- Restaurants |
- Nightlife |
- Shopping |
- Movies |
- All
Chicago Opera Theater
Category: Arts & Entertainment Performing Arts Performing Arts [Edit]
205 E Randolph Dr(at Stetson Ave)
Chicago, IL 60601
Neighborhood: The Loop
(312) 704-8414
- Nearest Transit:
-
Randolph/wabash (Brown Line, Green Line, Orange Line, Pink Line, Purple Line)
Madison/wabash (Brown Line, Green Line, Orange Line, Pink Line, Purple Line)
Lake (Red Line)
- Hours:
Mon-Fri 9 am - 5 pm
- Good for Kids:
- No
13 reviews for Chicago Opera Theater
13 reviews in English
-
Review from Rachelle B.
Chicago, IL
5/27/2009
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! -
Review from Ali H.
5/5/2011
Hmmmmm. I have a hard time with COT since Lyric is right across town. The singing was great, yes, and their Young Artist Program helps many talented up and coming singers get their foot in the door. But the production just seemed like a minor-league version of Lyric. Being in Harris Hall instead of the Civic Opera House didn't help matters. Something was lost for me.
Also, I think the cheapest student tix you can get here are way back in the nosebleed section and even at that, are comparable to Lyric. To boot, it's way easier to park right across the river for cheap (meters end at 9) if you're going to Lyric; if I'm going to COT I'm either going to pay through the nose or have to take the train.
Meh! Take it or leave it. -
Review from Caroline A.
Chicago, IL
5/12/2007
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. -
Review from Mary H.
Chicago, IL
3/27/2008
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. -
Review from Julia W.
Chicago, IL
4/17/2009
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! -
Review from Milan V.
Chicago, IL
5/24/2009
Owen Wingrave
Chicago Opera Theater is faithful to its slogan: "Opera Less Ordinary". Their last 2009 production, Benjamin Britten's Owen Wingrave is exemplary in that tradition.
One is struck almost immediately by the design of COT's production; it's much more elaborate than COT subscribers are accustomed to seeing. Further, set elements move on and off the stage at frequent intervals providing a very fluid setting for the unfolding story. At some points, the movement of some very large set pieces almost seems chaotic. Then, suddenly, the entire scene congeals into a coherent whole with set pieces, singers and actors precisely placed and blocked to advance the story.
Another interesting feature of the production is the use of two supernumeraries whose performance is absolutely essential to the telling of the story. The characters are named simply Father and Boy in the program and are played by Blake Montgomery and Mason Baker respectively. They appear immediately as the curtain rises representing ghosts. They have no speaking parts and yet appear repeatedly throughout the opera as Owen Wingrave struggles with his own self-acceptance. They dominate the stage whenever they appear.
Britten's music is, after all, 20th Century British; Britten's atonality is not my own first choice for an enjoyable evening of music. It is also very difficult for the singers, who must literally memorize and place every note where it belongs with almost no clues based on traditional musical forms. On the other hand, it's impossible to tell if they've incorrectly sung a passage unless one has a score to reference. Occasionally, Britten resorts to a twelve-tone string, but I couldn't identify a twelve-tone string if my life depended on it, so such compositional gymnastics are wasted on me. In Act II, as Owen comes to terms with himself, Britten switches to lyrical, diatonic style, demonstrating that he actually can write major and minor triads when it suits his purposes.
COT is always careful to select superb, rising, young singers for its productions, and Owen Wingrave is no exception. Matt Boehler in the role of Spencer Coyle is especially strong, as is Robin Leggate in the role of Sir Philip Wingrave. Brenda Harris is worthy of mention for both singing and acting the role of Mrs. Julian. Mary Jane Johnson's portrayal of Miss Wingrave also deserves mention.
Finally, the story: Director Ken Cazan's program notes call the opera a distinctly anti-war piece. This is true, but only at the most superficial level. It is true that the character Owen Wingrave refuses to follow the family tradition of becoming an officer and soldier, but closer analysis will reveal that Owen is much more complex than a simple pacifist. He is both courageous and strong in his resolve to pursue his own path away from a military career despite his family's nearly brutal insistence that he uphold the family honor and traditions. But at several points he condemns military men and governments who command them and would have them all executed. These are hardly the words of a pacifist and only illustrate the fact that Owen is perfectly willing to inflict death and destruction providing they advance his own agenda. No, this is not about anti-war and pacifism.
In the final analysis, Owen Wingrave is about one man's search for, and coming to terms with his own plans for his own destiny in the face of brutal opposition from his family. It explores the notion of duty: what is it and to whom is it owed? What are the consequences of nonconformity? When are we justified in taking control of our own destinies, even when that entails depriving others of real or imagined benefits? The questions raised by the opera are both profound and numerous and in the end, none are answered. There are, after all, no answers to these questions; there are only personal decisions in the context of personal life experiences. Each individual must face these questions, to a greater or lesser degree, and answer them for himself.
The production is superb; the opera is superb; the experience made me sit in my seat for nearly five minutes after the rest of the audience had departed, just turning these kinds of thoughts over in my mind. Soon, of course, I realized that I wasn't about to discover answers to these kinds of questions and I left.
Highly recommended. -
Review from John F.
7/10/2006
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.
-
Review from theresa a.
Chicago, IL
6/20/2008
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. -
Review from Jonathan C.
Chicago, IL
10/9/2009
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.
-
Review from Mike I.
Hometown, IL
6/18/2008
I've been attending COT forever. They not only perform operas that are not in usual repertoire but also provide a venue for both new opera and what some would call "revisionist" opera by creating staging that is modern or alternative. It almost always works. I say "almost" because this year, for the very first time, they did a production of "Don Giovanni" that was a complete miss for me - THE VERY FIRST TIME - as I said. Otherwise, they have all been hits!
The other major thing that they do is bring in up-and-coming talent that otherwise might not be seen. A wonderful example for me was Leah Partridge, who I saw for the first time at Florida Grand Opera. When COT brought her in a couple of seasons ago, not only was I excited to hear her again, but told friends that they had to go.
I recommend that everyone GO to COT. Better yet, support them with not only donations but buy a season subscription. You will never be sorry.
Oh, and parking is really easy. You basically get out of the car in the Monroe garage and walk into the theatre - at a discounted cost to boot. -
Review from Lincoln E.
Chicago, IL
4/30/2009
I've gone to "Tito" now 3 times, sat in three different places in the house, and have had three entirely different experiences - ALL GOOD.
COT's strength comes from repertoire choice as well as its execution - 18th or 21st century it matters not.
Lets hope the Carmen and Owen Wingrave - which hit the stage over the next two weeks are just as delightful and full of surprise! -
Review from Donald H.
Chicago, IL
4/20/2009
Absolute crap!
The music is gorgeous and well sung, but the beauty and profundity of the score is entirely undercut by a production determined to make as little sense as possible and to avoid at all costs doing anything that has anything to do with the text.
For some reason, there are contemporary directors, and they seem to infest the COT, who seem to regret that the eighteenth-century every existed and are determined to stamp it out. It is not necessary (and indeed impossible) to recreate an eighteenth-century experience, but to perversely decide to fight with the text is a travesty and the sign of a director who is not only incapable of understanding the piece they are working with, but too lazy to even try. This sort of idiocy ought to be stamped out as soon as possible. I am curious, though, why there is this sudden urge to trash the seventeenth century. What is it about that age that excites contemporary directors to such intense resentment? And why do they insist on trashing operas they loathe instead of moving on to something they may be more or less capable of dealing with. I hope this trend is coming to a close and that COT can finally get over this fad for trash and start dealing sensitively and intelligently with the repertoire they simultaneously revive and destroy.
Well worth hearing. Definitely not worth seeing. -
Review from Veronica C.
Chicago, IL
4/21/2009 1 photo
La clemenza di Tito is stunning. The staging, the singing, the orchestra, the music. It's relevant to audiences today which I think is vital--just because something was written 200 years ago doesn't mean it has to be staged like it is 200 years ago. That is so BOR ING. I can't wait to see what Chicago Opera Theater does next.
