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Chicago Sun-Times, Sep 10,
2001 |
by Wynne Delacoma |
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Lyric Opera at Grant Park
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The word "extravaganza" has an old-fashioned
ring to it, evoking images that are equal parts three-ring circus and
five-star luxury hotel.
The images were apt for Lyric Opera of Chicago's endearingly old- fashioned
free concert in Grant Park Saturday night. The parade of stars was lavish,
from Ben Heppner, exultantly triumphant in the Prize Song from Wagner's "Die
Meistersinger von Nurnberg" to Renee Fleming, suavely coquettish in the
"Gavotte" from Massenet's "Manon." With Andrew Davis, Lyric's exuberant
music director, leading the full Lyric orchestra, the program ranged from
such familiar tunes as Papageno's jaunty Act II aria from Mozart's "The
Magic Flute" to the less well known but extravagantly romantic final duet
from Giordano's "Andrea Chenier." A new star was even discovered, young
German tenor Jonas Kaufmann who gave a searing performance of Federico's
lament from "L'arlesiana," an aria tenors adore from the rarely produced
opera by Francesco Cilea.
The thunderstorms that had been forecast all weekend stayed away, and the
soft weather and clear skies helped lure an audience estimated at 30,000 to
the Petrillo Music Shell's lawns. They were eager to be pleased, applauding
everything from the stagehands and a mention of the beautiful "rain-free"
evening in opening remarks by William Mason, Lyric's general director, to
announcements of last- minute changes, especially the addition of Fleming's
"Manon" aria. There was much that deserved applause, including the general
idea of Lyric's bringing some of its biggest stars to Grant Park for a free
outdoor concert.
Producing opera on Lyric's grand scale is hugely expensive, and the
resulting ticket prices are high, in the $30 range in the Civic Opera
House's nose-bleed zone and well past $100 for a prime main floor spot. This
is the second year that Lyric has transplanted itself, minus sets and
scenery, to Grant Park, and the audience relished the rare opportunity to
hear some of opera's best voices for the price of a bus ride or a few hours'
parking in a downtown garage.
The musical menu was meaty. Heppner, Fleming and mezzo-soprano Susan Graham
didn't merely trot on for a single, easy star turn. In addition to the Prize
Song, Hepper sang the "Chenier" duet with soprano Kallen Esperian and the
similarly heroic solo aria "O Paradis" from Meyerbeer's "L'africaine."
Along with solo arias by Mozart and Richard Strauss, Graham teamed with
Fleming for a duet from Mozart's "Cosi fan tutte" and the final trio from
Richard Strauss' "Der Rosenkavalier." Fleming's performance also included
the haunting "Song to the Moon" from Dvorak's "Rusalka."
Fleming, who will sing Desdemona to Heppner's Otello in Lyric's opening
production of Verdi's "Otello" on Sept. 22, was the trouper of the evening.
A staticky sound system sabotaged the opening moments of "Song to the Moon,"
but the soprano persevered, opting for an overtly emotional performance
rather than stressing its rapt, quiet quality, which could have gotten lost
in the vast outdoor space. She also left a garment bag with two concert
gowns designed by Gianfranco Ferre in the airport on her way to Chicago and
went onstage Saturday in a costume borrowed from Lyric's wardrobe department
and another Ferre gown she had flown in at the last minute. Her
concentration suffered little, however. She and Graham were a stalwart, at
times playful pair in the "Cosi" duet, ecstatically extolling their
respective lovers' virtues. As the bereft Marschallin in the "Rosenkavalier"
excerpt, her golden, burnished lyric line was a pensive contrast to Strauss'
happy young couple. Graham's Octavian was full of stirring passion and
Stacey Tappan, a young soprano from Lyric's Center for American Artists,
brought a bright, agile, powerful voice to the role of Sophie.
Kaufmann makes his American debut as Cassio in Lyric's "Otello," and
judging from Saturday's performance, he will be a worthy colleague for
Heppner, Fleming and Esperian who takes over the role of Desdemona in later
performances. Slim and handsome with a heroic, expressive voice, he should
add sparks to Verdi's version of Shakespeare's dark tale.
Rounding out Saturday's concert were soprano Catherine Malfitano who brought
much passion but a worn voice to songs by Kurt Weill. Tenor Gregory Turay
sounded stiff in his opening Mozart aria but hit his stride with an ardent
aria from Massenet's "Werther." Italian baritone Lucio Gallo was full of
patriotic zeal in an aria from "Andrea Chenier" and American baritone
Timothy Nolen turned Papageno's aria from "The Magic Flute" into a relaxed,
song-and- dance delight. |
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