COT's Clemenza

Prima la musica-- the music's the first thing, the most important. Always been true of opera or else we'd see the play!

Chicago Opera Theater's La Clemenza di Tito sounds first-rate and looks stylish too. The general director, Brian Dickie, has once again assembled a talented team, who offer wonderful music to hear in a visually appealing setting.

I've begun to believe that conductor Jane Glover has descended from the gods and can do no earthly wrong. Her conducting of this Mozart work supported every singer while transporting the audience with phrasing and timing that imbued almost every minute with glory and grandeur. Remember my recent complaint of Mozart having too many notes (see below, re: the Lyric's Abduction)? If Ms. Glover rehearsed and conducted that work, I'm sure my opinion would be different!

The young singers had splendid voices all; many also had shapely legs, which they had several opportunities to display as they were directed to roll and lie about rather a lot. No one role was more outstanding or important than another, really, each having her or his solo arias and recitatives and a handful of ensembles. The standard modern convention of casting mezzo-sopranos in roles originated by castrati confuses contemporary audiences, who are now quite accustomed to counter-tenors taking up these roles. No mention of these kinds of things in the program. COT audiences must be sophisticated enough to sort it all out.

The set piece and its furnishings reminded me ever so much of the LaSalle Bank lobby-- gleaming garbage canisters, marble benches, and all. Strong, solid visuals with little symbolic bearing do provide a tasteful backdrop. Alas, I think the singers could have done with a bit more Method than choreography. There being much regret in the libretto, the story can seem a bit sad sack. A singing actor who must sustain long lines of melancholy needs more to do than stoop forward from the thoracic vertebrae. Much of the cast sported dowager's humps. All that anguish inclined them to lean against the walls or lie on the floor quite often. I began to wonder if this is a theatrical convention missing in my education? Maybe the director meant something by it, but it was too subtle for me. How about you?

Having just watched the excellently researched HBO series "Rome," I had an easier time understanding some of the aristocratic machinations and intentions of the times. I wonder if any of the cast or the director could benefit from that same series?

Nonetheless, the music, the conducting, and the singing will transport even the least interested party. I saw several children sitting still and enjoying the sounds. When the leaning and stooping were too exasperating, I closed my eyes and heard Mozart-- how much better can it get?

Light Opera? Musical Theater?

What is the difference? Something or other to do with the difficulty and construction of the music. A famous Chicago chef's daughter is off to study musical theater, but he thinks I gave him the impression that she would be slumming it by opera standards. Not so, not so-- two different beasts.

And vive la difference! I saw Mary Poppins and was quite bowled over by the spectacle. As was the entire audience. Lots of showstopping dance numbers with an intensely energetic chorus. Brave singers 'flying' all over the theater. Fantastic light show. Talented children, too. (Always love that!) But the amplification was sub-par, alas. Which seems odd when everything else was so late-breaking technology. Of course, the dialogue didn't much matter, which is good because the acquired English accents were hard to understand anyhow.

Overheard comments ranged from "It's not totally like the movie" to "This is the best show ever!" Plenty of children in the crowd. Lots of fun, really. Good enough but nowhere near great.