It was quite a weekend at the Ravinia Festival. On Friday evening virtuoso violinist Rachel Barton Pine filled in for the indisposed Midori with just a few hours of advance notice, and aced Prokofiev’s fiendishly difficult “Violin Concerto No. 1.”
In addition to the series of Maestro Riccardo Muti’s concerts, the fall season will mark the arrival of violinist Hilary Hahn, visits by many guest conductors and artists, plus a vast and varied lineup under the Symphony Center Presents banner. Here’s what else to expect.
Since its founding in 1973, Chicago Opera Theater has been making audacious choices in its programming and presentation. And in many ways the company displayed its formidable ingenuity and determination throughout the pandemic. Here’s a peek at its all-live season.
Beginning in September, Maestro Riccardo Muti will lead the orchestra he has not seen since February 2020 in a three-week residency marking the official opening of the 2021-22 season in Orchestra Hall and the return of (hopefully full) live audiences.
“Overture,” the final entry in the Chicago Symphony Orchestra’s springtime series of three different programs was performed live in Orchestra Hall on Thursday. Remaining performances are Saturday at 7:30 p.m. and Sunday at 3 p.m.
It was a magical evening at Symphony Center Thursday as a meticulously spaced and masked audience gathered for “Strum,” the aptly titled second of three different programs of springtime concerts from the Chicago Symphony Orchestra.
The Chicago Symphony Orchestra walked onstage to perform their first concert before a live audience in more than 14 months, Thursday evening.
In “Nicholas, Anna & Sergei,” Hershey Felder fully captures the “history, pride and melancholy of the Russians” with the fervor Sergei Rachmaninoff carried with him to the end. And he plays the composer’s sweeping music to magnificent effect.
This world premiere, feverishly choreographed by Nicolas Blanc and performed by 15 of the company’s emotionally fiery dancers, is a work of such beauty and dynamic intensity that it can and should easily endure as part of the standard ballet rep for years to come.
The Chicago Symphony Orchestra Association has just announced that beginning May 27, and running through June 13, the CSO will perform its first concerts for a live audience since March 2020.
With most traditional theater spaces off-limits and Zoom an increasingly annoying way to have to watch anything, two Chicago opera companies have demonstrated in radically different ways that “all the world is a stage” — or can be turned into one.
This is not a review. It is primarily a note of appreciation to the Chicago Symphony Orchestra’s music director, who has not been able to conduct his beloved orchestra for a year but has helped guide the superb CSOtv series. This week, he also pursued one of his greatest passions via Zoom.
True to its title, this lavish production traces the evolution of Broadway scores from the 1960s until now, and explores the many ways in which pop music (as well as modern life) has expanded and altered the sound of musical theater.
How do you tell the story of a musical genius whose operas are among the most beloved works in the Italian opera canon? If you are Hershey Felder, you create something unabashedly in the grand opera style that also manages to be hugely accessible for audiences still distanced from live performance by COVID-19.
Lauren Gunderson’s new 75-minute play about her husband, acclaimed virologist Nathan Daniel Wolfe, is a riveting one-man meditation about life and death and the nature of viruses. It’s now being streamed by Northlight Theatre.