Lyric Opera of Chicago

Lyric Lately

Hairdos and Hair Don'ts

The season doesn't officially open until October 5, but Lyric's wigs and makeup team is already hard at work creating coiffures! We checked in with Sarah Hatten, wigmaster and makeup designer, on the "hairdos" and "hair don'ts" of stage styles.

The season doesn't officially open until October 5, but Lyric's wigs and makeup team is already hard at work creating coiffures! We checked in with Sarah Hatten, wigmaster and makeup designer, on the "hairdos" and "hair don'ts" of stage style.

'Do: Lyric's wig makers DO attach each and every hair individually when creating a hand-tied wig (pictured above, far left), a process that can take 40-60 hours per wig.

Don't: They DON'T put a wig on every artist in a production—for example, in last season's La Bohème, most of the artists used their own hair, and Mimì had hair extensions.

Photos: Jaclyn Simpson Photography

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European superstars join Lyric's LA BOHÈME

"There's a lot of charisma on display," says Wynne Delacoma of Anna Netrebko and Joseph Calleja.  The friends and frequent collaborators join Lyric's second cast of La Bohème as Mimì and Rodolfo.  Read the rave reviews!

Netrebko and Calleja in La Boheme

"There's a lot of charisma on display," says Wynne Delacoma of Anna Netrebko and Joseph Calleja.  The friends and frequent collaborators join Lyric's second cast of La Bohème as Mimì and Rodolfo.  Read the rave reviews:

• "This was Netrebko's night.  The voice is without question extraordinary, the impact profound, the impression sincere.  she has a way of stretching melodic lines into lingering threads of delicacy, beyond what would seem probable or even technically possible, which is the diva's art, yet the Lyric Opera Orchestra under Emmanuel Villaume stayed with her all the way. You tell me which aspect of Netrebko is the most immediately striking – that voluptuous voice, the expressive singularity, the musical instinct, the acting clout, the stunning physical beauty and grace.  One could go on[.]" – Nancy Malitz, Chicago on the Aisle     

• "The Russian soprano truly is the complete package – a strikingly beautiful woman possessed of a rich creamy voice and an assured and credible actress to boot. Netrebko’s luminous rendering of 'Mi chiamano Mimì' was as intimate and affecting as it was beautifully sung, her 'Donde liete usci,' human and expressively nuanced. Dramatically, the soprano brought a vivid characterization to the gentle seamstress." – Lawrence A. Johnson, Chicago Classical Review   

• "[W]hat a pleasure to hear the role of the poet Rodolfo sung with such ardent tone and ease of production. Calleja has a notably vibrant tenor with a quick vibrato that lends excitement to his singing (recalling the great Giacomo Lauri-Volpi). His 'Che gelida manina' was real opera story-telling, done with an easy legato and clarion high C. (Calleja also inserted the spurious top C in 'O soave fanciulla' but with his kind of ringing high notes, who’s complaining?) Calleja was just as superb and insightful dramatically as his famous costar, entering fully into the high-jinks with his fellow Bohemians, and bringing understated acting and a credible human dimension to Rodolfo." – Lawrence A. Johnson, Chicago Classical Review  

• "It was wonderful to have Calleja back, especially in a part that's so congenial for him vocally and that he inhabits with such winning energy.  The tenorial sound he poured out on Saturday was gleaming, even and powerful, its quick vibrato apt for conveying Rodolfo's passionate and volatile nature....Calleja earned the torrent of applause he received on Saturday." – John von Rhein, Chicago Tribune  

The critics were enraptured, as were the audience members interviewed below: 

  
Photo: Dan Rest/Lyric Opera of Chicago.
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