Lyric Opera of Chicago's 'Un ballo in maschera': Stephanie Blythe tells the future

Here is my Wednesday November 17 Chicago Sun-Times and suntimes.com review of the opening night performance Monday, November 15, 2010 of Lyric Opera of Chicago's latest production of Verdi's Un ballo in maschera (A Masked Ball).

Amelia (Sondra Radvanovsky) pleads with her husband Renato (Mark Delavan) to grant her permission to say goodbye to their son.  From an image by Dan Rest/Lyric Opera of Chicago.

‘Ball’ invites best guests

Lyric sticks close to Verdi’s intent, and Blythe shines

BY ANDREW PATNER

RECOMMENDED

Through December 10

In an eclectic season of new productions and unusual works, Lyric Opera of Chicago is offering one Italian repertory staple rolled right down the middle.  Verdi’s 1859 Un ballo in maschera (A Masked Ball) opened Monday night at the Civic Opera House in an absolutely traditional production, down to the powdered wigs and chandeliers. Fortunately, the straightforward story (king loves best friend’s wife, etc.) defies much additional interpretation. The work is best when it’s all about the singing.

This is the opera’s 12th run at Lyric since its first performance here in the company's second season in 1955. Its earlier casts were a who’s who of great singers: Björling, Gobbi, Di Stefano, Nilsson, Tucker, Vickers, Crespin, Bumbry, Milnes, Arroyo, Bruson, Carreras, Ricciarelli, Pavarotti (twice in the ’80s), Scotto, Cossotto, among others. While we don’t live in a world of such Verdians today -- although the last time Ballo was in the Ardis Krainik Theatre eight years ago Dmitri Hvorostovsky was the king’s friend and assassin, Renato -- we are fortunate that Lyric was able to recruit an all-American cast well above the merely adequate ones seen elsewhere.  And in the much-belated Lyric debut of mezzo Stephanie Blythe as the gypsy Ulrica, we have the chance to see a major figure of the contemporary opera stage.

[The king (Frank Lopardo, center) greets his subjects in  Verdi’s A Masked Ball at Lyric Opera.  John j. Kim/Sun-Times]

Most operagoers know that Verdi’s initial libretto, based on the actual 1792 assassination of King Gustav III of Sweden at a masked ball at the Stockholm Opera House (!), had to be shifted around to various locales and cultures so as not to encourage regicide in Italy. These changes really make no difference; although the Lyric production is allegedly back in Sweden, I’m sticking with the familiar Italian names here to avoid additional confusion.

Blythe has great stage presence and a clarion voice.  She may settle in to the part’s lower end as the run continues, but either way, she will clearly be a Katisha not to be missed in The Mikado up next at Lyric. Chicago-area native soprano Sondra Radvanovsky likewise should make her part more her own over time but she communicates the pure-hearted Amelia at every moment and delivers fully in her third-act plea to her anger-blinded husband, “Morrò, ma prima in grazia.”

The male leads are serious in their efforts, and as the foolhardy king, Riccardo, tenor Frank Lopardo was clear in voice and style throughout. Baritone Mark Delavan had the persona of the vengeful Renato down, but his voice was not full enough to make the great “Eri tu” solo scene all that it should be.

Ryan Center alum soprano Kathleen Kim takes the sporty role of the page Oscar, so memorably given by Harolyn Blackwell and Kathleen Battle in the ’80s, and runs with it. If director Renata Scotto, who sang Amelia here opposite Pavarotti in 1980, pushes Kim’s mugging, it’s all in good fun. And current Ryan singers Paul La Rosa (especially, as the sailor Silvano), Sam Handley, Craig Irvin, René Barbera, and James Kryshak must have had great experiences working with the veteran artist.

Ever the traditionalist, Scotto kept everyone moving and standing appropriately against the indifferent 2006 sets of an uncredited (at his request) Zach Brown of San Francisco Opera, John Conklin’s costumes, and Christine Binder’s rather dark lighting.  Donald Nally’s chorus maintained its expected excellence.  The very fine Israeli conductor Asher Fisch supported his singers to the hilt and made the score and orchestra dance throughout, which is, of course, what Verdi wanted. 

(Lyric head of musical staff Philip Morehead conducts the final performance, December 10.)