In final performances this week: Le Comte Ory Tues. Nov. 22 at 7pm, Sat. Nov. 26 at 7:30pm, Don Carlos Fri. Nov. 25 at 7pm
Photo: Courtesy Lyric Opera
By Dwight Casimere
There’s an opportunity to imbibe in a pair of true ‘aperitifs’ in this year’s Lyric Opera of Chicago schedule, before the main course of Holiday treacle goes into effect. Rossini’s delightful comedy Le Comte Ory is in final performances this Tuesday and Saturday evening and Verdi’s intense drama Don Carlos rounds out Lyric’s 2022 performances with a final turn on Friday night. For information, visit lyricopera.org.
Le Comte Ory is a delightful confection that sets its comedic pace in motion with a bracing overture under the snappy baton of Lyric’s exceptional Music Director Enrique Mazzola.
The Lyric’s seasoned tenor Lawrence Brownlee is a wonder to behold in the title role of the shape-shifting Count and Ian Rucker made his noteworthy Lyric debut, substituting for an ailing Joshua Hopkins in last weekend’s performance, in the role of Raimbaud, Ory’s friend. The baritone is an Ensemble Member with Lyric’s Patrick G. and Shirley W. Ryan Opera Center.
Rossini’s farce is set in motion when the Count of Formoutiers and the other men in the village go off to the Crusades. His sister Adele, sung by the thrilling coloratura soprano Katherine Lewek, and her companion Ragonde, the sumptuous mezzo soprano Zoie Reams, are left behind along with the other women to fend for themselves in what turns out to be a rather circuitous plot to ensnare them.
The word is out that Ory is on the prowl, when, in fact, it is Count Formoutiers and his men, disguised as nuns, who are to be watched. Catherine Zuber’s whimsical costumes, a veteran of eight Lyric productions, make it all the more hilarious.
Ory, meanwhile, sets about on a plot of his own to win over the countess, with the help of his friend Raimbaud.
Ory disguises himself as a hermit, doling out bon mots of wisdom and romantic advice to the local women. Kayleigh Decker sings the pants role of Isolier with aplomb, setting a good deal of the plot in motion.
The Lyric is to be praised for its colorblind casting of Brownlee and Reams in their stellar roles.
Kathleen Smith Belcher is the Revival Director of this lively production, which was originally conceived by legendary Tony and Drama Desk Award-winning director Bartlett Sher (South Pacific).
Mirco Palazzi, the standout Italian bass, is Orly’s Tutor, and Lindsey Reynolds, a first-year member of the Ryan Opera Center Ensemble, is an exceptional Alice.
The spirited Chorus, led by Chorus Master Michael Black, is an integral part of this seamless effort, as is the work of Choreographer August Tye.
In all, this frothy production is a fitting grace note to what has been a stellar post-pandemic season for the Lyric. Le Comte Ory is sung in French with projected English supertitles.
Don Carlos is also sung in French with English supertitles. It is recognized as one of the monumental achievements in the world of opera. Verdi’s masterpiece revisits the story of Spain’s 16th century King Philip II and his jealous suspicion of his son, crown prince Carlos, who he believes is having an affair with his wife and Carlos’s stepmother, Queen Elisabeth. This is Lyric’s premiere of the opera in its full five acts, with the original French text. For more information, visit lyricopera.org.His sister