Displaying items by tag: orchestra

Marking Rocky’s 50th anniversary, Rocky in Concert arrived at the Auditorium Theatre in a highly anticipated Auditorium Philms presentation featuring the Chicago Philharmonic Orchestra performing Bill Conti’s score live. The setup is simple but effective: the film plays above the stage while the Philharmonic brings new clarity and presence to a soundtrack audiences know by heart. What emerges is a familiar story given a fresh sense of scale, where the music’s live energy adds texture without overwhelming the film’s grit, humor, and underdog charm.

At its core, Rocky remains one of the most enduring underdog stories in American cinema. The film follows Rocky Balboa, a small-time Philadelphia boxer and part-time debt collector who drifts through life with more heart than opportunity. When heavyweight champion Apollo Creed needs a last-minute opponent for a New Year's Day exhibition bout, he plucks Rocky from obscurity as a publicity stunt, figuring that "the Italian Stallion" makes for a good headline. What begins as a novelty match becomes a personal turning point: Rocky trains with a new sense of purpose, steadied by the quiet support of Adrian, the shy pet-store clerk who becomes the emotional anchor of his climb. The plot is simple, but its sincerity, its belief in small steps, second chances, and self-respect, has kept it resonant for fifty years.

The film's cast is a major reason it works as well as it does. Sylvester Stallone's performance is unvarnished and deeply human, capturing Rocky's mix of awkwardness, humor, vulnerability, and stubborn grit. Talia Shire brings a gentle, lived-in warmth to Adrian, charting her transformation from withdrawn to self-possessed with remarkable subtlety. Burt Young's Paulie is volatile but never one-note, and Burgess Meredith's Mickey, raspy, relentless, and unexpectedly tender, became one of the most iconic mentors in film history. Carl Weathers, as Apollo Creed, delivers a charismatic, razor-sharp performance that elevates the film's stakes; he is not a villain, but a showman whose confidence forces Rocky to rise to the moment.

Behind the scenes, the story of how Rocky came to be is almost as compelling as the film itself. Stallone wrote the screenplay in just a few days after watching the 1975 Muhammad Ali vs. Chuck Wepner fight, where Wepner, a heavy underdog, managed to knock Ali down and go nearly the full fifteen rounds. United Artists loved the script but wanted a bankable star in the lead; they offered Stallone a substantial sum, with reports ranging from $250,000 to $350,000, for the screenplay alone. At the time, Stallone was nearly broke, living in a small apartment with his wife and dog, and had only a handful of minor acting credits. Turning down that kind of money was, by any rational measure, a terrible idea. But he refused to sell unless he could play Rocky himself. Eventually, the studio relented, slashing the budget to under $1 million and agreeing to cast Stallone on the condition that the production stay lean and fast.

The gamble paid off beyond anything anyone expected. Rocky became a critical and commercial phenomenon, winning three Academy Awards, including Best Picture, and launching Stallone's career. But the deeper truth is that the film's authenticity is inseparable from Stallone's insistence on embodying the character he created. Rocky Balboa was not just a role; he was a reflection of Stallone's own belief that the long shot is still worth taking.

When Rocky reached the 1977 Academy Awards, it proved just as formidable as its title character, earning ten nominations and walking away with three major wins. The film claimed Best Picture, Best Director for John G. Avildsen, and Best Film Editing, beating out heavyweight contenders like Network and Taxi Driver. Sylvester Stallone received nominations for both Best Actor and Best Original Screenplay, a rare double honor that underscored how deeply his creative fingerprints shaped the film. Talia Shire, Burgess Meredith, and Burt Young all earned acting nominations, and Bill Conti’s propulsive score was recognized as well. For a low‑budget production made on less than a million dollars, Rocky’s Oscar run remains one of Hollywood’s most remarkable underdog victories.

The Chicago Philharmonic Orchestra, led by conductor James Olmstead, played Bill Conti’s legendary Rocky score with a precision and vitality that made the music feel newly alive. Those familiar fanfares, string surges, and brass punches carried a thrilling immediacy when performed by musicians you could actually watch working – bows flying, percussionists locking in the heartbeat of the training montages, trumpets cutting cleanly through the hall. Part of the fun for the audience was seeing just how much craft goes into a soundtrack they’ve heard for decades; every cue landed with crisp timing, and the orchestra’s energy fed directly into the crowd’s excitement. What emerged was more than accompaniment – a full‑scale performance that underscored just how essential the score is to the film’s spirit.

For all the strengths of the orchestra and the film, the evening wasn’t without a few technical hiccups. The film wasn’t cued up at the start, so the orchestra began playing before the movie rolled, leading to an awkward pause before things fully got underway, and once the screening began, the movie’s volume sat noticeably low for the first five to ten minutes. The fix came in the opposite direction, with the sound pushed so high that the dialogue became distorted, making it difficult to catch some of the film’s key lines or even hear the ringside announcers clearly calling the big fight finale. The imbalance proved distracting, especially in an otherwise strong presentation. Still, having seen other Auditorium Philms productions, I’m comfortable chalking this up as an outlier. Their track record is solid, and one uneven sound mix doesn’t diminish the ambition or appeal of the series.

Outside of the technical issues, one programming choice stood out as particularly curious: the musical director’s decision to feature “Eye of the Tiger” both after intermission and again at the end of the film. It’s an undeniably crowd‑pleasing anthem, but it belongs to Rocky III, not the 1976 original, and for Rocky loyalists it felt like an odd fit within a celebration of the first film’s legacy. With Bill Conti’s score already doing the heavy lifting, the addition of a theme from a later sequel created a momentary disconnect in an otherwise faithful presentation. However, many audience members cheered on the Survivor hit, so even if purists bristled, the moment still connected with a good share of the crowd.

Bottom line: even with a few mishaps and an unexpected music choice along the way, as someone who counts Rocky among my all‑time favorite films - a movie I revisit a couple of times each year - seeing it paired with a live orchestra was an experience that felt both familiar and entirely new. Hearing the Chicago Philharmonic bring Bill Conti’s music to life in real time added a dimension I didn’t know I was missing, and it made this 50th‑anniversary screening feel genuinely special. Auditorium Philms’ “In Concert” productions have already built a strong track record with their film‑in‑concert events, including recent presentations like Raiders of the Lost Ark and Harry Potter and the Order of the Phoenix. Their upcoming slate is just as appealing, with titles such as Top Gun: Maverick, Edward Scissorhands, and Home Alone 2: Lost in New York on the horizon.

In the end, Rocky in Concert proved that when a timeless film meets a live orchestra, the result is a reminder of why these stories stay with us.

To find out more about upcoming events at The Auditorium Theatre, click here.

This review is proudly shared with our friends at www.TheatreInChicago.com. 

Lyric Opera of Chicago’s film‑with‑live‑orchestra series has become one of the city’s most engaging hybrid arts experiences, transforming the opera house into a cinematic concert hall where classic films gain new dimension through live performance. Recent presentations such as Singin’ in the Rain (February 2025) and Coco in Concert (October 2025) have showcased how a full orchestra can elevate familiar scores, bringing warmth, clarity, and emotional immediacy to every musical moment. The format takes full advantage of Lyric’s grand acoustics and visual scale, allowing audiences to rediscover beloved movies with a heightened sense of drama and immersion. It’s a rare blend of nostalgia and spectacle - a celebration of film and music that feels both timeless and newly invigorated each time the orchestra begins to play. Now, the series continues its momentum as Anthony Parthner leads The Lyric Opera of Chicago Orchestra in performing the cherished score to Mary Poppins.

Dick Van Dyke and Julie Andrews in Mary Poppins.

Released in 1964 and starring a dream duo of Dick Van Dyke and Julie Andrews, Mary Poppins follows the magical arrival of an extraordinary nanny who descends - quite literally - into the lives of the Banks family on Cherry Tree Lane. As the children, Jane and Michael struggle under the strict expectations of their distracted father and the anxieties of their well‑meaning mother, Mary Poppins brings order, wonder, and unexpected joy through a blend of firm guidance and whimsical adventure. With the help of her cheerful friend Bert (the loveable chimney sweep), she leads the family through imaginative escapades that reveal deeper lessons about connection, kindness, and the importance of seeing the world with curiosity. By the time she departs, the Banks household has been transformed, not by magic alone, but by the rediscovery of affection and unity.

This film is an ideal showcase for the Lyric Orchestra, and they rise to it beautifully. The score for Mary Poppins was composed by the celebrated songwriting team Richard M. Sherman and Robert B. Sherman, whose work helped define the sound of Disney’s mid‑century musical era. Known as the Sherman Brothers, they created a bright, whimsical, and emotionally rich collection of songs that blend clever lyricism with instantly memorable melodies. Their contributions to the 1964 film produced some of Disney’s most enduring musical moments - from the exuberant “Supercalifragilisticexpialidocious” to the gentle poignancy of “Feed the Birds” - shaping a sonic identity that remains inseparable from the film’s legacy. Their score not only set the tone for Mary Poppins but also solidified the Shermans as two of the most influential composers in the Disney canon.

Conductor Anthony Parnther.

Lyric Opera of Chicago was especially thrilled to welcome Anthony Parnther to the podium, a conductor whose versatility and musical sensitivity made him an inspired choice for a score as iconic as Mary Poppins. One of the busiest conductors in Los Angeles and a world‑class bassoonist with an international performance career, Parnther brought both technical precision and a keen ear for orchestral color - qualities that served him well in shaping a live performance of this beloved film soundtrack. Watching him work was a genuine pleasure. His approach emphasized clarity and warmth, guiding the orchestra in a way that honored the Sherman Brothers’ classic melodies while subtly enhancing the film’s emotional contours in real time. For Lyric, his leadership reflected not only artistic excellence but a continued commitment to presenting musicians who could seamlessly bridge concert performance with cinematic storytelling.

With the success of its recent live‑to‑film presentations, Lyric’s film‑with‑live‑orchestra series continues to build steady momentum, and the company is already preparing for its next project: a live orchestral performance of Amadeus in 2027. Mary Poppins in Concert Live to Film is presented in a limited engagement on April 10 and 11. Click here for more information.

This review is proudly shared with our friends at www.TheatreInChicago.com. 

Auditorium Philms’ presentation of Steven Spielberg’s 1981 classic Raiders of the Lost Ark with the Chicago Philharmonic Orchestra transforms a beloved blockbuster into a full‑body cinematic jolt. Indiana Jones’ adventures play out across the towering Auditorium Theatre screen, but it’s the live orchestra that makes the familiar feel astonishingly new. John Williams’ legendary score doesn’t just sit beneath the film—it surges through it, electrifying every frame. Each chase, each narrow escape, each sweeping desert vista lands with heightened force as the Philharmonic unleashes the “Raiders March” and the score’s darker, more mysterious undercurrents with breathtaking clarity. The result is an experience that feels both nostalgically rooted in movie history and thrillingly alive in the present moment.

Set in 1936, Raiders of the Lost Ark follows archaeologist and adventurer Indiana Jones (Harrison Ford) as he’s recruited by U.S. Army Intelligence to locate the Ark of the Covenant, a biblical artifact believed to hold immense supernatural power. The Nazis are already searching for it, hoping to harness its destructive force for their military ambitions.

Indy’s quest takes him from the jungles of South America to the snowy mountains of Nepal and the bustling streets of Cairo. Along the way, he reunites with his tough, resourceful former flame Marion Ravenwood (Karen Black), and together they battle traps, treachery, and relentless Nazi agents. Standing in Indy’s way is his rival, the suave and morally slippery archaeologist René Belloq (Paul Freeman), who has aligned himself with the Nazis to claim the Ark for his own purposes.

The adventure barrels toward a race‑against‑time finale as Indy fights to keep the Ark out of enemy hands—culminating in one of the most unforgettable climaxes in action‑adventure cinema.

The stunning Auditorium Theatre amplifies the magic, its grand acoustics allowing the orchestra’s sound to bloom without ever overpowering the action onscreen. The coordination between musicians and film is so precise that it feels as though the score is being created in the moment, perfectly synced to every crack of Indy’s whip and every pulse‑pounding twist. The result is a seamless blend of concert and cinema, a reminder of just how essential Williams’ music is to the film’s spirit, humor, and sense of adventure.

Conductor Thiago Tiberio.

Brazilian conductor Thiago Tiberio brings remarkable artistry and precision to the podium, making him one of the standout talents in the world of film‑in‑concert performance. Known for his expert live‑to‑picture synchronization, Tiberio has led orchestras in acclaimed presentations of Star Wars, The Nightmare Before Christmas, Coco, Lord of the Rings, and other major studio projects across the globe. His background spans opera, multimedia productions, and award‑winning work recognized by organizations including the United Nations. What truly distinguishes Tiberio is his dynamic presence and emotional clarity - he draws rich, expressive playing from musicians and elevates every score he touches, turning familiar soundtracks into thrilling live experiences.

Each time Indy charges onto the screen with a burst of heroism - or the Chicago Philharmonic unleashes a perfectly rendered cue from Williams’ score - the audience responds as one. Cheers ripple through the theatre, a spontaneous wave of energy that makes the experience feel communal and electric.

Whether you’ve seen Raiders a dozen times or are discovering it for the first time, this live‑orchestra presentation is a joyous celebration of movie magic - an electrifying tribute to one of Hollywood’s most enduring collaborations.

As a newly crowned favorite way to experience a film classic, Auditorium Philms makes a strong case for returning again and again. Their upcoming slate keeps the magic alive, offering even more opportunities to see iconic movies reimagined through the power of live orchestral performance. Keep an eye on their calendar - you won’t want to miss the cinematic treasures still to come.

Saturday, May 16, 2026 • 7:30 PM
Auditorium Philms Presents
Rocky In Concert – 50th Anniversary
with the Chicago Philharmonic

Saturday, September 26, 2026 • 7:30 PM
Auditorium Philms Presents
Top Gun: Maverick

Saturday, October 24, 2026 • 7:30 PM
Auditorium Philms Presents
Edward Scissorhands In Concert – Live to Film
with the Chicago Philharmonic

Saturday, December 19, 2026 • 7:00 PM
Auditorium Philms Presents
Home Alone 2: Lost in New York – Live in Concert

For tickets and/or more information, visit https://www.auditoriumtheatre.org/events/buy-tickets/auditorium-philms.

It’s hard to believe that is was just fifty years ago, the United States of America successfully sent astronauts to the moon – a first in world history. Something that we now take for granted, we sometimes forget the incredible journey it took to get there. We sometimes forget about the trek in space itself and the bravery in each astronaut, but also the teams of engineers, the trials and errors and the importance that America be the first to put a man on the moon. To celebrate this amazing accomplishment, the Melbourne Symphony Orchestra (MSO) performed “The Greatest Hits of the Galaxy” at Symphony Hall. It was the first of, hopefully, many more performances in Chicago by this gifted orchestra.

Fiercely conducted by Benjamin Northey, the orchestra beautifully played several of our favorite space movie classics including a handful of John Williams’ Star Wars scores, the unforgettable theme from E.T. and even the opening song for Lost in Space. While the orchestra’s flawless music circulated throughout the venue, projections were displayed on the theater’s walls and ceiling that would, with the slightest bit of imagination, take us on a space journey of our own. At the same time, video was displayed on a large screen above the orchestra that would also match the music being played sometimes showing imagery of zooming through the universe, sometimes displaying video of the actual space travel of the historic plight to the moon and, towards the end, a tribute to all the teams that have participated in space travel.

Hosting this spectacular event was George Takei, best known for Hikaru Sulu, helmsman of the USS Enterprise in Star Trek. Takei came out to introduce each number, joke with the audience and relive some of his own fascinating stories. He also introduced special guests that included jazz legend (from Chicago) Kurt Elling, superstar trumpeter James Morrison and astronaut Charlie Duke. Elling, who has performed with MSO in Australia, wowed the crowd with his rendition “Come Fly with Me” before ending the evening with James Morrison and MSO with a touching version of “What a Wonderful World” that would have made Louis Armstrong very proud. (Elling will be performing at Symphony Center May 1s 2020).

The night was full of highlights. Each number was a highlight as was each appearance by George Takei, James Morrison and Kurt Elling. But perhaps the biggest moment was when Charlie Duke took the stage and the crowd took to their feet with a long, heartfelt ovation. Duke, the youngest astronaut to have walked on the moon, piloted the Apollo 16 in 1972 and has spent 265 hours in space. The banter between Takei and Duke was priceless and they talked about the influence that Star Trek had on future space travelers and, of course, what is was like to actually walk on the moon and other interesting tidbits of his 11-day space journey. “I didn’t want to come back,” Duke laughed. Duke also stated that he believes we are on the cusp of space tourism. “Well, I hope they hurry,” joked Takei. “I want to go there for real.”

After watching the painstaking details of getting a man to the moon and the time and dangers involved, Takei humored, "Wow. It seems like so much work. All we had to do was beam up and beam down."

“The Galaxy’s Greatest Hits” was truly an out-of-the-world experience and a one-of-a-kind production that will be etched in the memory of each attendee.

Mozart’s Requiem

Music of the Baroque Chorus and Orchestra

Jane Glover, conductor

William Jon Gray, chorus director

Saturday, September 15, 2018, 7:30 PM at the Harris Theater for Music and Dance, Chicago, and Sunday, September 16, 3:00 PM at the North Shore Center for the Performing Arts, Skokie

                                                                                                                                                                                                                                                                 Photo by Elliot Mandel

A Regal Beginning and a Divine Ending

By the OperaSwains

A capacity audience warmly welcomed the Music of the Baroque Chorus and Orchestra and A-List cast of soloists on the opening night of its 2018-19 season at the Harris Theater, led by Maestra Jane Glover, in an impeccably well-crafted performance of one of classical music’s crown jewels, Mozart’s glorious Requiem Mass in D minor, K 626.

The program began with three anthems by George Frederic Handel written in 1727, more than a dozen years before composing his great “Messiah”, as Handel was becoming established as the preeminent British composer of his time, for the Coronation of the Hanoverian King George II and Queen Caroline.

In a brief, inspiring podium speech, Ms. Glover sparked a human touch to the evening by inviting us to imagine ourselves in Westminster Abbey for that regal occasion among the soaring arches and stately long nave which has been the scene of countless Crown events, setting the scene for us to be part of something important.  As the music began quietly and swelled, she had us.

The pageantry of “Zadok the King” was followed by the more intimate “My Heat is Inditing” (from Middle English - not a typo), with “The King Shall Rejoice” concluding the set.

The talented ensemble played cleanly and with spirit; their understanding and love of the baroque style apparent throughout.  The chorus, ably prepared by William Jon Gray, sang with musical clarity, if not clarity of diction.  The stellar tenor section was especially impressive in astonishingly accurate coloratura passages – Bravi, gentlemen!  The sopranos were silvery, at times ethereal, while the altos provided soothing warmth.  However, we wished for substantially more weight from the basses, often swamped by the low strings.  Less emphasis on the modern obsession with “blending” and greater emphasis on pure vowels would not only improve diction, but also give the chorus a fuller, more complete adult sound.

Following intermission, the chorus and a full Mozart orchestra returned for the Requiem with soprano Amanda Majeski, mezzo soprano Daniela Mack, tenor Joan Hacker and Bass-Baritone Eric Owens.  A few more choristers would have been welcome, because at times they were overwhelmed by the orchestra.

If the term OMG! wasn’t already a part of our current lexicon, it would be necessary to invent it for Mr. Owens’ performance. OMG!! He possesses the gravitas and commitment of a truly great singer. Listening to Mr. Owens is like hearing the voice of humanity, or perhaps, tasting a 50 year old Scotch. The wondrous, trumpet-like sound of his “Tuba mirum spargens sonum” spreading through the hall was one of those rare heart-stopping moments in a live performance that will not be forgotten. To ice the cake, Mr. Owens is capable of a delicately tender pianissimo usually unavailable to other voices of his dramatic weight. We can’t wait for “Siegfried” at the Lyric!

Tenor Jonas Hacker’s burnished, clarion tenor brought much more to the role than what is generally expected from a “Mozart tenor”.  It may be that standing next to Mr. Owens, he was inspired to greater heights, as his engaged and direct singing just became better and better throughout his performance. We hope to hear much more from him in the future.

No such luck on the other side of the stage; Ms. Mack’s rich, clear voice met the demands of the alto role, but the part doesn’t give an opportunity for the singer to make much of a mark.  However, she did look fabulous in her red and gold brocade strapless gown, and one could easily imagine her as a spunky Rosina or a smokin’ hot Carmen.

Beautiful voices, as the great vocal coach Peyton Hibbitt used to say, are a dime a dozen, but an artist is someone who engages the audience and communicates something.  Anything.  At the very least, the intent of the composer and the librettist.  Ms. Majeski brought nothing but her beautiful instrument to the soprano soli. 

Ms. Glover has a great command of the dynamic possibilities of an orchestra, exquisitely rendered by the gifted musicians.  The performance was enthusiastically received, albeit with the perfunctory, up-trickling, standing ovation (Ladies and gentlemen, if you can’t help yourself from instantly jumping to your feet when the piece ends, don’t bother standing until you are ready to leave…).  Nevertheless, we all were grateful for an excellent performance by this gem of the Chicago musical scene.  Get your tickets now for the remaining performances of the season, which includes Bach’s Christmas Oratorio and Coffee Cantata, among many other treasures.

For tickets call (312) 551-1414

www.Baroque.org  

The first time I went to the opera was in elementary school to see La Triviata. It was a school sponsored field trip that took kids to Los Angeles to see the opera, the symphony, museums, and the ballet, exposing them to the arts at an early age. Though I had no idea what was being said, or what I was really watching, I loved it, and not just because I wasn’t in class on a school day. The orchestra, the singers, the theater itself, it was all so grand for a child. Though I didn’t have the same reaction to the Lyric Opera on Friday, it was nonetheless that childhood experience that helped to shape my appreciation and love for the opera.

The Lyric Opera of Chicago opened its 2017 season with Orphée et Eurydice. The plot centers on Orphée (Dmitry Korchak), whose singing was so beautiful that it could charm the fierce guardians of the Underworld. Encouraged by the god of love, Amour (Lauren Snouffer), Orphée travels to Hades to bring his dead wife, Eurydice (Andriana Chuchman), back to earth. This opera was a powerhouse of talent with 60 members of the Lyric Opera Chorus, 47 members of the Lyric Opera Orchestra, and 43 dancers of The Joffrey Ballet all working to put on this production; not to mention the ushers, the ticket agents, the janitors, and more, just to stage this opera with a run time of a little more than 2 hours.

There wasn’t much to this opera lyric-wise. There are many repetitious lines to accompany the score, but very little substance despite being such an enthralling mythological story line. What made this opera worth seeing was the Joffrey Ballet. Their performance was one of the best I have seen from the company. They added movement and beauty to the opera, bringing visual clarity to the mythical worlds of Hades and Elysium. Overall, it was a spectacular engagement of the fine arts. A performance that should be enjoyed by the masses.

Unfortunately, the opera is inherently old and doesn’t attract the masses. It’s target audience is old. The theater it performs in is old. The Lyric Opera is currently fundraising in order to renovate its theater, but it hasn’t had much luck. Tickets prices are exorbitant and the people who can afford to go are old. Like any passing of the guard, the opera needs to focus on reaching out to the next generation of opera-lovers, otherwise their primary patrons will be gone within the next decade or so with few people left to appreciate, or afford, the opera. And that’s why exposure at a young age is so vital. You’ll be hard pressed to find many millennials who say “I love the opera” or even “I’m going to the opera!” Just in my immediate circle of friends and co-workers, very few people had even seen the opera. What the Lyrics Opera should do is work with local school districts; bus kids in from all area of the city and the surrounding area to see performances throughout their season. They should offer discount nights in order to attract new audiences, or play the show live in the park for discounted tickets or free; anything to increase opera’s fan base and expose the art to different audiences the most important of those being youths. I was lucky as a child to have had the opportunity to see the opera, and I’ve been lucky to have gotten to see shows as an adult. I only hope the Lyric Opera of Chicago does community outreach like this, or increases its outreach or I fear, like Eurydice, it will die, only there might not be an Orphée around to save it.

Remaining performance dates for Orphée et Eurydice are Oct. 12th and 15th at 2pm. For tickets and information call (312) 827-5600 or go to lyricopera.org/orphee.