Lyric Family Favorites: October 16
Looking back over the past several months since we’ve been away from the Lyric Opera House, one of the most amazing moments has been Larry Brownlee’s performance of “All Night, All Day” in Larry Brownlee & Friends: The Next Chapter. The composition based on a traditional song was arranged specifically for Brownlee by Damien Sneed, who has worked with many GRAMMY® Award-winning gospel artists. Brownlee brings his tremendous range and great depth of expression to this performance, which can be felt even as we watch from home.
“All Night, All Day” is now available to watch on its own, but if you haven’t experienced the full concert, set aside some time for yourself to enjoy the many outstanding performances.
Then, mark your calendars for Alex Ross’s talk on Wagnerism as part of the Chicago Humanities Festival, see how Lyric is engaging with students and community partners during the pandemic, and check out next week’s streaming opportunities.
Alex Ross on Wagnerism: Art & Politics in the Shadow of Music
Alex Ross, music critic for The New Yorker, digs into the far-reaching and problematic legacy of one of the most influential composers of the 19th century in his latest book. He joins Maestro Esa-Pekka Salonen for this free discussion on Wagner, hosted by the Chicago Humanities Festival and introduced by Lyric General Director Anthony Freud, on Monday, October 19 at 7:00pm CDT.
Keeping students engaged
Lyric Unlimited, the learning and creative engagement wing of Lyric Opera of Chicago, has announced plans to continue in-school and out-of-school virtual education programs for the 2020/21 school year, as well as engaging virtual community programs. See what’s in store.
Week of October 19: Streaming opportunities
This week, hear Verdi masterpieces Attila from San Francisco Opera, Ernani from Teatro Regio di Parma, and La traviata from Teatro Comunale di Modena, plus commentaries and more in our weekly streaming guide.
Breaking Down the Score: Attila with Maestro Enrique Mazzola
See how a recitative, aria, and cabaletta come together to form a scene as we are introduced to the opera’s heroine, Odabella. As the Hun’s victory celebration continues, a group of captured women are brought in, led by Odabella (daughter of the Lord of Aquileia). Proclaiming her unwavering loyalty to Italy, she impresses Attila with her courage and he, in turn, offers her one favor. She requests his sword, vowing to avenge her father’s death by killing Attila with his own weapon.
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Every art fights the noose of verbal description.