Wed 12 Nov, 2014
Tags: 4 STARS, Giuseppe Verdi, Il Trovatore, Lyric Opera
By Giuseppe Verdi
Lyric Opera of Chicago
By Lori Dana
American opera fans that are yet unaware of the Patrick G. and Shirley W. Ryan Opera Center’s tremendous contributions to the art form need look no further than Lyric Opera of Chicago’s Il Trovatore for confirmation. The Ryan Opera Center, Lyric’s professional development program, is celebrating it’s 40th year. Two distinguished alumni of this remarkable institution within the Lyric, Amber Wagner and Quinn Kelsey, are featured characters in Verdi’s classic tale of mistaken identity and revenge, and the quality of their performances leaves no doubt that the Ryan Center is an incubator for world class opera singers.
In a production brimming with laudable aspects: a subtly ominous revolving set by Charles Edwards, the insightful lighting of Jennifer Tipton, wonderfully witty choreography–with contemporary sensibilities–by director Leah Hausman, and superlative performances by the Lyric Opera Orchestra and Chorus; Il Trovatore is most definitely all about the singing. The casting here is sheer perfection. From the opening strains of Andrea Silvestrelli’s glowing basso narrative to Stephanie Blythe’s final dramatic declaration of revenge, the audience is captivated by a group of thoroughly developed characters. The excellent acting extends even to the chorus in the crowd scenes. None of these roles are just the route to the next aria; marvelous singing actors who bring each personality into sharp emotional and physical focus inhabit them.
As the story’s narrators, Silvestrelli and Blythe provide opposing perspectives on the sad story of Count di Luna (Quinn Kelsey). Silvestrelli (as Ferrando, di Luna’s captain of the guard) opens the first act with the haunting tale of an aristocrat who believes his infant brother was kidnapped and murdered by a gypsy (Blythe as Azucena) to avenge the death of her mother, who was burned as a witch by the Count’s father. For her part, Ms. Blythe who has excelled in over-the-top, menacing roles in recent years (Ulrica/Un Ballo in Maschera, Amneris/Aida), shares the story of her mother’s death with her own son, the revolutionary Manrico (Korean-born tenor, Yonghoon Lee). After throwing the baby into the funeral pyre, Azucena turned to find not her own baby, but the child she had kidnapped. Having failed to avenge her mother’s death, the gypsy took in the kidnapped child as her own.
Fast forward to the present. The dashing and handsome Manrico has fallen in love with the Queen’s lady-in-waiting, the lovely Leonora (Amber Wagner). This Ryan Opera Center alum’s enviable range and evocative delivery are a pure pleasure to hear, and voices supremely matched make Wagner’s duets with Lee achingly romantic. (Also outstanding is current Ryan Center member Janai Bridges as Leonora’s servant, Inez.)
Leonora knows nothing of Manrico. She has fallen in love with an unknown knight who has taken to serenading her, troubadour-style, outside the castle walls in the evening. She is also being pursued by the young Count di Luna and, despite her indifference to his affections, he is not taking no for an answer. The audience knows, of course, that Manrico and the Count are brothers in love with the same woman. Once the Count discovers that his romantic rival is also his political nemesis, and further that Manrico’s mother is the gypsy responsible for the “death” of his brother, Count di Luna’s tragic path is set.
Baritone Quinn Kelsey’s portrayal of Count di Luna makes him the break out star of Lyric’s Il Trovatore. This Ryan Opera Center alum’s perfect synthesis of fine singing and acting takes what could have been a one-dimensional villain and imbues him with great humanity. Verdi’s tragedy is made deeply real to the audience by this sympathetic portrayal of a good man robbed of his family, a man who sees history about to repeat itself. Kelsey’s Count di Luna is not so much the unintentional villain, as the unintentional victim of a cruel fate. This subtlety of performance, staging and direction is indicative of the creative path our “new” Lyric Opera is taking, to realize greater levels of perfection and transformative power. Bravo.
(“Il Trovatore,” presented by Lyric Opera of Chicago, runs through November 29th at the Civic Opera House, 20 N. Wacker Drive. 312-827-5600)
Il Trovatore production photos by Michael Brosilow and Robert Kusel.