Articles by Nancy Malitz
Maestro Davis, two stellar singers lead mixed Lyric Opera revival of Mozart’s ‘Clemenza’
Review: Mozart died in 1791 just months after writing “La Clemenza di Tito,” about the first-century Roman emperor Titus and his struggle to rule with generosity of spirit. Performances are still a rarity, and the most successful aspect of the production at the Lyric Opera of Chicago is the unmistakable fineness of the music itself. ★★★
Ellington left his ‘Queenie Pie’ dream in scraps, and COT bucks odds in bid to make it whole
Review: The Chicago Opera Theater and the Chicago Jazz Orchestra production of Duke Ellington’s late-in-life and largely unfinished Harlem street opera “Queenie Pie” became the casualty of an electrical fire that has temporarily shut down the Harris. The delay adds a footnote to the saga of frustrated restoration attempts that have dogged “Queenie Pie” and left its unfulfilled potential as much in limbo as ever. ★★
‘Gypsy’ at Chicago Shakespeare: This Rose puts fresh blush on Sondheim’s star-gazer
Review: Chicago Shakespeare Theater has given us a “Gypsy” for our own time, one that embraces the difference that 55 years have made since the brassy blockbuster first strutted onto the stage. As directed by Gary Griffin, it’s a gritty roadshow musical with a surprisingly contemporary and tender heart. ★★★★★
Slick as a shave, only a lot funnier, Lyric Opera delivers brilliant ‘Barber of Seville’
Review: There is still no opera funnier or feistier than Rossini’s “The Barber of Seville,” at 198 years and counting. When it works, its comedy seems as effortless as a flick of the wrist. Top to bottom, the Lyric Opera of Chicago has accomplished this trick in a sophisticated new production that owes a great deal to the precise funny bones of conductor Michele Mariotti, director Rob Ashford and designer Scott Pask – all in their company debuts. ★★★★★
From an exotic lark for cellos to MusicNOW, CSO ventures bring heat to frosty cityscape
Review: The Chicago Symphony Orchestra and its au courant offshoot MusicNOW introduced four contemporary works to Chicago in the space of a single week, including the world premiere of a double cello concerto featuring Yo-Yo Ma and cellist-composer Giovanni Sollima. It’s been cold in Chicago, but it feels like spring with a Riccardo Muti residency in full bloom.
Lyric Opera’s diamond anniversary will spotlight Fleming and Serjan amid stellar cast of singers
Report: Russian dramatic soprano Tatiana Serjan, who riveted audiences as Riccardo Muti’s Lady Macbeth with the Chicago Symphony in 2013, will return to the Windy City next January at the Lyric Opera of Chicago to sing another knife-wielder, Floria Tosca, the tempestuous diva who tries to outwit a tyrant and foil her lover’s assassination. The Lyric’s 60th anniversary season, announced Jan. 27, also will feature soprano and Lyric creative consultant Renée Fleming in a signature role as Countess Madeleine in Richard Strauss’ final opera, “Capriccio.”
Joining revival of Soviet composer Weinberg, Lyric plans Holocaust opera ‘The Passenger’
Report: Mieczysław Weinberg, perhaps the best Soviet composer you never heard of, was the “other story” at a Lyric Opera of Chicago press conference Jan. 17 when a new Wagner “Ring” Cycle was announced. But Weinberg’s recently revived opera, “The Passenger,” inspired by a Holocaust novel, is making the international rounds and will arrive at the Chicago Lyric in early 2015, as excitement grows for this prolific composer and esteemed friend of Shostakovich.
Showing 2020 vision, Lyric Opera reveals plan for new production of Wagner’s ‘Ring’ Cycle
Report: With headliners Christine Goerke and Eric Owens — two breakthrough American Wagner singers that everyone is seeking – Lyric Opera of Chicago announced Friday that it will embark on a new David Pountney production of the “Ring” Cycle starring Owens as the great god Wotan and Goerke as Brünnhilde, his beloved Valkyrie daughter. The cycle’s four operas are to be unveiled one by one in consecutive seasons beginning in 2016-17, and then in total-immersion festival form, over the course of three weeks in April 2020.
Chicago Symphony on Tour: It’s a red-carpet welcome and rave reviews in Spain’s Canarias
Report: The sail-like hall on the shore of Tenerife, one of Spain’s Canary Islands off the African coast, was home for two concerts by the touring Chicago Symphony Orchestra this week. The famous archipelago is celebrating the 30th anniversary of its winter music festival, where music director Riccardo Muti and the CSO were headliners. Now, they’re off to Germany.
Lyric Opera’s ‘Butterfly,’ with spellbinding new cast, beautifully frames a soprano’s fine art
Review: Soprano Racette may not look like a fragile 15-year-old Japanese bride, but then few dramatic sopranos who specialize in Italian opera do. Yet Racette is one of those singing actresses who can make you believe just about anything, so sincere is her art and so particular her skills. ★★★★
Chicago Symphony on Tour: Flight snafu resolved, musicians open series in Canary Islands
Report: Music director Riccardo Muti and the CSO are set to give four performances in the Canary Islands Jan. 10-14. Spain’s idyllic archipelago off the northwest coast of Africa offers architecturally striking concert halls. But the touring musicians were no less subject to travel woes in Chicago’s frigid winter than the rest of us, missing their Madrid connection.
Bernard Rands work inspired by Beckett poetry renews composer’s time-honored link to CSO
Interview: For many, “…where the murmurs die…” will constitute a first Rands encounter. Indeed, this intimate marvel from 1993 is the perfect piece for it, whether one hears it shimmer in the live acoustical space of Orchestra Hall or through a pair of earphones.
Pianists Schiff and Denk offer distinctive views of Bach in Partita and ‘Goldberg’ programs
Review: The mind-blowing early treat this piano recital season has been successive Bach concerts that would have left the composer himself impressed by the feats of memory and endurance on display — Hungarian pianist András Schiff performing all six Partitas and American pianist Jeremy Denk performing the 30 “Goldberg” Variations at Symphony Center.
Lyric’s snake-bitten ‘Otello’ loses its star tenor when ailing Botha cancels final 2 performances
Report: First, the German bass-baritone Falk Struckmann, singing the role of the evil Iago in Verdi’s “Otello,” lost his voice suddenly to an allergy flare-up during opening night of the Lyric Opera’s 59th season, causing a frantic search for the understudy. Now it’s the Otello’s turn. Johan Botha has dropped out of the production’s remaining performances. The South African heldentenor, plagued by severe back pain, has returned to Vienna for treatment. American heldentenor Clifton Forbis replaces him for performances Oct. 29 and Nov. 2.
‘We Will Rock You’ wraps Queen in sweet vibe for supercharged romp back to bohemian roots
Review: The first rule regarding “We Will Rock You,” winding up a whistle-stop week at Chicago’s Cadillac Palace at the beginning of an eight-month U.S. tour: If you’re not a Queen fan, you need to bone up. Not that this is difficult. ★★★
Composers’ imaginative new worlds of sound infuse MusicNOW concert with energy, flair
Review: This just in from Chicago Symphony’s new music series: Benedict Mason’s multimedia “Delta River” with odd-lot Far East film, Donnacha Dennehy’s “Stainless Staining” for pianos of special resonance, and Anders Hillborg’s “Vaporized Tivoli,” which hints at a circus gone bad. ★★★★
Relive Chicago Symphony’s Verdi Requiem: Chicago On the Aisle offers clickable concert
UPDATE: Get your finest audio headphones ready: A video on demand is now available here of the CSO’s first-ever simulcast — Giuseppe Verdi’s Requiem with Riccardo Muti conducting the Chicago Symphony Orchestra and Chorus, soprano Tatiana Serjan, mezzo-soprano Daniela Barcellona, tenor Mario Zeffiri and bass Ildar Abdrazakov.
Lyric Opera’s storm-tossed ‘Otello’ weathers sudden cast change not even Iago could plot
Review: Villainous Iago’s creed, which holds that man is the sport of unjust fate, must be on the minds of impresarios everywhere when opening night emergencies befall. So it was at the Lyric Opera’s gala opener Oct. 6, when the Iago of Verdi’s “Otello,” Falk Struckmann, made it only through Act 1. Valiant standby Todd Thomas made the save. The Lyric announced that Struckmann will sing Oct. 9. ★★★
Russian soprano’s venomous Lady Macbeth sets tone in Chicago Symphony’s Verdi thriller
Review: Tatiana Serjan is a flat-out thrilling soprano who exudes the temperament of a lioness. She is a Lady Macbeth in her early prime. There isn’t a better place to be this week than Chicago’s Orchestra Hall, where the Russian-born Serjan sings in Verdi’s “Macbeth” under ideal conditions — in concert with other emerging opera stars and the superb forces of the Chicago Symphony Orchestra and Chorus under Riccardo Muti. ★★★★★
Muddling the stakes, Chicago Opera Theater drives one through the heart of Verdi’s ‘Joan’
Review: Does the middling label “lesser,” in the habitually repeated rankings of Verdi operas, give presenters a green light to “fix” things that may not be broken? Stage director David Schweizer fell into that trap with the Chicago Opera Theater production of “Giovanna d’Arco.” From a musical standpoint, Verdi’s Joan of Arc opera was a stunning achievement by the 31-year-old composer. COT conductor Francesco Milioto got that. Schweizer, not so much. ★★
Theater 2013-14: B’way in Chicago spotlights ‘Phantom,’ ‘Wicked’ and new Motown musical
13th in a series of season previews: Even as “The Book of Mormon” nears the end of its Windy City run, Broadway in Chicago is preparing for three more hit musicals — a new UK touring import for the 27-year-old “The Phantom of the Opera,” the 10th anniversary tour of “Wicked” and the first national tour of “Motown the Musical,” the story of Detroit vinyl mogul Berry Gordy, who made famous The Supremes, The Four Tops, Stevie Wonder and The Jackson 5. There’s also a local angle in this season’s lineup of shows.
Theater 2013-14: ‘The Mountaintop,’ Dr. King poised at mortal precipice, opens at Court
11th in a series of season previews: “It’s been a long while since I read a play and without hesitation said, ‘We have to do this,’” says Court Theatre artistic director Charles Newell about Katori Hall’s “The Mountaintop,” which imagines Martin Luther King’s last night on earth. King had given a speech that day in Memphis in which he famously touched on a premonition that he would die soon. Hall’s play catches up with him a few hours later in his hotel room, a weary man who strikes up a conversation with the chamber maid.
Theater 2013-14: Fantasy ‘Old Man, Old Moon’ opens Writers’ season; new home draws near
Ninth in a series of season previews: As artistic director Michael Halberstam began putting together the 2013-14 season at Writers’ Theatre with associate artistic director Stuart Carden, one coincidence seemed too good to be true: Halberstam’s right-hand man had been the teacher, at Carnegie-Mellon University, of an eclectic group of seven buddies called the PigPen Theatre Co., who were the buzz of Greenwich Village for their folksy fable called “The Old Man and the Old Moon.” The charming off-Broadway saga now comes to Writers’.
‘Hamlet’ at American Players Theatre: Agony and wit, and clear view of a timeless tragedy
Review: As summer turns into fall, it’s worth making time to catch Chicago actor Matthew Schwader as that restlessly inquisitive and acid wit, Hamlet, who comes magisterially unhinged in Shakespeare’s masterwork. “Hamlet” is enjoying a gloriously long reign at American Players Theatre in Spring Green, WI. ★★★★★
As ‘Book of Mormon’ ends Chicago mission, tears of laughter run to Sal Tlay Ka Siti
Review: This you can believe: “The Book of Mormon,” Chicago’s sit-down production of the hit Broadway show that is totally outrageous and equally endearing, will end its run at Bank of America Theatre on Oct. 6 so that a national tour with the same cast can commence. Broadway in Chicago is already promising a return, after visits to Denver, San Francisco, Los Angeles and other cities, but not until sometime in the 2014-15 season. ★★★★
As Mary-Arrchie spins Williams’ ‘Menagerie,’ memory play is filtered through glass darkly
Review:;One of the delights of this 2013 Chicago summer is a gently revisionist production of Tennessee Williams’ “The Glass Menagerie” by Marie-Arrchie Theatre, conceived and directed by Hans Fleischmann, who also plays the role of Tom. After selling out last fall at Angel Island and transferring to Theater Wit in May, the show has extended its run to July 28. ★★★★★
Kalmar, Grant Park Orchestra unveil exotic mix of classical traditions from the East and West
Something wonderful in music is going on at Millennium Park, where the promise of free classical music concerts on the lawn and picnic-friendly crowds might suggest an occasion for pops programming. But principal conductor Carlos Kalmar, to his extraordinary credit, has realized that a relaxed crowd is likely to be a receptive one, and Grant Park Orchestra’s musical nights offer discoveries such as “”Iris dévoilée,” an East meets West symphonic poem by the Chinese-French composer Qigang Chen.
Van Zweden, Chicago Symphony bring heat with torrid Bartók concerto, Mozart and Bates
Review: On the last day of May, full summer beckoning, Dutch conductor Jaap van Zweden led the Chicago Symphony Orchestra in a performance of fresh abundance, showcasing the virtuosity of the CSO musicians themselves in Béla Bartók’s Concerto for Orchestra, and also turning the spotlight on two youthful artists of distinction — composer Mason Bates and pianist David Fray. ★★★★
Davis’ ‘The Chicago River’ is a natural tributary of Chicago Symphony’s diverse Rivers Festival
Review: Each year in the late spring, the Chicago Symphony Orchestra embarks upon themed programs that seem to be as much about reaching deep into the community, and becoming energized by the community in turn, as they do about any particular theme itself. This year’s festival, called “Rivers,” features the world premiere of “The Chicago River” by Orbert Davis. Inspired by late-19th and early-20th century photographs of the elaborately engineered reversal of the river’s flow, it underscores the notion that a cultural landscape is indeed much like a river — alive, ever present and ever changing.
