Opera doesn't sit in shadows
"Die Frau ohne Schatten," which opened Friday night, is back at Lyric Opera of Chicago after a 23-year absence, and it's a most welcome return.
This is a stunning, visually creative new production designed by Kevin Knight who, along with stage director Paul Curran, are making auspicious Lyric Opera debuts.
Richard Strauss (1864-1949) wrote great music in many genres, but the half-dozen operas in which he collaborated with librettist Hugo von Hofmannsthal were the jewels of his musical output. They include the sublime "Der Rosenkavalier," the chamber opera "Ariadne auf Naxos" and the one-act powerhouse "Elektra," the latter based on Sophocles' tragedy.
"Die Frau ohne Schatten" ("The Woman without a Shadow"), premiered in 1919, a decade after "Elektra," and is the most musically complex of the Strauss-Hofmannsthal operas.
An allegorical fantasy on the meaning of life and family, it's quite special. The title refers to a quest by the Empress (who lives in a spiritual realm) to find her shadow, or else her husband (the Emperor) will be turned to stone.
The Empress descends to Earth in the company of her nurse to acquire a shadow from a member of the human race. The opera's complex plot is really set in motion when she attempts to acquire the shadow of the wife of Barak, a poor dyer.
The Empress eventually relents when she learns the penalty for an Earth woman losing her shadow is an inability to bear children. The Empress' newfound humanity means the Emperor is not turned to stone after all, and the opera's finale features a moving quartet performed by the two couples, accompanied by a chorus singing the voices of their unborn children.
This is one of the least-often performed of Strauss' mature operas, despite its musical greatness. The reason? You need world-class dramatic sopranos in the roles of the Empress and Dyer's Wife and an equally dynamic mezzo-soprano to portray the Nurse. The leading male roles, a tenor to portray the Emperor and a bass for Barak the Dyer, are equally challenging.
But true to tradition, the Lyric has come up with a cast not likely to be equaled anywhere: American sopranos Deborah Voigt (Empress), Christine Brewer (Dyer's Wife, Lyric Opera debut) and mezzo-soprano Jill Grove (Nurse); along with tenor Robert Dean Smith in a most impressive Lyric debut as the Emperor, and German bass Franz Hawlata as Barak.
This opera celebrates Voigt's return to the Lyric following last season's triumphant title-role debut as Strauss' Salome. Brewer's many Strauss roles around the world include the title role in "Ariadne auf Naxos" and Chrysothemis in "Elektra," while Hawlata last appeared at the Lyric two seasons ago as Baron Ochs in "Der Rosenkavalier." He's also starring as Barak in Paris later this season.
The numerous supporting roles, many filled with present and former Ryan Opera Center members, are also impressive, as is Donald Nally's Lyric Opera Chorus.
"Die Frau ohne Schatten" calls for an orchestra of 90-plus members, and in Friday's opening performance, Lyric Opera music director Sir Andrew Davis again demonstrated his affinity for Richard Strauss in this, his most Wagnerian score.
"Die Frau ohne Schatten"
Where: Ardis Krainik Theatre, Civic Opera House, 20 N. Wacker Drive.
When: Additional performances at 6:30 p.m. Tuesday, Nov. 26 and 30; Dec. 4, 8, 12 and 20; 2 p.m. Dec. 16.
Tickets: Call (312) 332-2244, Ext. 5600, or visit lyricopera.org, for availability and reservations; major credit cards accepted.
At a glance:
Opera in three acts by Richard Strauss, with libretto by Hugo von Hofmannsthal. Paul Curran, stage director and choreographer; Kevin Knight, set and costume designer; Donald Nally, chorus master; Lyric Opera of Chicago Orchestra and Chorus, conducted by Sir Andrew Davis.
Starring As
Deborah Voigt Empress
Christine Brewer Dyer's Wife
Robert Dean Smith Emperor
Franz Hawlata Barak
Jill Grove Nurse
With Quinn Kelsey, Stacey Tappan, Daniel Sutin, Andrew Funk, John Easterlin, Stacey Tappan, Andriana Chuchman, Elizabeth De Shong. Bryan Griffin and Meredith Arwady.