The Cast of "Le nozze di Figaro"
photo by Liz Lauren
Chicago Opera Theater’s
Le nozze di Figaro
The Marriage of Figaro
Music by Wolfgang Amadeus Mozart
Libretto by Lorenzo da Ponte
Based on Le mariage de Figaro by Pierre-Augustin Caron de Beaumarchais
Sung in Italian with English supertitles.
Première: Burgtheater, Vienna, May 1, 1786
COT performance schedule,
May 4-14: Wednesday,
May 4 at 7:30 p.m.;
Friday, May 6 at 7:30 p.m.;
Sunday, May 8 at 3:00 p.m.;
Thursday, May 12 at 7:30 p.m.;
and Saturday, May 14 at 7:30 p.m.
review by Ed Vincent
The Joan W. and Irving B. Harris Theater for Music
and Dance could have easier entrance and egress, in
terms of three flights of stairs down, and plenty of
confusion getting to the parking garage, without going
to the backstage of the theater. However, even with
those issues on the table, the performance was fantastic.
The sound in the Joan W. and Irving B. Harris Theater
is great from the locations we witnessed, both on the
ground floor. I do like gold gilding and small pretty
lights, but I have been spoiled the Civic Theater and
the Auditorium. This current timed staging has plenty
to play with, Dolphin posters, and modern phone rings.
The translations are also new and eye catching, terms
like; " menopausal old bag " won't be found in most
projected interpretations. The use of a cell phone in
a scene, perhaps pedistrian in regular life, was fun on
an Operatic stage.
The sets are fun, inventive, and minimal at the same
time. A nice taste for color in the sets and the apparel
worn by the performers. The Count enters a scene
dressed in what I would call a nice "Curious George
motif ", lots of yellow and blue in his golf garb.
The production is filled with fun and gaiety from
the start, revenge, bawdy scenes, comedy, falsies,
and resolution. What more could you want in
Opera? If you need death in your drama look at
the obituaries.
All of the singers were phenomenal. I enjoyed the
bass-baritone of Christian Van Horn, as Figaro.
Van Horn was powerful with his voice, filled
with rich melody. The charming, nymph like
Cherubino, performed mezzo-soprano Sandra
Piques Eddy, garnered the most applause at the
conclusion of the Opera. Her singing was strong
and beautiful, and to have cut her gorgeous hair
for the role is a sacrifice to note (look at the publicity
of photo of this young now shorter haired woman).
Susanna, played by soprano Jane Archibald was
beautiful in her role, both vocally and physically.
The Countess Almaviva, sung by mezzo-soprano
Krisztina Szabó was glamorous and gifted. Each
of the singers also make this performance work
well with the great timing of situational comedy,
and willingness to reveal many of our mortal
foibles.
"There is not much time left so get your tickets
soon, a great buy for a wonderful time." OPJ
All-star cast of exceptional young singers brings Mozart’s joyously boisterous masterpiece to life at Chicago Opera Theater, May 4-14
Le nozze di Figaro re-unites the exciting team of conductor Jane Glover and director Diane Paulus for their fifth COT collaboration, with set design by award-winning designer Robert Brill
Chicago, IL – Opera lovers will experience a timeless classic reborn with Chicago Opera Theater’s (COT) second opera of the season, Le nozze di Figaro (The Marriage of Figaro), which brings together the exciting team of conductor Jane Glover and director Diane Paulus for their fifth COT collaboration. Featuring an all-star cast of exceptional young singers, with modern staging and a set by designer Robert Brill, nominated for a 2004 Tony award, this promises to be a Figaro like no other.
The production features an all-star cast of international young singers including soprano Jane Archibald (Susanna), acclaimed by the
Toronto Star as “a tragedienne of rare eloquence,” Hungarian-Canadian mezzo-soprano Krisztina Szabó (Countess Almaviva) who was previously seen at COT in L’incoronazione di Poppea, Swedish born baritone Fredrik Zetterström (Bartolo) from COT’s Il viaggio a Reims, and mezzo-soprano Sandra Piques Eddy (Cherubino), applauded by The New Yorker as “an important voice in the making.” Bass-baritone Christian Van Horn, making his COT debut in the title role of Figaro, is a member of the Lyric Opera Center for American Artists and has been described as possessing “genuine dramatic urgency and warm, handsome tone” by OPERANEWS.
All Chicago Opera Theater performances for the 2005 Season will be at
the Joan W. and Irving B. Harris Theater for Music and Dance, located
in Millennium Park at 205 E. Randolph St. For the latest COT news visit General Director Brian Dickie’s online blog at www.chicagooperatheater.org as he documents the rehearsal process and shares his thoughts on each production.
Le nozze di Figaro
Music by Wolfgang Amadeus Mozart
Libretto by Lorenzo da Ponte
Based on Le mariage de Figaro by Pierre-Augustin Caron de Beaumarchais
Sung in Italian with English supertitles.
Première: Burgtheater, Vienna, May 1, 1786
Considered by many to be the most perfect opera of all time Le nozze
di Figaro (The Marriage of Figaro) is an unsurpassed portrait of the joys and sorrows of the human experience, from the overture establishing the excitement of a wedding day, to the final notes celebrating the triumph of love over adversity.
COT performance schedule, May 4-14: Wednesday, May 4 at 7:30 p.m.; Friday, May 6 at 7:30 p.m.; Sunday, May 8 at 3:00 p.m.; Thursday, May 12 at 7:30 p.m.; and Saturday, May 14 at 7:30 p.m.
“The course of true love never did run smoothly.” So says Shakespeare, and so, it seems, agrees Mozart. Le nozze di Figaro is the union of a clever, satirical play about the foibles of lovers and the presumptions of class, with the witty music of Mozart at his romantic best, perfectly
blended by the da Ponte libretto. Mozart’s famous score gives voice
to the greatest variety of characters and situations – from the
overflowing energy of youth to the aching tenderness of mature love.
Le nozze di Figaro CAST & ARTISTIC TEAM
Audiences and critics alike praised COT’s theatrically updated
version of Così fan tutte in 2002, not least for its memorable staging, as Mozart’s mixed-up lovers were placed in a trendy singles bar.
Now director Diane Paulus and conductor Jane Glover return to the Mozart/da Ponte operas for Le nozze di Figaro and their fifth COT collaboration together. Writing their own surtitles and spending several weeks in rehearsal with their singers, this pairing brings distinct and unforgettable touches to each production and with the addition of award-winning designer Robert Brill and costume designer Myung Hee Cho to the team, Le nozze di Figaro promises to be no exception.
Jane Glover has conducted all the major symphony and chamber orchestras in Britain, and appears regularly at the BBC Proms.
Currently Music Director of Chicago’s Music of the Baroque she
has a worked with many orchestras in Europe, the U.S., the Far East,
and Australia, and remains in demand as a conductor of major choral
works in the UK, New York, Sydney, and at The Berkshire Choral
Festival in Massachusetts. She was created a CBE in the 2003 New Year’s Honours.
A director of theater and opera, Diane Paulus has previously worked on COT productions of L'incoronazione di Poppea, Turn of the Screw,
Cosi fan tutte, and Orfeo, which was presented as part of the Monteverdi Festival at the Brooklyn Academy of Music. The Donkey Show, which
she created and directed, has toured internationally to London,
Edinburgh, Madrid, and Evian, France, and is in its sixth year running Off-Broadway. For Music-Theatre Group, she directed the Obie award-winning and Pulitzer Prize finalist, Running Man; Fangs; and Swimming With Watermelons, created in association with Project 400,
the theater company she co-founded with Randy Weiner.
Scenic designer Robert Brill received a 1998 Drama Desk
nomination for his work on the Roundabout’s Tony Award-winning
Cabaret directed by Sam Mendes and Rob Marshall, now running
in its fifth year at NYC’s Studio 54. He was nominated for a 2004
Tony award for his work on Assassins, and won the Jefferson
Design Award for his work in the Tony-nominated Buried Child,
directed by Gary Sinise, on Broadway. He designed the national
tour of Monsters, Inc on ice, Anna in the Tropics at the McCarter,
One Flew Over the Cuckoo’s Nest directed by Terry Kinney and
starring Gary Sinise, at Steppenwolf, Moises Kaufman’s The
Laramie Project Off-Broadway at the Union Square Theatre (2000 American Theatre Wing Hewes Award nominee for outstanding
scenic design), and Violet Hour at Steppenwolf.
Acclaimed for her versatility and “radiant voice”, Nova Scotia born soprano Jane Archibald (Susanna) frequently collaborates with some
of Canada’s most innovative proponents of contemporary music and debuted last season in the title role of Lakmé for Opera Ontario.
Featured in Opera Canada and Elle Canada as a young performer
of note, her artistry has won praise from audiences and colleagues
alike and The Boston Globe recently noted her “coloratura fireworks
that shimmered and glittered.” Her U.S. debut in 2003 as Poppea in
COT’s Agrippina garnered rave reviews and she appeared most
recently at the San Francisco Opera Center as Masha in Pasatieri’s
The Seagull.
Hungarian-Canadian mezzo-soprano Krisztina Szabó (Countess
Almaviva) has quickly become one of the world’s most sought-after
artists, appearing with L’Opéra de Montréal, the Canadian Opera Company, Opera Atelier, L’Opéra de Québec and the Opéra
National du Rhin. She is a frequent performer of recital, concert
and chamber repertoire, appearing with Music Toronto, Ravinia
Festival, Off-Centre Music Salon, Symphony Nova Scotia,
Lanaudière Festival, Toronto Mendelssohn Choir, Orchestra
London and Toronto Operetta Theatre. Her Lincoln Center début
as Dorabella in Così fan tutte at the Mostly Mozart Festival was
praised in the New York Times as “clear, strong, stately and an endearingly vulnerable Dorabella.” In 2004 she debuted with COT
as Ottavia in L’incoronazione di Poppea.
Fredrik Zetterström (Bartolo) was born in Stockholm, Sweden and
has been engaged by several Scandinavian opera companies such as GoteborgsOperan, Malmö Music Theatre, Folkoperan in Stockholm, Norrlandsoperan, the Karlstad Opera, the Drottninghom Court
Theatre, the Vadstena Academy and the Royal Opera in Copenhagen.
He has also performed at Brooklyn Academy of Music in New York
and was previously seen at COT in Il viaggio a Reims.
A member of the Lyric Opera Center for American Artists, New York
born bass-baritone Christian Van Horn (Figaro) recently received his Masters degree in music from Yale University. He has appeared at the Florida Grand Opera and the Opera Theatre of St. Louis and has also performed with the Seattle Symphony. His many awards include the
2003 Metropolitan Opera National Council Auditions, a 2003 Sarah
Tucker Study Grant, and the Richman Award from the Opera Theatre
of St. Louis.
Soprano Erika Buchholz (Barbarina) is a native of Rohnert Park,
California and a graduate of Northwestern University. In 2003 she
was the only singer selected from the U.S. to compete in the 10th
Neue Stimmen International Singing Competition, Germany. She
appeared at COT’s L’incoronazzione di Poppea and Death in Venice
and now studies in the COT/Chicago College of the Performing Arts Professional Diploma program.
New York born tenor Steven Goldstein (Don Basilio/Curzio) began
his career as an actor working in theatre and film. As an opera
singer he has appeared with Seattle Opera, New York City Opera,
New Israeli Opera, Tel Aviv, Los Angeles Opera and the Boston
Symphony Orchestra at The Tanglewood Music Festival. His
acting credits include productions with the Lincoln Center Theatre,
the Atlantic Theatre Company, The McCarter Theater, and the
La Jolla Playhouse. In film Steve Goldstein has appeared in The Untouchables, House of Games, Homicide, and Things Change. He debuted at COT in 2003’s Comedy on the Bridge.
Baritone David Holloway (Antonio) joined the Voice Faculty at
Chicago College of Performing Arts after a thirty-year international
career in opera. He sang leading roles for seven seasons with the Metropolitan Opera in New York City and sang with the New York
City Opera for eight seasons while performing with major opera
companies across the United States, including Boston, Dallas, Kansas
City, San Diego, San Francisco, and Washington D.C. For ten years,
he was leading baritone at the Deutsche Oper am Rhein in Düsseldorf/Duisburg, Germany. While based in Europe, he
performed with the opera houses in Aachen, Berlin, Bonn, Cologne, Frankfurt, Hamburg, Munich, Stuttgart and Monte Carlo. He has appeared at COT in Death in Venice, Comedy on the Bridge and
Cosî fan tutte.
Mezzo-soprano Amanda Ingram (Marcellina) is a native of Maryville, Tennessee, and recently completed her Masters of Music degree from Yale University School of Music. She has performed with Knoxville
Opera Company, UT Opera Theater, and Chautauqua Opera Company.
Mezzo-soprano Sandra Piques Eddy (Cherubino), a native of Boston,
was praised by The Boston Globe as “a charismatic mezzo with future star written all over her,” and recently received acclaim for her portrayal of Meg in Mark Adamo’s Little Women at Glimmerglass Opera. She has appeared with the Metropolitan Opera, Fort Worth Opera, Boston Lyric Opera, Florida Grand Opera, New York City Opera, Los Angeles Opera and Spoleto Festival USA. Her appearance in Le nozze di Figaro is her COT debut.
Baritone Alexander Tall (Count Almaviva) has appeared with the Merola Opera division of the San Francisco Opera, Opera Theatre of St. Louis
and the Curtis Opera Theatre. He has also performed in productions of Gianni Schicchi and L’heure Espagnole with the Seiji Ozawa Opera
Project in Tokyo, Japan. Tall was previously seen at COT in Il Viaggio a Reims.
COT’s season 2005 concludes with A Midsummer Night’s Dream, Benjamin Britten and Peter Pears’ adaptation of Shakespeare’s
magical tale of desire and devotion, which runs May 18-28. COT
Resident Conductor Alexander Platt continues his exploration of
the Britten cannon with this innovative production, collaborating with internationally acclaimed stage director Andrei Serban. Soprano
Danielle De Niese, who won raves for her performance in COT’s L’incoronazione di Poppea, plays the role of Tytania while acclaimed counter-tenor Tobias Cole returns to COT as Oberon.
COT TICKETS
Tickets for main-stage COT productions range in price from $30 - $105. Students receive a 50% discount. Rush tickets at a 50% discount are available from Noon to 2 p.m. on performance days.
All performances are at the Harris Theater for Music and Dance,
205 E. Randolph Dr.
To purchase tickets or for more information on all performances, contact the COT Box Office, Monday through Friday, 9 a.m. – 5 p.m. Please call 312-704-8414, fax 312-704-8421, or visit www.chicagooperatheater.org. Tickets are also available through
the Harris Theater Box Office by phone at 312-334-7777 or visiting www.madtchi.com.
About Chicago Opera Theater
Since its first season in 1974, Chicago Opera Theater has carved a significant place for itself in the operatic life of Chicago. Under the leadership of General Director Brian Dickie, COT has become the company to watch with its wide range of operatic repertoire that includes the greatest works of the 17th, 18th, and 20th centuries. The company’s productions have been repeatedly lauded for musical excellence, their exemplary drama and outstanding production values. The 2005 season will be no exception, featuring the operas La Resurrezione, Le nozze di Figaro, and A Midsummer Night’s Dream.
COT opened the 2004 season in its new home, the Joan W. and Irving B. Harris Theater for Music and Dance in Millennium Park. This modern, state-of-the-art theater is conveniently located at 205 E. Randolph. For more information, call (312) 704-8420 x10 or visit www.chicagooperatheater.org
© Oak Park Journal
published by Suburban Journals of Chicago Inc.
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