Lyric Opera 2018-2019 Issue 5 Il Travatore

L Y R I C O P E R A O F C H I C A G O November 17 - December 9, 2018 | 15 Reilly notes that “just like most other places today, opera attire is diverse. I’ve seen formal, business casual, and even people in costume to emulate whatever the production is.” Reilly’s experienced advice on what every operagoer should consider when it comes to what to wear? “Be comfortable and bring a sweater or jacket, just in case you get cold.” So while this myth does have a bit of truth to it, no one will eject you from the opera house for wearing a more casual ensemble. All operas are long. It’s commonly believed that operas are not known for their brevity. The Guinness World Records lists Robert Wilson’s seven-act The Life and Times of Joseph Stalin as the longest opera of all time, taking roughly 13.5 hours to perform. But most operas actually clock in somewhere between 2.5 and 3.5 hours. And many of the most frequently performed operas are no longer than the average film, although running times can vary significantly based on the preferred tempos of the conductor. On the other end of the spectrum, many operas seemingly conclude in the blink of an eye. Strauss’s Elektra (scheduled at Lyric later this season) is just one act and wraps up in an hour and 40 minutes. Puccini’s Gianni Schicchi (1:00), Strauss’s Salome (1:40), Berg’s Wozzeck (1:40), and Wagner’s Das Rheingold (2:40), are also one-act pieces with shorter run times. And if you still have worries about sitting through a full-length opera, try Peter Reynolds’s The Sands of Time – clocking in at just over three and a half minutes, it begins and ends in the time it takes to boil an egg! To sum it up, operas aren’t necessarily brief endeavors, but they still clock in around the same time as most sporting events, movies, and live concerts. Most even have at least one intermission break, so you can grab a nice ice-cold beverage! I need to sit close up to have a good opera experience. While some seats in the Lyric Opera House may seem more desirable than others, there are surprising benefits to every option. Lyric has four available seating levels: main floor, mezzanine boxes, first balcony, and upper balcony. The main floor contains about 2,000 of the theater’s 3,500 seats. The upper levels of the main floor are sloped, which allow for optimal sightlines even over the heads of taller audience members. Because the opera house is shaped like a megaphone, the sound radiates up and out, meaning some of the most glorious sound can actually be found in the balconies. But no matter where your seat is, you’ll always be able to see and hear what’s happening onstage. According to Drew Smith, Lyric’s learning programs manager who oversees Backstage Tours, “it’s always hard to answer the question, ‘What is the best seat in the opera house?’ Fortunately, due to the importance placed on excellent sight lines and premium acoustics when it was designed – every seat is a fantastic way to experience the opera.” Whether it’s being as close to the action as possible or enjoying the glorious sound (and views) of the singers and orchestra from the balcony, there’s no wrong choice when choosing a seat at Lyric. Three short operas There are a great many popular short operas in the repertoire. Three that have triumphed at Lyric are (left to right) Leoncavallo’s Pagliacci (with Ana María Martínez and Vladimir Galouzine); Richard Strauss’s Elektra (with Emily Magee and Christine Goerke); and Berg's Wozzeck (with Tomasz Konieczny). TODD ROSENBERG CORY WEAVER DAN REST