Again, Chicago Lyric is spending its bucks on singers instead of scenery, which is alright with me.
Mariusz Kwiecien sang the title role with an excellent baritone voice. He has sung this role at the Met and internationally.
Ana Maria Martinez was Tatiana. Before the opera began someone came on stage to announce that Ms. Martinez was singing with a cold and asked the audience's indulgence. No need. She sang beautifully.
It reminded me of a performance of Aida I heard in Vienna some years ago when the stage manager came out and announced that Ms. Price (Leontyne) would be replaced by someone, and Mr. 'whoever the tenor was' also would not sing, ending with 'Fiorenza Cossotto was ill- but would sing anyway'. Of course she tore the house down, as did Ms. Martinez.
Lensky was wonderfully sung by Charles Castronovo. This is an amazing tenor voice.
Equally fine was the Prince Gremin of Dmitri Belosselskiy. A rich sonorous voice in his one aria in the final act.
The rest of the cast sang beautifully. Chicago seems to know how to pick 'em!
Again the limitations of the Lyric stage were obvious. Basically one set, three walls which changed with the lighting, very little stage furnishings, a floor covered with leaves for the first half of the opera- that was it. Lots of chairs encircling the stage for two acts???
Lyric's huge chorus sang wonderfully but often seemed stuffed onto the stage. Alejo Perez conducted this wonderful music.
I think I heard my dear, late mentor Olga Averino sing Tatiana's wonderful 'letter scene' at some time or other. Olga's Godfather was Modest Tchaikovsky, brother of Peter. A beautiful connection to have when hearing this opera.
