Chicago Opera Theatre (COT) presented its opening spring performance of Monteverdi’s The Return of Ulysses (Il ritorno d’Ulisse in patria).
The Return of Ulysses, as the title suggests is based on Homer’s epic poem: The Odyssey. It was sung in its original Italian, with English superscripts.
One theatre patron described the opera performance as having “full-bodied sound.” Which accurately describes the powerful voices of the stars: Marie Lenormand and Mark Le Brocq playing Penelope and Ulysses, respectively.
Although it is Montverdi’s classic Return of Ulysses, in lyric, this was a special performance edition by Jane Glover, a talented and renowned conductor who has worked with COT, and transformed several classic productions into modern works of art. The costuming and stage are not traditional.
The stage was lit according to the mood: the lighting changed when moods changed. The use of lighting was effective and creative. The costuming left much to be desired. For those who have never experienced opera, these costumes would be incredibly disappointing upon first exposure to opera. The set left something to be desired: it was a post-modern cube, with a lack of mystery and décor.
In the defense of the production staff: their effort to make opera theatre more accessible and fresh for regular viewers is not unnoticed. It allows old operas to be seen in new ways. New viewers should be aware that there are many production styles and interpretations for each masterpiece.
Opera is a theatrical form that is not very approachable for young people of today, but COT is making an effort to kindle interest within all ages. Their program Opera Insights offers public lecture series, evening salons, and pre-performance talks. Most events are free of charge. This would allow viewers who are new to the opera experience to learn more about the art of operatic theatre, and to broaden the perspective of veteran opera patrons. For more information about COT and Opera outreach programs, visit ChicagoOperaTheater.org