COT and Moses in Chicago

Ah, it's springtime in Chicago: blossoming trees, Kindergarten t-ball, wildly fluctuating weather, and the short-n-sweet season of Chicago Opera Theater.

Dear old Rossini, the comic master best remembered for the perpetually parodied "Figaro, Figaro, Figaro, Figaro, Figaro" from The Barber of Seville and the Lone Ranger's theme (to name but a few), wrote many, many wonderful pieces of music, including rather a lot of operas. He rightly did not pass up the wonderful story of Moses leading the Israelites out of Egypt; throw in a doomed love story (way ahead of Verdi's Aida) between an Egyptian prince and a captive Israelite girl, and you've got a winner. Unfortunately, when some fashions change, the proverbial baby goes out with the proverbial bathwater. Before the Chicago Fire of 1871, Rossini's opera was performed here for the first and last times. Until recently.

Impacted by the dreadful economy, the COT has had to make sacrifices in their production values. There was no parting of the Red Sea, nor even red lighting to inform the sleepy audience that it was indeed the famous miracle. There was, however, strong symbolism and cogent directing as well as convincing dedication on the part of the acting singers (in most cases). Akin to successful minimalist productions seen even at the Lyric on occasion, Mose in Egitto sacrificed only the excess of period details. (For all you self-proclaimed purists, how would you wish them to dress-- according to Rossini's time or the best guesstimate of 7,000 year old fashion?)

Much fanfare goes into the fact of this production, with historical notes, commentary, and insights by definitive experts. The program notes alone are an education for even the savviest of opera-goers.

Which production choices can I mention here in order to further highlight the great things about this particular show? The simple costuming gestures, the outstanding conducting by Leonardo Vordoni, the commanding yet reverent presence of Andrea Concetti as Moses, and the real Rossini singing of tenor Taylor Stayton as one of the doomed lovers.

There were weak choices on display too: a particularly shaky Pharoah seemed quite out of his league in what should be a commanding or at least regal role, the aforementioned Red Sea parting and subsequent drowning of the Pharoah, the tenor's death-by-thunderbolt staging/lighting.

These minor complaints were of no distraction to the music, which was sublime and pitch-perfect in the pit. Rossini was the star of the evening, well championed by a brilliant young conductor and his hard-working orchestra. Bravo to Chicago Opera Theater and General Director, Brian Dickie. Opera Less Ordinary can be most extraordinary indeed.