A Masked Ball: An Opera-goer Dream Come True!

11/22/2010

0 Comments

 
Posted on November 22, 2010
by David Cohen

With an amazing all American team this production of A Masked Ball at the Chicago Lyric Opera is a winner.  The set design and costumes are traditionally dressed the way intended by its composer Giuseppe Verdi, A Masked Ball is an opera-goer dream come true!

With a powerful voice, tenor Frank Lopardo sings the role of Gustavo the King, who is in love with his best friend’s wife Amelia. American soprano Sondra Radvanovsky stunningly singing the role of Amelia is the audience’s delight. She remarkably captivates the audience with her pain, agony and her passionate love to the king.

Desperately trying to end her love and feelings to the king, Amelia turns to a sorceress-fortune teller Ulrica for help — but too late!  In her Lyric debut Stephanie Blythe as Ulrica is outstanding. She is for sure someone we need to watch in the future.  She is simply a perfect match for this roll.

Korean-American soprano Kathleen Kim is delightful choice for the roll of Oscar.  Her stature and playful presence as the court page is fresh and dynamic and only add to her angelic voice.

In preparation for the ball–what a perfect set of glitz and glamour for the holiday season, the secret gets out. Every body knows about the love triangle.  Baritone Mark Delvan as the devastated husband Renato, takes his revenge at the Ball­!

While listening to the ‘teco io sto’ duet ‘ma se m’e forza perferti’ aria sang by Lopardo and ‘eri tu’ sang by Delvan, I have realized that I‘m witnessing one of the most remarkable moments in opera history.

Directed by Renata Scotto, who previously sang the role of Amelia side Pavaroty in the 80′s, is the eyes and the hart behind the seances. With her skills and experience, she delivers one of the best productions I have ever seen at the Lyric, and  transfer every element in this production into a brilliant masterpiece. BRAVO! There are only three words left for me to say, GO SEE IT! For more information visit www.lyricopera.org.

Add Comment
 

Carmen: The Music Takes Center Stage.

10/23/2010

0 Comments

 
by David Cohen

Carmen, playing at the Lyric Opera of Chicago, tells the story of the seductive gypsy and her two lovers, Don Jose and a matador.

What could make a man cheat on his fiancée, drive his mother to tears, and ditch a good job? One woman -- Carmen! She’s the sex-bomb, gypsy seductress who loves them and leaves them — tossing egos and hearts in the dust.

Iowa-born mezzo-soprano, Katharine Goeldner who plays the role of Carmen, replaced Kate Aldrich who had to withdraw from what was to be her debut due to side effects of pregnancy.

There is no question in my mind that Ms. Goeldner has a good voice and stage presence, but unfortunately as Carmen, you have to be dramatically and vocally convincing as the gypsy temptress something Goeldner is not. Being seductive, passionate, young and beautiful, is what Carmen is all about. That’s what the audience expect to see on stage–femme fatal.

South Korean tenor Lee Younghoon who plays the role of Don José is the nicest surprise of this production. Lee, who is making his Lyric debut in these performances, is truly believable as the murderous stalker in the final act. His good looks and powerful voice just made Carmen less convincing. There’s something terribly wrong when it is Don José and not Carmen, steals the show. His great voice range rises to any occasion, beautifully noticed when he sings his flower song in act two. He also proves that he can sing and act.

With a powerful soprano, Cuban-American Elaine Alvarez, who plays Micaëla, was a delight to the ears. I also enjoyed Kyle Ketelsen who plays the matador Escamillo. This Iowa native baritone has a great voice and sexy stage presence. Watch his upcoming career.

All the supportive roles from soprano Jennifer Jakob, mezzo Emily Fons, baritone Paul Scholten and tenor René Barbera, they are all very impressive in their parts.

But it’s the music that takes center stage. Without a doubt, it’s the music that make us come back again and again, to watch the most loved opera ever written.

For more information about shows in October 2010 or March 2011, visit www.lyricopera.org.
Add Comment
 

Alvin Ailey American Dance Theater: The Best Of 20 Years of Artistic Director Judith Jamison

03/06/2010

0 Comments

 
by David Cohen

Today, as we celebrate 20 years of Artistic Director Judith Jamison’s remarkable vision and the artistry of 30 extraordinary dancers, Alvin Ailey American Dance Theater, America’s Cultural Ambassador to the World, continues to celebrate the African American cultural experience and to preserve and enrich the American modern dance tradition. Regarded as one of the world’s premier modern dance companies, The New York Times declares that “Ailey’s phenomenal popularity is unmatched by any other company.”
    “Dancing Spirit,” a new work by choreographer Ronald K. Brown, pays tribute to Judith Jamison’s profound influence to the world of dance. Set to music by Duke Ellington, Wynton Marsalis and War Brown’s evocative choreography utilizes movement from Cuba, Brazil and the United States to conjure dancing spirits who embody Jamison’s elegance, vision, dignity and generosity.
    The “Best Of 20 Years” program features highlights from popular ballets Judith Jamison has brought to or revived in the Ailey repertory, representing a wide range of styles and voices that have contributed to the Ailey canon. The program includes selections from Talley Beatty’s “The Stack-Up” (1982); Ronald K. Brown’s “Grace” (1999); Lar Lubovitch’s “North Star” (1987); Alonzo King’s “Following the Subtle Current Upstream” (2000), Jawole Willa Jo Zollar’s “Shelter” (1992); Ulysses Dove’s “Bad Blood” (1984); Donald McKayle’s “Rainbow Round My Shoulder” (1959); Garth Fagan’s “Jukebox for Alvin” (1993); Redha’s “Lettres d’Amour” (1998); Hans van Manen’s “Polish Pieces” (1996); Billy Wilson’s “The Winter in Lisbon” (1992) and Donald Byrd’s “Dance at the Gym” (1991).
    “Love Stories,” is Judith Jamison‘s dynamic collaboration with hip-hop pioneer Rennie Harris and modern dance maverick Robert Battle. The piece was inspired by the Akan word “Sankofa,” which means “go back” (Sanko) and “take” (fa).
    In “Among Us (Private Spaces: Public Places),” characters from all walks of life come together in Judith Jamison’s new collection of vignettes examining the joys and complications of human relationships. Original jazz compositions by musical iconoclast Eric Lewis and costumes by award-winning designer Paul Tazewell were inspired by a series of Jamison’s own drawings that depict these characters’ ordinary and sometimes extraordinary lives.
    The finale of each program is “Revelations,” Alvin Ailey’s most significant cultural masterpiece. Ailey’s inspiration for creating “Revelations” came from a variety of sources: memories of attending Baptist services in Texas as a child, interest in Brueghal’s paintings, Oriental Theater and his acquaintances with James Baldwin and Langston Hughes. Using African American traditional spirituals, this suite fervently explores the places of deepest grief and holiest joy in the soul. Since its premiere in 1960, more people around the world have seen this modern dance classic than any other work.

Wednesday, March 24 through Sunday, March 28, 2010. Alvin Ailey American Dance Theater tickets are now on sale, and range in price from $30 – $85. For tickets, visit the Auditorium TheatER Box Office at 50 E. Congress Parkway; call Ticketmaster at (800) 982-ARTS (2787); or log on to ticketmaster.com/auditorium.
Add Comment
 
Forward >>