When their fates finally collide at the opera’s conclusion, the singers’ embodiment of their characters was gripping and heart wrenching. Director Francesca Zambello, returning to LOC after last season’s West Side Story for this production of Luisa Miller, notes Verdi’s compositional “transition” over the course of the opera with Act III being the work’s, and by extension Verdi’s, “arrival.” It was fascinating to observe the progression of the opera, from a rather matter-of-fact first act, to an increasingly complex second act, leading to an electrifying Verdian finale. Especially noteworthy were striking moments of a cappella ensemble singing as well as colorful doublings and dove-tailings between the orchestra and voices.
Indeed, if Luisa Miller lacks in recognizable tunes, it makes up for it with interesting moments of orchestration, structure, and drama. As Maestro Mazzola himself described it in a recent interview, it’s a “study opera in which Verdi explores possibilities that he will develop over the next decades of his life.” Krassimira Stoyanova (Luisa) and Quinn Kelsey (Miller) in Luisa Miller, Lyric Opera of Chicago, 2019. Luisa Miller marks a period of growth and experimentation for Verdi. Yet, it fascinates me to recall that, by this time in his career, the thirty-six-year-old Verdi had already produced such masterful works as Nabucco, Ernani, and Macbeth, among others. If Luisa Miller lacks in recognizable tunes, it makes up for it with interesting moments of orchestration, structure, and drama. In the next few years Verdi would go on to write three of his most beloved operas: Rigoletto, Trovatore, Traviata. Universally labeled a “transitional” opera within Verdi’s output, Luisa Miller premiered in 1849 and was the composer’s fifteenth completed work. Of course, it’s true for any piece, but scores like Luisa Miller benefit immensely from the dedicated and sensitive treatment given it by Mazzola and the LOC Orchestra. (l-r) Soloman Howard (Wurm) and Quinn Kelsey (Miller) in Luisa Miller, Lyric Opera of Chicago, 2019. It will be exciting to see how Mazzola will continue to mold this orchestra over the coming years.
No doubt, Maestro Mazzola was an invigorating and inspirational presence, particularly as this is the very repertoire that established his reputation as one of today’s leading interpreters of Italian bel canto. A special shout out must be given to principal clarinetist Charlene Zimmerman for her gorgeously played solos. From the opening whirls of the overture to the sublime stasis of the finale, the LOC Orchestra wowed with a vibrant palette of colors, virtuosic precision, and three-dimensional textures. The LOC Orchestra rarely disappoints, but they were in truly exceptional form Saturday night. The undisputed stars of last night’s performance were the Lyric Opera Orchestra and Mazzola himself. If this weekend’s opening night performance of Luisa Miller is anything to go by, Chicago audiences will be treated to dynamic, superbly shaped, and dramatically incisive interpretations of Verdi. Enrique Mazzola, LOC’s music director designate, is slated to lead the cycle. With this weekend’s opening of Luisa Miller, Lyric Opera of Chicago launches what is planned to be a multi-season exploration of Verdi’s early operas.
Luisa Miller a "superbly shaped" start to Chicago's early Verdi venture Review Michael Pecak Oct 15, 2019
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