Lyric Opera of Chicago

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CRUZAR by the numbers

"...[A] moving story with universal appeal, performed with enormous zest and color..." – John von Rhein, Chicago Tribune                                   

Cruzar

 • "...[A] moving story with universal appeal, performed with enormous zest and color..." – John von Rhein, Chicago Tribune

• "...[A] remarkably compelling and compact work... [A] persuasive immigration story told in heartfelt musical terms..." – Dennis Polkow, Newcity Stage

• "...[A]n emotional journey for the audience, especially for those who are reminded of their own story or that of a relative..."– Gisela Orozco, Hoy Chicago 

• "The energy of Martinez and his fellow musicians was tremendous. ...All the songs were beautifully performed by the Vargas group and the actor-singers." – Andrew Patner, Chicago Sun-Times  

Cruzar la Cara de la Luna, the world's first mariachi opera, first commissioned by Lyric general director Anthony Freud when he was with Houston Opera, is the story of "one family, two countries, one life-changing secret."  Presented in April by Lyric Unlimited, the new audience development and community engagement branch of Lyric Opera. Let's look a little bit closer at Cruzar by the numbers

• Approximately 7520 total audience members attended Cruzar la Cara de la Luna at one of 5 performances.

• Cruzar was presented at 3 venues in 3 different neighborhoods: the Civic Opera House in Chicago's Loop, Benito Juárez Academy in Pilsen on Chicago's South Side, and the Genesee Theatre in Waukegan on Chicago's North Shore.

• 42% of the Cruzar audience members at the Civic Opera House were attending their first performance at Lyric.

• 2 internationally renowned mariachi groups performed in Cruzar in Chicago: Mariachi Vargas de Tecalitlán and Mariachi Aztlán.

• Cruzar is the 1st Spanish-language composition performed at Lyric Opera of Chicago.

Chicago Tribune classical music critic John von Rhein summarizes: "By presenting the Midwest premiere of Cruzar la Cara de la Luna (To Cross the Face of the Moon) as the latest project of its Lyric Unlimited program, the company fulfilled several objectives. It reached out to members of the city’s Mexican and Latino communities through an art form many of them had never experienced before. It promoted cross-cultural understanding. It called attention to the multicultural diversity and vitality that help to make Chicago unique among major American cities. It made potential new friends for the company while exposing Lyric regulars to a more populist form of entertainment than they are used to." BRAVO to all who made Cruzar a tremendous success

New staging of a contemporary American opera

"Fully costumed (excellently by Johann Stegmeir) and directed with great flair and imagination by Brad Dalton, the artful staging, though clearly minimalist with no sets, worked very well indeed, aided immensely by Duane Schuler’s atmospheric lighting." – Lawrence A. Johnson, Chicago Classical Review

A Streetcar Named Desire

It's not a surprise that LOC Creative Consultant Renée Fleming, barihunk Teddy Tahu Rhodes, Ryan Opera Center alumna Susanna Phillips, and the rest of the cast of A Streetcar Named Desire garnered rave reviews!  But what did critics think of the design and Brad Dalton's inventive new "semi-staging," which included the Lyric Opera Orchestra onstage in place of full sets?

• "Kudos to Lyric Opera of Chicago, which is giving André Previn’s A Streetcar Named Desire a four-performance run. Streetcar is a significant recent opera, and its inclusion contributes much to the tradition of programming new works in this house. While the production has been described in the press as semi-staged, the only elements absent were actual backdrops, whether painted or constructed. There were sufficient props, including tables, chairs, a bed, and other items—to create images of the Kowalski flat and the drama in one’s mind. And since it was placed at the rear of the stage, the orchestra itself became part of the setting. The result gave the audience the opportunity to hear Previn’s detailed score, and the layout appeared to give conductor Evan Rogister greater ability to interact with both the musicians and the principals." – James L. Zychowicz, Seen and Heard International

• "...This more ethereal, though fully costumed and acted production may be the most compelling way to present this three-act American tragedy." Andrew Patner, Chicago Sun-Times

• "Fully costumed (excellently by Johann Stegmeir) and directed with great flair and imagination by Brad Dalton, the artful staging, though clearly minimalist with no sets, worked very well indeed, aided immensely by Duane Schuler’s atmospheric lighting." – Lawrence A. Johnson, Chicago Classical Review          

• "Director Dalton made a convincing, semi-abstract theater space out of the stage, using chairs, a table, a bed and Blanche's trunk as the main props, which a group of six cigarette-smoking hunks moved around to define the various scenes. Johann Stegmeir designed the costumes, including a succession of 1940s-style dresses for Fleming. The stage space, lit by Duane Schuler, became more and more surreal as Blanche's mind began to collapse and her ties to reality grew ever more tenuous." John von Rhein, Chicago Tribune  

All performances of Lyric's regular run of André Previn's A Streetcar Named Desire are currently sold out.  However, Chicago audiences can still catch this stunning production at a special student night performance!

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