Displaying items by tag: Studebaker Theater

If you’re weary of Chicago’s delayed Spring, do yourself a favor and take a warming break with the sunny pairing of two rarely heard one act operas by Gaetano Donizetti as presented this chilly Saturday evening at the Studebaker Theater by Chicago Opera Theater.

“Il Pigmalione” was Donizetti’s first opera, completed when he was 19, studying at the Bologna Academy. He was a prolific and highly successful composer over three decades of the early 19th century. The comic opera “Rita” was written a quarter century later at the height of his musical and theatrical abilities. In between these operatic bookends are nearly 70 more operas. Only a few have remained in the standard repertoire: the beloved “Lucia di Lammermoor”, “The Elixir of Love”, “Don Pasquale”, and happily of late, the Tudor Queen operas. His other works are occasionally dusted off as a curiosity or a vehicle for an important singing artist. COT does much more than blow the dust off these two neglected pieces; they are infused with life in a thoughtful, loving and altogether winning way.

We have nothing but praise for Amy Hutchinson’s stage direction. It unfailingly served the music and the drama with a light touch which is, sadly, infrequent these days. Ms. Hutchinson trusts the material, the performers and, most importantly, the audience. Her abundant creativity is evident throughout, but she never bludgeons us with her “concept”. Both operas are set in post-World War II Italy, a time of hope and renewal. The press notes would have us think that during intermission, years pass and Pygmalion and Galatea age and develop into the characters for the second opera of the production. This contrivance is neither apparent nor necessary. If they were either, they wouldn’t need to be explained. The contrasting works go quite well together, yet each stand on their own merit as performed by the talented cast and creative team.

“Il Pigmalione” is based on Ovid’s telling of the myth of Pygmalion and Galatea; the sculptor who falls in love with his own creation - a beautiful statue of a woman - who comes to life. George Bernard Shaw’s play adaptation concerns not a sculptor and a block of marble, but a professor of phonics and a Cockney flower seller. This version was famously adapted for the Broadway stage by Lerner and Lowe, as “My Fair Lady” starring Julie Andrews, and an Oscar-winning movie featuring the exquisite Audrey Hepburn (with the voice of Marni Nixon), as Eliza Doolittle. An image reminiscent of Ms. Hepburn, or as Bill thinks, more like Sophia Loren, graces the COT promotional materials for the performance and sets the tone for a fresher look at the myth.

Recalling Mozartean strains of the 18th century, we find the artist Pigmalione alone in his shabby, cluttered studio surrounded by his works: paintings, photographs, films, - and a life size statue under wraps. In a space reminiscent of the garret of Puccini’s Bohemians, the distraught Pigmalione tastefully and poetically expresses his obsessive and rather creepy love for his sculpture, as a lonely person might for an inflatable sex aid.

Tenor Javier Abreu brought an ingenuous stage presence and uncommonly warm leggiero voice to the title role. He possesses an innate musicality and an affinity for the Bel Canto style. Florid passages were clean and elegant, but his highest notes lacked the clarion ring our ears wanted to hear. There were also a few awkward register changes, perhaps a technical issue, or as Bill suggested, perhaps the young Donizetti hadn’t yet learned how to write for the tenor voice, which, in time he would do so well. Mr. Abreu has tremendous talent, so we hope he will work those things out.

Projections designed by John Boesche, brought magic and charm to Pigmalione’s dream of his ideal love and the transformation scene, in which Galatea, played by the alluring Angela Mortellaro, comes to life. She joins her creator/new lover in a sweet duet, giving us just a brief taste of Ms. Mortellaro’s vocal gifts. The opera ends with the couple in each other’s arms, with no hint of what lies ahead.

Reading that the cast would be joined by supernumeraries and 500 Clown with Adrian Danzig as “Director of Clowning” gave us pause. In 50 years of opera-going, we’d never encountered a Director of Clowning before. Too often stage directors, especially those with only spoken theater experience, clutter up the stage with meaningless antics as if they themselves find opera boring. Naturally, we were wary, but all fears were dispelled by the remarkably clever but never cloying work of the ensemble. We were introduced to the clowns during the intermezzo, with two bumbling “stage hands” trying to clear the Pygmalion set for the next offering with classic slapstick comedy, in keeping with the tradition of Commedia Dell’ Arte as passed down to Charlie Chapman and Laurel & Hardy. Fun, but not overdone.

The opening of “Rita”, set on the Amalfi coast, was close to breathtaking – the colors, the light, the sea and the attractive hotel-café make it seem the best place ever for your next vacation. Rita (Ms. Mortellano) owns the establishment, and her second husband Beppe (Mr. Abreu) does all the work. You might think he would have to have ten hands and feet to get it all done. The comic flair and physicality displayed by Mr. Abreu was an unexpected treat after his serious and sincere portrayal of the troubled Pygmalion. He is a brave performer.

Ms. Mortellano pulled off the tricky task of making Donizetti’s strong headed female lead, (like Norina and Adina), seem self-assured without becoming a virago. Her plush lyric soprano was at times glorious, but at times lost focus, usually at times of excessive physicality. Bill noted that the best vocalism of the night was when the artists were allowed to stand still and sing. Conductors sometimes needs to rein in the stage directors so that the cavorting doesn’t interfere with the singing.

A guest arrives at the hotel and is discovered to be Gasparo, Rita’s first husband, presumed to have died in a shipwreck. Baritone Keith Phares as Gasparo has a fine robust voice, clear and even from top to bottom, and brings off the swagger and arrogance of a bullying husband in a believable but not too disturbing way. There is no getting around the domestic violence in the piece, but it is handled with care and humor, so that it is not dismissed, but not distressing either. Lessons are learned, and just desserts are served.

In an amusing twist on the usual baritone vs. tenor rivalry for the soprano, the two men actually vie to get away from Rita. In an utterly enchanting scene, Beppe rejoices in his new-found freedom when he wins the right to leave Rita to her first husband.

Written in the opera comique style with spoken dialogue between the musical numbers, as in “The Daughter of the Regiment”, this production took advantage of the opportunity to engage the audience, adding contemporary references and jokes. Brava to Ms. Hutchinson for making the most of the wit and comedy without having to resort to vulgarity or triteness. Credit also must go to Ms. Hutchinson and Mr. Danzig for their collaboration; the clowning was perfect - hilarious and always part of the scene.

The set, ingeniously designed by William Boles and handsomely lit by Ted Nazarowski, the orchestra under the sensitive and capable direction of Francesco Milioto played well. Margaret noted the especially the lovely oboe solos of Grace Hong. Congratulations are due to Mssrs. Boles, Nazarowski and Boesch for the stunning visuals. They provided a refreshing antidote to the dreary Chicago weather outside. Shanna Foster’s creative and appealing costumes were enhanced by the make-up and wig design by Becky Scott.

We left the theater with a feeling of joy. Lovers of Bel Canto opera should relish this opportunity to hear two of Donizetti’s lesser known operas in this marvelous production. More casual opera goers wanting to elevate date night will find it thoroughly entertaining. Two performances remain, Friday April 20th at 7:30 p.m., and Sunday afternoon April 22 at 3:00 p.m. at the Studebaker Theater, 410 South Michigan Avenue, Chicago, IL 60605. For tickets go to chicagotheater.org or call 312 704-8414.

By the OperaSwains (Bill and Margaret Swain)

The Fairy Queen is a baroque opera written by Henry Purcell in 1692 as an adaptation of Shakespeare’s A Midsummer Night's Dream.  On November 5th, in the newly restored Studebaker Theater, the Chicago Opera Theater produced their reimagined version of the opera in collaboration with Culture Clash. The show is set in present day Las Vegas at a nightclub known as Club FQ or Club Fairy Queen, giving a modern perspective on a very traditional and old fashioned show.

Three couples, in various phases of their relationships, arrive at the club ready to enjoy their weekend in Vegas; Tanya and Rob to celebrate a birthday, Lysander and Herman to celebrate a marriage and Demetrius and Helena to try and rekindle their romance. After Tanya and Ron get in a big argument over Ron’s wandering eyes (and more) their first night in the club, Puck, the club owner, steps in with a special love potion that is sure to solve all of their problems. Of course, nothing from here out goes as planned and chaos ensues.

Now imagine that story set to baroque music by the Haymarket Opera Company - complete with a harpsichord and other period instruments - under the direction of Jory Vinikour. This should be an interesting way to make opera more accessible to a new audience but this strong juxtaposition, combined with overly sexualized characters who are such strong stereotypes it at times feels insulting and pacing that was awkwardly slow, it overall falls short of a production that will do much to attract any new audiences.

The show, like its muse, is a comedy and while there are some comedic moments that hit the right moment and tone, garnering laughs from the theater, there are many more that felt dragged out or had poor timing. The show has a run time of over 2 hours with a 20 minute intermission but the pacing of the performance makes that feel much longer. In a possible tribute to the masque style of the original opera, there tends to be significant time where characters who are not speaking are standing still on the stage, as if waiting for their next move, but that ended up detracting from the momentum of the performance.

The lyrics are captioned for the audience which is helpful, but they are still quite confusing. If you are familiar with the story of Midsummer Night's Dream, it will be easy to follow along despite that. The stage and lighting design were fitting to set the scene of this Vegas club and the costumes completed that package visually. The cast overall was eclectic and it was refreshing to see good diversity on stage. Tanya, played by Kim Jones, was a saving grace of the show. Her singing was beautiful and definitely made her a stand out member of the cast.  As the cast performed without microphones, there were times when it was difficult to hear the dialog but most of them had excellent projection when it was time to sing.

On the whole, this reimagined telling of The Fairy Queen missed the mark. It often felt like it was trying too hard to be hip and relevant which took away from the performance. There was great intent in this creative approach to an adaptation and with some softening of the delivery, and improvements on the pacing it could become a unique and interesting opera. There will be two more performances of the show coming up in the next week so get your tickets here to see for yourself - https://www.chicagooperatheater.org/the-season/fairy-queen.