Concerts by the chamber music ensemble Civitas are as likely to take place at Lurie Children’s Hospital as they are on a concert stage, and perhaps that focus helps to explain the particular warmth and humor of the group’s programming sensibility. Its performances radiate joyful vigor, a happy blend of virtuosity and camaraderie. ““The last thing we want to be is stodgy,” says founder Yuan-Qing Yu.
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Review: Twice in the last two seasons the young Romanian-born conductor Cristian Macelaru has stepped into the same big shoes, replacing an indisposed Pierre Boulez on the podium of the Chicago Symphony Orchestra. After the second look, on March 7, one can only join the applauding CSO musicians in saluting Macelaru as a star in the making. ★★★★
Preview: For German violin virtuoso Anne-Sophie Mutter, the observance of Polish composer Witold Lutosławski’s birth centennial this year is a personal celebration of music she calls “elevating, too poetic for me to put into words.” Mutter’s far-ranging recital with pianist Lambert Orkis, in the Symphony Center Presents series March 10 at Orchestra Hall, will include Lutosławski’s Partita, a five-movement work composed in 1984 for violinist Pinchas Zukerman but which also has a personal history for Mutter.
Interview: The play is called “Bengal Tiger at the Baghdad Zoo,” and while there is indeed a tiger in it – dead for most of the story, wafting in and out of view as an existential ghost – our sympathies are not with the spectral creature but with a real man, an Iraqi gardener brought to heartbreaking life by Anish Jethmalani at Lookingglass Theatre.
Review: Among the Chicago Symphony Orchestra’s most important relationships with conductors in their prime middle years is surely that with Finnish conductor and composer Esa-Pekka Salonen, 54, who led a concert of Tchaikovsky, Sibelius and Lutoslawski so compelling that it made one want to go back to the box office and do the whole thing all over again. Through March 3. ★★★★★
Review: Verdi’s “Rigoletto” is about a man’s tormented soul, and about his sheltered daughter, a young woman utterly innocent of the world – and the inexorable calamity that befalls them both. In all that, in the voices of baritone Andrzej Dobber and soprano Albina Shagimuratova and their moving rapport as protective father and enraptured daughter, the Lyric Opera of Chicago offers a “Rigoletto” deeply rewarding at its heart. Draw the circle larger, however, and the problems with this production become evident. ★★★
Review: On paper this looks like a no-brainer: American opera’s most influential composer of the 20th century transforming a gothic horror tale by Edgar Allen Poe, the 19th century’s master of the macabre. You can almost taste the possibilities for sustained tension and terror. Goth drollery is needed, but COT’s twice-twisted tale meanders. ★★★
Review: Finnish conductor Esa-Pekka Salonen once undertook total immersion in the music of Richard Wagner’s “Tristan and Isolde,” an opera of lasting influence and extraordinary musical language, newly coined to express ecstatic, forbidden love and its all-consuming anguish. Today Salonen’s enthusiasm for exploring this operatic icon is undiminished. In addition to two concert performances with the Chicago Symphony Orchestra of “Tristan’s” mesmerizing second act, he led “Beyond the Score” performances that explored the controversy over Wagner’s musical nugget, the Tristan chord, and its breakthrough potential to lead the ear beyond traditional harmonic bounds. Neither effort proved entirely successful. Through Feb. 24.
Review: In an obvious sense, Charles Fuller’s 1982 drama “A Soldier’s Play,” recently opened in a sharply detailed production at Raven Theatre, is about the virulent ugliness of racism as it persisted in the mid-20th century deep South. But more than that, Fuller’s story grapples with the despair and self-loathing that can infect the soul of an oppressed people. ★★★
Interview: One of the most appealing, indeed endearing, performances to be seen on Chicago theater stages this season is Gary Perez’s quietly philosophical, yet vaguely dangerous turn as Julio, the gay cousin and one true friend in Stephen Adly Guirgis’ play “The ______ With the Hat” at Steppenwolf. Perez credits director Anna D. Shapiro with framing Julio as worldly-wise and possessed of a Zen-like calm, the one really centered character in a collection of loose cannons.
Review: ★★★★
Report: Under the stars at the Jay Pritzker Pavilion in Chicago’s Millennium Park, the Grant Park Music Festival kicks off its 79th free-concert summer season on June 12. Here’s what looks new and promising week by week.
Review: To be engulfed by the despair that sweeps over “Bengal Tiger at the Baghdad Zoo” is to be reminded of the spiritual nausea that seized Jean-Paul Sartre and other French existentialist playwrights who watched their own world getting blown to pieces in the 1940s. Lookingglass Theatre and director Heidi Stillman have turned Rajiv Joseph’s play into one of the peak stage experiences of this season. ★★★★★
Report: The Chicago Symphony Orchestra had come a long way, in every sense and under trying circumstances, to hear the Seoul Arts Center rocked by applause on the final stop of its Asia tour. In the quiet of an interview before the closing concerts, conductor Lorin Maazel, who had joined the fraught tour in Hong Kong to lead the CSO across China to this conclusion, its first ever visit to Seoul, described his thrown-together effort with the orchestra not merely as a challenge met, but as “an impossible task.” That the mission was accomplished as impressively as it was, Maazel said, bore witness not only to the Chicagoans’ musicianship but also to their collective professionalism.
Report: We offer our hot picks.
Report: TIANJIN – Conductor Lorin Maazel has pretty much peaked out in his appreciation of the Chicago Symphony, even topping music director Riccardo Muti’s proud comparison of the orchestra to a Ferrari. Shortly after he caught up with the CSO to take over its Asia tour conducting duties from Edo de Waart, in Hong Kong, the grey eminence Maazel summed up the impression he drew from his first rehearsal with the orchestra: “About an hour into it, I thought to myself, ‘My God, what a sound!’”
Preview: Singer-actress Alexis Rogers thinks of herself as cut from the same cloth as the great jazz vocalist Billie Holiday – a spunky, lively, laughing spirit, and someone who doesn’t mince words. That’s the briefly resurgent Billie Holiday, heroin-addicted and near the end of her life, embodied by Rogers in Lanie Robertson’s musical bio-drama “Lady Day at Emerson’s Bar & Grill” for Porchlight Music Theatre.
