chilled glass and add a twist to garnish. (Recipe from Mixed Cocktails)

Zerlina's Flirtini 

So it's your wedding day, and the champagne is flowing. Sure your peasant fiancé is loving and stable, but you can't help but cast your eyes over to the rich bad boy who just walked into the room. Why shouldn't you have it all? Get your flirt on with this sparkling drink in your hand. 

  • 1 ounce vodka
  • 2 ounces champagne
  • 2 ounces pineapple juice

Combine vodka, champagne, and pineapple juice in a highball or collins glass filled with ice. Makes 1 cocktail. For a party multiply recipe and mix in a pitcher. (Recipe from PopSugar)

The Commendatore's Corpse Reviver 

Whether you're hanging out in a cemetery or preparing for a very special dinner party, this cocktail is the perfect refresher for the recently deceased. 

  • 1 ounce gin
  • 1 ounce Cointreau
  • 1 ounce Lillet Blanc
  • 1 ounce fresh lemon juice
  • 1 dash absinthe
  • Orange peel for garnish

Shake all ingredients in a shaker, strain into a chilled cocktail glass, and garnish. (Recipe from Imbibe Magazine)

Seething Jealousy 

Sometimes the best way to deal with your raging jealousy is to drown it drown it in liquor. Maybe if Masetto would relax and have a few of these, he wouldn't find himself getting beat up and ridiculed at every turn.

  • 1 ounce sweet vermouth
  • ½  ounce Scotch
  • ½ ounce cherry brandy
  • ½ ounce fresh orange juice

Shake all ingredients with ice, then strain into a chilled cocktail glass. (Recipe from Chow.com)

Donna Anna's Vendetta 

This is the perfect way to seal a pact with your long-suffering fiancé to kill the man who murdered your father. The freshness of basil mixes with the richness of brandy to create an intoxicating brew. Possible side effects include the inability to get married for at least a year after drinking.

  • 1 ½ ounces vodka
  • 1 ½ ounces brandy
  • ¼ ounce Pernod
  • ¾ ounce bitters
  • 6 basil leaves, plus a sprig for garnish
  • Ice

Add the vodka, brandy, pernod, bitters, and basil leaves into a shaker loaded with ice. Shake until condensation forms around the shaker. Strain into a rocks glass with fresh ice and garnish with a basil sprig. (Recipe from The Daily Meal)

The Leporello 

Life is hard when your rich, entitled boss with a questionable moral compass is constantly looking to you to clean up his messes-that is when he's not trying to have you killed. When obsessive list making is not enough to calm your nerves, this very strong, very sweet, very complicated drink is another way to get away from it all.

  • ½ ounce white rum
  • 1 ½ ounces golden rum
  • 1 ounce dark rum
  • ½ ounce 151-proof rum
  • 1 ounce lime juice
  • 1 teaspoon pineapple juice
  • 1 teaspoon papaya juice
  • 1 teaspoon superfine sugar

Stir together all these ingredients except the 151 and pour into a 14-ounce collins glass three-fourths full of cracked ice. Float the 151 as a lid (by pouring it into a spoon and gently dipping it under the surface of the drink). Then, if the spirit moves you, take a match to this mixture; it will burn. Garnish with mint (either straight or dipped in lime juice and then superfine sugar) and/or fruit. (Recipe from Esquire)

Photo credits:

  • Don Giovanni production photos credit Todd Rosenberg / Lyric Opera of Chicago

 

Critics love Lyric's “bold, provocative, hot-blooded” DON GIOVANNI

Lyric's Diamond Anniversary season has started off in style. Critics are raving about the new production of Mozart's Don Giovanni from renowned director Robert Falls of the Goodman Theatre, with Lyric's music director Sir Andrew Davis on the podium. Seductive and stunning, this is the can't-miss event of the fall season. Here are just a few reasons why.

Lyric's Diamond Anniversary season has started off in style. Critics are raving about the new production of Mozart's Don Giovanni from renowned director Robert Falls of the Goodman Theatre, with Lyric's music director Sir Andrew Davis on the podium. Seductive and stunning, this is the can't-miss event of the fall season. Here are just a few reasons why. 

Robert Falls's audacious staging 

"Falls' bold, provocative, hot-blooded new production of 'Don Giovanni' opened Lyric's 60th anniversary season Saturday night at the Civic Opera House, and it had the audience cheering for numerous reasons. … This 'Don Giovanni' is as nourishing to the eye as it is to the ear and mind." - John von Rhein, Chicago Tribune

"Director Robert Falls' fresh, boldly conceived staging infused new life into Mozart's dramma giocoso. " - Lawrence A. Johnson, Chicago Classical Review

"Falls’s fast-moving staging has an eye for the opera’s comedy and even more for its sexuality." - George Loomis, Financial Times

"Bob Falls has found a way to connect in a fresh way with a work we know and a work we love." - Andrew Patner, WFMT

"The production of Giovanni, which just opened at the Lyric Opera of Chicago, is a glorious triumph for Falls, and a spectacular opening to the Lyric's 60th season. Falls re-imagination of Don Giovanni has it all—passion, sex, heartbreak, murder, jealousy, and revenge. " - Betty Mohr, Le Bon Travel and Culture

"[Lyric's] cast and crew throw themselves into Falls' approach, and what results is an impressive theatrical and musically intensive brew that will have you laughing one minute while gasping with indignation the next." - Scott C. Morgan, Daily Herald 

"Moving the story of Don Juan from its seventeenth century origins to circa 1920s Spain proves to be a great decision by Falls. It manages to strip the production of stuffy periodicity while placing it into a time more familiar to the contemporary audience yet distant enough that the story’s messy morality seems plausible." - Brian Hieggelke, New City

"This new production proves that modern practice can combine with classic opera to create art of the highest order. This 'Don Giovanni' should not be missed." - M.L. Rantala, Hyde Park Herald

"Run, do not walk, to the Civic Opera House and catch this show." - Lawrence A. Johnson, Chicago Classical Review

The exceptional cast 

"A more appealing cast could hardly have been assembled for Mozart’s 'Don Giovanni' than the vocally resplendent, good-looking singers who inhabit the Lyric Opera of Chicago’s new production and season opener." - Lawrence B. Johnson, Chicago on the Aisle

"Polish baritone Mariusz Kwiecień is one of the world's best Don Giovannis, a trim, handsome bundle of raging testosterone. " - Wynne Delacoma, Chicago Sun-Times 

"The Polish baritone wielded his robust, burnished baritone with such elegant style and tonal beauty, it was easy to understand why all the women of Europe are dropping at his feet." - Lawrence A. Johnson, Chicago Classical Review

"Puerto Rican soprano Ana María Martínez is wonderfully fiery with a dusky sound as the revenge-bent Donna Elvira (she also clearly relishes her 'modern woman' role reconceptualization—even arriving via motorcycle)." - Scott C. Morgan, Daily Herald 

"It's a tribute to Kyle Ketelsen that he held his own with Kwiecień's Don, more than is usually the case. The bass-baritone delivered a nimble and witty Catalog Aria and firmly brought out the servant's seething resentment as well as the men's camaraderie with a natural conversational quality to their rapid-fire exchanges." - Lawrence A. Johnson, Chicago Classical Review

"I found [Marina Rebeka's] Donna Anna superb: The sound was creamy, voluminous and steady as a laser, with plenty of fiery temperament to match the dramatic thrust of her singing." - John von Rhein, Chicago Tribune

Andriana Chuchman "brought a charming yet vixenish quality to the good-girl flirt and sang her two arias with notably youthful spirit." - Lawrence A. Johnson, Chicago Classical Review

"...bass-baritone Michael Sumuel deftly captured Masetto's mix of jealous male and vulnerable lover." - Wynne Delacoma, Chicago Sun-Times

Antonio Poli's "ardent, tender arias shaped Don Ottavio, often a bland cipher, into the opera's sole voice of reason." - Wynne Delacoma, Chicago Sun-Times 

"Andrea Silvestrelli's Commendatore was towering in height and sonorous of voice" - Lawrence A. Johnson, Chicago Classical Review

 Sir Andrew Davis and the Lyric Opera Orchestra and Chorus 

"Lyric music director Sir Andrew Davis conducted the Lyric Orchestra with plenty of panache, bringing out the light and dark colors of Mozart's timeless score with buoyant style." - Scott C. Morgan, Daily Herald

"...conductor Andrew Davis’ eloquent and expressive musical direction was greatly to be savored, as was a precise and buoyant performance by the Lyric Opera Orchestra. Add to that the exuberant yet disciplined singing by the Lyric Chorus and the last element was in place for a musically rewarding night." - Lawrence B. Johnson, Chicago on the Aisle

"…music director Andrew Davis drew lithe, elegant, stylish playing from his fine orchestra that felt all of a piece with the Don's high-stakes games of seduction." - John von Rhein, Chicago Tribune

"the magnificence of the production should also be credited to Sir Andrew Davis, who at the helm of Lyric’s exceptional orchestra, gives his all to Mozart’s delicious score; [and] to Michael Black who brings out the best in Lyric’s chorus..." - Betty Mohr, Le Bon Travel and Culture

The fantastic sets and costumes 

"Walt Spangler's sets and Ana Kuzmanic's costumes persuasively and colourfully suggest urban Seville, including a handsome townhouse for the Commendatore, seen from the street, and a church interior dominated by a statue of Mary for the Sextet scene of Act 2." - George Loomis, Financial Times  

"Not only are the sets something to behold, but so too are the ravishing costumes by Ana Kuzmanic that evoke the carefree flamboyance of the Jazz Age." - Betty Mohr, Le Bon Travel and Culture

"The contributions of frequent Falls collaborators Ana Kuzmanic (costume design) and Walt Spangler (sets) deserve equal billing with the performers. The production lives in black and white and gray, but splashes of color – blood, flowers – transcend decoration and become metaphor for the proximity of sensuality and death herein." - Brian Hieggelke,New City

"Between designer Walt Spangler's fetching Spanish sets and Ana Kuzmanic's stylish 1920s costumes (a temporal relocation that Mozart surely would have adored), this 'Don Giovanni' has an integrated look and feel that not only works but also allows for doses of broad, updated humor." - Lawrence B. Johnson, Chicago on the Aisle

"Walt Spangler's scenic design is consistently imaginative, centered on a traditional balconied facade of a Spanish house as unit set with striking splashes of flowers and color." - Lawrence A. Johnson, Chicago Classical Review

"…in the ball scene, [Ana Kuzmanic's] lavishly stylized, brocade and velvet costumes for Donna Elvira, Donna Anna (Marina Rebeka) and Don Ottavio (Antonio Poli) clearly delineated the chasm between the aristocrats and the common folk, an important point for Mozart and his librettist Lorenzo Da Ponte. " - Wynne Delacoma, Chicago Sun-Times

The spectacular final scene 

"While everything about the opera soars, the climactic scene (which I won't spoil), in which Giovanni is sent to hell, is jaw-dropping stunning. This is the best Don Giovanni I have ever seen. Opera lovers will be talking about it for a long time." - Betty Mohr, Le Bon Travel and Culture

"There is a juicily melodramatic death scene for the Don whose surprising details I will not spoil by revealing." - John von Rhein, Chicago Tribune

Photo credits:

  • Don Giovanni photos credit Todd Rosenberg / Lyric Opera of Chicago

 

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