Review: One well might argue that Shakespeare’s “Measure for Measure” is a less than perfect play. But the neatly framed picture of hypocrisy at its core is so clear, indeed so ringingly universal in its human embrace, that it resonates in any culture. Witness the Russian-language production (with English supertitles) that officially popped the cork Jan. 27 on Shakespeare 400 Chicago, a yearlong aggregation of events dramatic and otherwise spearheaded by Chicago Shakespeare Theater. ★★★★
Read the full story »Lyric Opera prepares an untrimmed ‘Traviata,’ and star soprano says payoff is dramatic truth
Preview: For its second tribute in this Verdi year, the Lyric Opera of Chicago will present, so to speak, the whole truth about “La traviata.” And Latvian soprano Marina Rebeka, a young but well-tested Violetta making her Lyric debut, is wholly on board with that.
Theater 2013-14: Victory Gardens, predictably unpredictable, gets rolling with two premieres
17th in a series of season previews: Victory Gardens is a theater company built on new plays, says artistic director Chay Yew: “Our audiences comes expecting to see the unexpected.” Thus the 2013-14 season opens Nov. 15 with the “co-world premiere” of Branden Jacobs-Jenkins’ “Appropriate,” about three adult siblings circling – and colliding – over the division of their deceased father’s estate. And that’s followed by the world premiere of Marcus Gardley’s “The Gospel of Lovingkindness.”
Venue is cool, the guitarist a blazing new star when classical meets pop at the City Winery
Preview: When the Montenegrin virtuoso guitarist Miloš Karadaglić performs Nov. 11 at the City Winery of Chicago, he’ll be there under the aegis of a bold, off-beat international project to present major classical artists in club settings. Dubbed Yellow Lounge, the worldwide series is the creation of Universal Music Classics – parent of the celebrated recording labels Decca and Deutsche Grammophon — and named for DG’s distinctive yellow label.
Bernard Haitink, master builder of Bruckner, leads Chicago Symphony in glorious Fourth
Review: Upon thoughtful examination, the outwardly splendid edifice that is Bruckner’s Fourth Symphony reveals a no less magnificent interior. Articulating the one aspect without losing sight of the other might even define the work’s core interpretive challenge. Inside and out, front to back, conductor Bernard Haitink led the Chicago Symphony Orchestra in a performance of consummate completeness Thursday night at Orchestra Hall. ★★★★★
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.
‘Motortown’ at Steep: Danny comes marching home, but the emotional shelling doesn’t stop
Review: Danny has no visible scars, no missing limbs, but this former British soldier bears deep wounds from his tour of duty in Iraq. He is the tormented, dangerous antihero of playwright Simon Stephens’ “Motortown,” now in a riveting North American premiere run at Steep Theatre. ★★★★
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. ★★★
Pianist Kirill Gerstein lavishes virtuosity and wit on a glittering Prokofiev concerto with the CSO
Review: This weekend’s Chicago Symphony Orchestra program is a curiously mixed affair. At intermission, I was exhilarated at having witnessed Kirill Gerstein’s virtuosic and sly performance of Prokofiev’s Piano Concerto No. 2. On the other hand, by the time conductor Semyon Bychkov had made it to the end of a solidly fashioned performance of William Walton’s sturdily made Symphony No. 1, I was wondering why, some 80 years along, are American orchestras still dusting this off?
Chicago Symphony sets sales and gift records, inaugurates gallery honoring its donors
Report: The Chicago Symphony Orchestra Association set records in fiscal 2013 with $23.2 million in ticket sales and $29.8 million in contributed income. The 2013 fiscal tally, presented Oct. 23 at the Association’s annual meeting, also showed a slight operating deficit of 0.2 percent, or $169,000 on expenses totaling $73.8 million. The CSOA reported a healthy 44 percent of fiscal 2013 revenue was earned, through ticket sales and other sources.
‘Smokefall’ at Goodman: Behind worldly veil, tears and contentment fuse into force of life
Review: Life sucks, and then you die. If that dark existential view sometimes can seem like the only certainty, taxes being at least negotiable, it is repudiated – with gentleness and magical wit — in Noah Haidle’s new play “Smokefall,” presented in its “co-world premiere” at Goodman Theatre. ★★★★★
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. ★★★★
In conductor Susanna Mälkki’s return to CSO, her place with the world’s elite is confirmed
Review: In her debut with the Chicago Symphony Orchestra, in 2011, the Finnish conductor Susanna Mälkki was impressive. In her return, Oct. 19 at Orchestra Hall, she looked like the woman who could crack the exclusive men’s club of music directors with the world’s top orchestras. ★★★★★
Theater 2013-14: Premieres and new vitality energize the intimate stage at A Red Orchid
16th in a series of season previews: New faces, new energy, new generation. Kirsten Fitzgerald, artistic director of A Red Orchid Theatre, says the company’s 2013-14 season – consisting of three plays all new to Chicago – reflects the forward-looking spirit of its 21st anniversary on the theme of coming of age.
Musical ‘We Will Rock You’ to test the embrace of Queen’s charm beyond adoring British home
Preview: To the British, the rock band Queen is a lifelong friend. To most Americans, it’s a group from the 1970’s that put out a few good songs back in the day. It remains to be seen how this differing perception will affect “We Will Rock You,” the touring musical featuring Queen’s songs that runs Oct. 22-27 at the Cadillac Palace Theatre under the aegis of Broadway in Chicago.
Lyric Opera’s ‘Butterfly’ displays a fine frame, but the musical drama is a different picture
Review: To behold the grand, airy set for “Madama Butterfly” at the Lyric Opera of Chicago, with its curvaceous walkway and layered, mat-like proscenium framing – on display even as the audience assembled — was to sense one’s expectations peak toward something special, uncommon, fine. What ensued was largely unremarkable, even unattractive in various aspects from conducting and singing to basic on-stage movement. ★★
Role Playing: Karen Woditsch shapes vowels, flings arms to perfect portrait of Julia Child
Interview: “Terror is a good place to start,” Karen Janes Woditsch was saying about her beguiling performance as cooking icon Julia Child in “To Master the Art.” “And I started there. I added the ingredients of her character very slowly.”
Theater 2013-14: Next’s season of premieres starts with Chicago link to Anne Frank story
15th in a series of season previews: Next Theatre explores the elusive stuff of secrets and lies in a season of Midwest and Chicago premieres that opens Oct. 15 with Rinne Groff’s “Compulsion,” based on the story of a Chicagoan who spent three decades pursuing the real story of Anne Frank.
‘4000 Miles’ at Northlight: To Grandmother’s house he goes, and she’s worth the long ride
Review: Leo crashes Vera’s apartment in the middle of the night, a sort of grown up waif, lost to the world, clutching the bicycle he has just ridden cross-country from the Northwest to New York’s East Village. They’re a lot alike, Leo and Vera, rebels with or without cause – except that she’s his grandma. Mary Ann Thebus’ savvy, frank, altogether delightful performance provides something real and lasting to take away from Amy Herzog’s semi-developed play “4000 Miles” at Northlight Theatre. ★★
Riccardo Muti and stellar CSO cast honor Verdi bicentennial with a majestic view of Requiem
Review: It’s hardly surprising that anyone familiar with Verdi’s operas would associate his Requiem with that imposing body of music-dramas. The musical language of the one informs the rhetoric of the other. But the difference between Verdi’s stage works and great spiritual drama of the Requiem was the distinguishing feature of conductor Riccardo Muti’s account with the Chicago Symphony Orchestra on Oct. 10, the 200th anniversary of the composer’s birth.
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. ★★★
‘Pullman Porter Blues’ at Goodman: Rails hum song of black men’s pride and sacrifice
Review:It is redolent of Chicago, eloquent of a shadowed time that was, Cheryl L. West’s song-filled “Pullman Porter Blues” at the Goodman Theatre. It is a gritty, pulsing, sweet hymn to the generations of black men who made train-travel hum back in the day. ★★★★
Joffrey Ballet and Mariinsky Orchestra recall wonder of Stravinsky’s ‘Sacre du printemps’
Review: Parisians first experienced “Le sacre du printemps” as dance, in Vaslav Nijinsky’s choreography for the Ballets Russes in 1913, then shortly after came back to Stravinsky’s stunning music as concert fare. Now Chicagoans have encountered the same sequence — in the Joffrey Ballet’s splendid re-creation of the work two weeks ago at the Auditorium Theatre, followed Oct. 2 by the Mariinsky Orchestra’s supercharged performance at Orchestra Hall with conductor Valery Gergiev.
On grand new stage, ‘To Master the Art’ still whips up Julia Child’s zeal for French cuisine
Review: It is like properly prepared scrambled eggs, this rebuilt production of “To Master the Art,” the story of how a tall, kitchen-clueless Californian became the famous Julia Child: basic, sumptuous, irresistible. If this lovely play, written by William Brown and Doug Frew, possessed an intimate charm in its original 2010 staging at TimeLine Theatre that cannot be replicated in the Broadway Playhouse’s grander proscenium venue, its essential warmth and honesty remain undiminished. ★★★★
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. ★★
To corporate raider, the blood is just business in ‘Other People’s Money’ at Shattered Globe
Review: Larry Garfinkle lives by the numbers, as in quarterly profits and losses. He’s a practical guy, all business, with a nose for blood. When he sees a company in trouble, he moves in, goes for the kill, let the working stiffs fall where they may. And Larry Garfinkle is thoroughly inhabited, from his three-piece suits to his vulgar charm, in Ben Werling’s portrayal at the center of Jerry Sterner’s wry comedy “Other People’s Money” for Shattered Globe Theatre. ★★★★
‘Raisin in the Sun’ at TimeLine: Family dreams confront reality in a journey back to the future
Review: The disturbing thing about Lorraine Hansberry’s 1959 play “A Raisin in the Sun,” a sharply drawn portrait of America’s racial divide and one black family’s resolve to cross that chasm, is how current it still feels in the season-opening production at TimeLine Theatre, potently and humanely crafted by director Ron OJ Parson. ★★★★
Muti finally presiding, CSO delivers Brahms Second Symphony the Asia tour didn’t get
Review: Ah, so that was the Brahms Second Symphony the Chicago Symphony Orchestra had planned to share with audiences in Asia last winter — on the tour music director Riccardo Muti had to skip because of emergency surgery. With stand-in conductors Osmo Vänskä and Lorin Maazel, the CSO had delivered authoritative, even commanding performances of the Brahms Second on that troubled tour. But to put it plainly, those efforts bore no relation to the exquisite account the CSO summoned Thursday night in its season opener at Orchestra Hall with Muti once again on the podium.
Chicago Wine Journal »
CHICAGO WINE JOURNAL: Burgundy’s range is reflected in two beauties from Leclerc, Gille
Tasting Report: The power, the finesse and the sheer intellectual engagement that stamp top-quality red Burgundy wines were amply displayed in youthful, sharply contrasting examples I recently tasted from two producers in the famed Côte d’Or, Domaine Gille and Domaine René Leclerc.
CHICAGO WINE JOURNAL: Sbragia’s Merlot makes a regal splash from a bargain bottle
Tasting Report: It’s always such a smile-inducing pleasure to come upon a wine that exceeds all expectations in its price class. A terrific example is Sbragia Family Vineyards’ Dry Creek Valley Sonoma Home Ranch Merlot 2012, a wine stuffed with the goods to compete well beyond its modest price of $24.
CHICAGO WINE JOURNAL: Santa Duc draws arc of splendor with old-vines Gigondas
Mulling Wine: To glimpse the poor, stony soil is to wonder how it could ever produce the grapes that Domaine Santa Duc in turn translates into some of the most seductive wine in the Southern Rhône Valley appellation of Gigondas. But the proof was there in a palate-pleasing, indeed eye-opening vertical sampler of Santa Duc’s single-vineyard, old-vine Gigondas Prestige des Hautes Garrigues.
CHICAGO WINE JOURNAL: Brancaia delivers three Tuscans that are super and then some
Tasting Report: The wines of Tuscan producer Brancaia are well worth seeking out. There’s something exceptional here to meet budgets across a wide range. An array of Brancaia wines were served at an off-beat cheese party at the East Loop Chicago restaurant Tesori, when chef Danny Sweis sliced into a new 80-pound wheel of parmesan.
CHICAGO WINE JOURNAL: With elegant 2014 Viognier, Darioush does a beauty one better
Tasting Report: One of the great pleasures of a visit to France’s Northern Rhone Valley is the luscious Viognier produced in Condrieu. I would have said it was matchless – until I had the equally happy experience of the Viognier from Darioush in California’s Napa Valley. The Darioush Viognier is a recent discovery for me. I first tasted it in the 2013 vintage – a lovely expression of white wine that in its combination of buttery depth and finesse evoked not only the Viognier of Condrieu but also the plush majesty of the top Chardonnays in Burgundy. And the newly released 2014 may prove to be even better.
CHICAGO WINE JOURNAL: Classic art of Jaboulet’s new Chapelle mistress
Tasting Report: Since my earliest forays into French wines, the brightest stars in my firmament have consistently included the patrician Hermitage La Chapelle produced by Paul Jaboulet Aîné in France’s Northern Rhône Valley. So it was little short of enchanting to step back through time at a vertical tasting of this great expression of Syrah at a recent Chicago seminar sponsored by Robert Parker’s Wine Advocate.
CHICAGO WINE JOURNAL: Aged Burgundian glory from three négociants
Mulling Wine: By chance or perhaps my natural gravitation, I just completed a sort of hat trick – meal accompaniments from three of my favorite Burgundy producers, all of whom fall into the somewhat misunderstood category of négociants.
CHICAGO WINE JOURNAL: Burgundy-style Pinot Noir from an Oregon star
Tasting Report: Since its founding in 1989, Domaine Serene in Oregon’s Willamette Valley has emerged as one of the top producers of Pinot Noir in a region famous for that wine. In a horizontal tasting with friends of four different Domaine Serene bottlings from the 2011 vintage, it became readily apparent why this house continues to enjoy such high esteem.
CHICAGO WINE JOURNAL: A new Spanish horizon for old-vine Garnacha
Tasting Report: With the dramatic emergence of Spanish wines in recent years, Grenache has gained familiarity in its Spanish robes as Garnacha – which might lead one to assume that the “two” grapes are one and the same. Indeed they are, and yet there’s a world of difference between them. That became clear during a Chicago seminar last week presented by Spanish producers of Garnacha from Cariñena, a small appellation long overshadowed by the likes of Rioja and Ribera del Duero.
CHICAGO WINE JOURNAL: The pleasures (and alluring price) of Chablis
Tasting Report: Somewhat to the northwest of the heart of what we think of as Burgundy – that is, the glorious Côte-d’Or with its world-famous Pinot Noir and Chardonnay — lies the appellation of Chablis. Technically, Chablis is part of Burgundy, though it’s more like an island. Or perhaps an unfavored stepchild. But for wine lovers, especially devotees of Chardonnay, Chablis is a discovery-in-waiting.
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