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David Pountney's production of Mieczysław Weinberg's opera The Passenger travels to Chicago. 

What is perhaps even more remarkable than the unabashed grandeur of the new Parsifal at the Lyric Opera of Chicago is the degree to which its spectacle draws on the images and genres of 20th-century media technologies including popular music.

Peter Sellars successfully updated the ancient magic in Wagner’s opera Tristan und Isolde. Wagner had already modernised the medieval tale by focusing on the middle of the story, where the passion of the doomed lovers catches fire. Wagner treats the mythic origins of the romance as back-story recollected while passions are flaring.

You won’t see plumed horses, a procession of camels, or a hundred supernumeraries as standard bearers parading across the Glimmerglass stage. In fact, you have to step outside the Alice Busch Opera Theater to see any elephants at all, the animal most commonly associated with Aida, Verdi’s greatest grand opera.

Mirga Gražinytė-Tyla manejó con equilibrio sonoro tanto la orquesta como el escenario y dio vida a las demandas emocionales de la magnífica obra de Weinberg.