Agenda Critiques Articles Vidéo

Der Rosenkavalier, gilded and lithe, at the Lyric Opera

Par Dan Wang, 11 février 2016

Chargement en cours, veuillez patienter...

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“Rose manages to convey, breathtakingly, a terrible fragility at the heart of encrusted power”

Critique faite à Lyric Opera House, Chicago, le 8 février 2016

Strauss R., Le Chevalier à la rose (Der Rosenkavalier)

Lyric Opera of Chicago

Edward Gardner, Direction

Amanda Majeski, La Maréchale

Christina Landshamer, Sophie

Sophie Koch, Octavian

Matthew Rose, Baron Ochs von Lerchenau

Martin Gantner, Monsieur de Faninal

René Barbera, Un chanteur italien

Martina Weber, Revival Director

Frida Kahlo and Diego Rivera brings Spanish to the Lyric Opera

Graham Meyer, 29th March

The Lyric Opera of Chicago's presentation of El último sueño de Frida y Diego brings the Mexican artists to life... or at least a life reminiscent of their real ones.

****1

Sir David McVicar’s psychologically driven Salome arrives in Chicago

Graham Meyer, 25th January

Revived at Lyric Opera of Chicago, the notorious opera director’s take stirs sympathy for Salome, but leans on some of his theatrical hobby-horses

****1

Missy Mazzoli’s The Listeners takes its Chicago bow

Graham Meyer, 2nd April

Lyric Opera of Chicago's production of Missy Mazzoli's opera, which the company co-commissioned, has strong, dramatic, expressive music throughout, but the story lacks continuity.

**111

A light Marriage of Figaro makes the case for fun in Chicago

Graham Meyer, 9th November

Lyric Opera of Chicago revives its diverting and divisive 2015 original production by Barbara Gaines, who does it like a Shakespearean sex farce.

****1

Rigoletto cast dazzles in Lyric Opera of Chicago’s season opener

Graham Meyer, 14th September

Through brilliant singing and layered acting, Javier Camarena, Mané Galoyan, and Igor Golovatenko drive a Rigoletto to warm a traditionalist's heart.

****1

Davidsen and Stemme anchor an extraordinary Jenůfa in Chicago

Cameron Kelsall, 12th November

Claus Guth's production foregrounds the regimented, repressive world that drives the plot of Janáček’s tragic masterpiece.

*****

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Dan Wang

Dan Wang is a graduate student in music history and theory at the University of Chicago.