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Chicago Opera Theater
Rating Details »
Category: Performing Arts [Edit]
Neighborhood: The Loop205 E.Randolph Drive
(between Dearborn St & Garland Ct)
Chicago, IL 60601
(312) 704-8414
- Nearest Transit:
-
Randolph/Wabash (Orange, Brown, Purple Express, Green, Pink)
Lake (Red)
Monroe (Blue, Red)
- Hours:
Mon-Fri. 9:00 a.m. - 5:00 p.m.
- Good for Kids:
- No
7 reviews for Chicago Opera Theater
My friend discovered an Opera Underground special where we could get specially priced opera tickets for only $40. Since a few of us had been discussing how we'd never been to the opera, we decided to give it a whirl and chose to see the opera "Le Tragedie de Carmen," or just "Carmen," for short.
Our tickets included a reception from 6:00 p.m. to 7:00 p.m. at The Gage where for an hour we got tasty appetizers and some drink specials. Opera Underground is some kind of "young professionals club," so I think that's why they had the reception, although we kept to ourselves and I definitely saw old dudes in suits who would be more likely to be in a "grandparents of young professionals club," but whatever. We also didn't participate in their drink specials since it was only one drink that sounded gross and one beer I didn't want. I'd never been to The Gage, and the appetizers were really tasty. I'd like to go back there for dinner.
The opera was put on by the Chicago Opera Theater and was performed at the Harris Theater in Millennium Park, right across the street from The Gage.
I really did not know what to expect at all of this opera Carmen. When we were seated, I was surprised that our seats were so good. 13 rows from the stage on the main floor, just to the left. Score! I was also surprised, when the opera started, that for the most part the on-stage dress was modern. Carmen was first performed 130+ years ago. For some reason I expected it to be really old timey. Also surprising? The language. I knew that the opera wouldn't be sung in English, so earlier in the day I'd read ahead. I thought, "If this thing isn't in English then I better figure out what it's about so I know what's going on." I found out that the story is based in Seville, Spain, so I thought it'd be in Spanish. Wrong! Georges Bizet, who wrote the opera, was French so the whole thing was in French. Except a few speaking parts, which were in English (?!?). Get this, though, there was a display above the stage that showed English subtitles, so all along we knew what was going on.
As for the story, there were copious amounts of all the classics: Sex, fighting, lies, drinking, murder. In the first 10 minutes of the opera a bitch fight broke out. What's not to like? Also, a few people told me beforehand that I'd recognize songs and I scoffed, "I don't know any opera songs!" But you know what? They were right. Carmen has been around for so long that the songs have made it into modern-day commercials and everything. You may recognize the Toreador (Bullfighter) Song. Especially, the middle of it. For sure the overature will sound familiar.
I think it's neat that the Opera Underground is trying to make opera more accessible for younger crowds by doing drink specials beforehand, reduced ticket prices, etc. Overall, I thought the opera was a fun night out. Something different to do. Something maybe I'd want to do once a year maybe. I liked it, but not so much I'd want to spend a lot of time and money on it. It's cool to see these old, old stories, though. Stories that millions of people have told and heard for generations. And now that I know these productions are presented more modernly and there are subtitles... it's not as foreign of a concept to grasp.
One other note: At the end of the opera, when the actors were taking their bows, the old man next to me and many others in the crowd were yelling "Bravo! Bravo," which at first I was like "what the hell?" but then I realized that if you're going to yell "Bravo!," the opera is the place to do it! Bravo, Carmen, Bravo!
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A really very different experience from the more traditional opera experience, the Chicago opera theater does more intimate, modern types of opera. The theater itself is astonishingly sparse and modern (and underground!), and is actually quite large, so I recommend sitting on the floor level if you can, as even 1st balcony is much higher than I thought it would be. The COT website makes it very easy to buy and pick tickets (if only it were so easy with the Lyric). Excellent all around, although I must admit I prefer the more traditional Lyrics approach, COT does not really try to do the same thing, so they are not in competition so much as in complementary producions.
I scored dress rehearsal tickets to a few of Chicago Opera Theater's upcoming shows. Last night, my sister and I went to see La Clemenza di Tito.
I'm no opera expert, but I can definitely appreciate it. The performance was beautiful. The music was unbelievably powerful and the interpretation somewhat modern (though I'm merely speculating). I'm a photographer, and I found myself in utter awe of the sets and of the lighting. Everything about it was so dramatic and full of contrast and just fit the performance to a T!
The Harris theater itself is not at all what I expected. It's very modern, almost cold feeling, with very few embellishments or visual distractions one might expect from a theater. Not saying this is good or bad. Just is.
In a sense, I suppose it helped keep the focus where it belongs: on the stage.
Overall, a wonderful experiences. Can't wait until the next show!
I didn't know about the COT until a friend introduced me to it a few months ago. The COT is hidden underground, just by Millennium Park. The theater is small(er), and has a cold and sterile feel to it when you first walk in... almost like a dungeon. I went to go see "Return of Ulysses" and it was very well done. I have to agree with John, the singing was very good, and I've heard that it is better than the Lyric.
Parking is excellent for those driving - the entrance to the theater is steps away from the lot. Give yourself a lot of time so you are not late! Ladies, bring a jacket or a shawl, because the theater gets quite cold.
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I've only been to one of their productions, and that was at the Aethaneum, so take this with a grain of salt.
The production was good, definitely not very good or great. This company is a helpful launching pad for singers who are working to become full-time professional opera singers. My husband and I saw one of the Handel operas, and the singing, with the exception of the soprano lead, had a ways to go. The acting also wasn't so great - the performers seemed more focused on vocal tehnique.
I'm a bit of an opera buff, but my husband isn't, and it was hard for him. Handel opera isn't especially approachable, so that might have been my poor judgment call. We both enjoy the Lyric much more (although he likes to get 40 winks there too). But the Lyric certainly has a larger budget for singers, sets, etc. This is not an inspired regional opera company, but a solid one.
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i've been to about four COT productions in the past few years, all at the Harris Theater. they have all been post-1800's operas - Britten, Adams, Bartok - so i'm not sure how COT does with the classics.
the singing is usually superb, but i've always been the most impressed by their sets. with strategic lighting, the sets have always stunned me with their effectiveness because of how much they've been able to do with little or simple materials and tremendous creativity (e.g. the doors/chambers in Bartok's Bluebeard, and the animals and the tree in Adams' A Flowering Tree).
as a classically trained musician, i find it heartening to see COT's efforts and mission to make opera more accessible, engaging, and exploratory for everyone.
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Chicago's other opera company. This is a good choice for those who cannot afford full Lyric subscriptions and would like a short season (3 operas) with more innovative repertoire. The current regime here started out by avoiding anything from the nineteenth century (focusing on early opera and twentieth century works); but they have branched out into less performed nineteenth century pieces as well. In reent seasons, they have done a lot of Britten, Mozart, Handel and Monteverdi. Productions do not always work but are adventuresome. First rate singing -- often better than what Lyric has to offer.
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