Displaying items by tag: Adam Plachetka

Many operas are funny, but laugh out loud funny is harder to achieve. Lyric Opera opens the season with the ever-crowd pleasing commedia “The Barber of Seville”. Tara Faircloth directs this revival which first appeared at Lyric in the 2013/14 season. This production’s humor comes from an all-star cast of world renown voices and actors.

“The Barber of Seville” is an Italian opera by Gioachino Rossini with a libretto by Cesare Sterbini, from the original play by Pierre-Augustin Caron de Beaumarchais. In it, Count Almaviva falls for a Doctor’s young ward, Rosina. Doctor Bartolo plans to marry Rosina himself in order to gain her dowry. Through a series of goofy antics, Count Almaviva proves his love for Rosina and gains her love in return. With the help of a charming barber Figaro (yes, that Figaro! Figaro! Figaro!), the two trick Dr Bartolo in order to end up together.

Premiering in 1816 in Rome, “The Barber of Seville” was an instant classic. It remains one of the world’s most endearing operas and with this Lyric production it’s not hard to see why. Full of soaring orchestration and lighthearted arias, “The Barber of Seville” is a delightful romantic comedy.  Theatre director Rob Ashford was tapped to create this production for Lyric in 2013. His Broadway background lends a more traditional theatrical style to the performances, putting an emphasis on the physical comedy of the opera.

In the role of Rosina, Lyric welcomes back Marianne Crebassa who was last seen in the Mozart comedy “Cosi fan tutte” in 2018. If one had to sum up her entire performance in a single gesture, it would be a wiggling foot while being passionately kissed by Count Almafina. A knack for well-executed and unexpected physical comedy seems to be her second strongest suit. The first would be the incredible mezzo-soprano voice. The stage brightens when she enters a scene. There are fewer female voices in this opera, but Mathilda Edge as Berta also has great comedic timing and an impressive soprano voice.

The male ensemble is just as humorous. Adam Plachetka as Figaro has all the cartoonish machismo one would expect of the character, but a voice that backs it up. Though most of the laughs came from the deceived Dr. Bartolo played by Alessandro Corbelli. Lyric’s “Barber of Seville” makes for a lovely evening at the opera. Sumptuous costumes and staging are a feast for the senses, but it’s the Rossini music that really shines. It’s always a treat in any opera when there’s a large chorus on stage (and a real measure of an opera company’s financial standing). Lyric underdoes nothing. From the pit to the upper balconies, "The Barber of Seville" fills the theater with enchantment.

Through October 27th at Lyric Opera Chicago. 20 N Wacker Drive. 312-827-5600

Mozart’s The Magic Flute, now playing at the Lyric Opera of Chicago is an enchanting and charming performance - a perfect family outing especially for the holiday season.

Based on Mozart’s final and majestic opera, The Magic Flute is a timeless tale of good versus evil, perseverance, and love conquering all.

The basic storyline revolves around Princess Pamina, daughter of the Queen of the Night who has been captured by the high priest Sarastro. Prince Tamino falls in love with a portrait of Pamina he receives from the queen’s three ladies. The queen tells Tamino that if he finds Pamina, she will be his. Papageno, the queen's birdcatcher, joins him on the quest. Aided by Tamino’s magic flute and Papageno’s magic bells, they face numerous challenges separately and together, including an encounter with the comically savage Monostatos, who lusts after Pamina. Three genies are their guides. Eventually, the Queen of the Night is vanquished, Tamino and Pamina are united, and Papageno finds love with Papagena as the queen's forces of evil yield to the forces of good. 

Directed by Neil Armfield, the staging of the Lyrics’ version of the Magic Flute is not only inventive with the use of the “play within a play” technique but it also is accessible with a warm familial glow, making it an enjoyable experience for opera lovers and newcomers alike.

With the theme of a backyard party, the show opens with a lovely 1950's Midwestern-style colonial home, designed by Dale Ferguson, filling the stage and slowly rotating as bright stars glitter in the backdrop like spotlights shining down on the performance that is taking place.

The house buzzes with activity as a diverse group of people arrive carrying packages and other items as they prepare for a bit of “backyard community theater” in a production put on by the neighborhood kids.

Perfectly designed rooms from the upstairs bedroom to the dining room and kitchen below are glimpsed through the windows revealing small vignettes of preparation for the evening performance. One neighbor hangs lights along the backyard deck and others set up chairs for the audience and operate the spotlights.

Then finally, after every piece is in place, the neighbors are seated. The kids' show begins and the real audience is transported into a land of fantasy with soaring arias. In particular, soprano Kathryn Lewek in her Lyric debut as Queen of the Night and bass-baritone Adam Plachetka, as Papageno (the queen's birdcatcher) were vocal standouts but the entire cast was sublime.

Highly recommended.

The Magic Flute runs until January 27 at the Lyric Opera of Chicago. There is a free 30-minute pre-performance talk in the theater starting an hour before each performance. For tickets and information call (312) 827-5600 or go to www.lyricopera.org/Flute.