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L Y R I C O P E R A O F C H I C A G O
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November 19 - December 7, 2016
Entrancing in its vitality and profoundly affecting in its humanity, Massenet’s
Don Quichotte
is a work that deserves to be
better known internationally. Taking their cue not so much from Cervantes’s novel as from the French play based on it,
the creators of this opera molded a central character who inspires his audience, thanks to the nobility of his ideals and
the passion with which he pursues them.
This opera is loaded with atmosphere, and there’s a distinct sensuality about so much of the score. Like
Carmen
,
it presents Spain as envisioned by a Frenchman, which means that Massenet imbues the music with a particular elegance,
even in the most dramatic moments. I hope you’ve come to this performance with
handkerchiefs in hand, since the final act presents a death scene for the protagonist
that will totally wring your heart.
There are quite a few operas in the repertoire that we perform only when the
right artist is available.
Don Quichotte
is one of those operas, with requirements that
make it a suitable vehicle for only a select few singing actors. For that reason, Lyric
has presented it in only three previous seasons, always with great success – initially
with Nicolai Ghiaurov (1974, 1981) and then with Samuel Ramey (1993-94). Now,
after an absence of more than two decades,
Don Quichotte
returns to our stage with
another legend of opera, Ferruccio Furlanetto, heading the cast.
After his extraordinary successes at Lyric in the title role of
Boris Godunov
and
as Fiesco in
Simon Boccanegra
, Ferruccio is now a favorite of our audiences, and it
is thrilling indeed for us to welcome him back to the company. He has described
Don Quichotte as his favorite role, and to it he brings not simply one of the most
impressive voices of the past four decades, but also a lifetime of stage experience.
Ferruccio is an artist who can transform even the simple act of walking across a stage
into a memorable revelation of character. His matchless dramatic involvement will
most certainly illuminate this extraordinary figure in a profoundly moving way.
I’m delighted that Ferruccio’s portrayal will be supported by those of two
other exciting European artists, both making their Lyric debuts. Our Dulcinée is
Clémentine Margaine, a marvelous young French mezzo-soprano possessing the
exceptional vocal and physical allure that any memorable interpreter of this seductive
role must command. Clémentine previously captivated me in Berlin when I heard
her in a very different role, the demure Marguerite in Berlioz’s
La damnation de Faust.
Lyric’s Sancho is Nicola Alaimo, a very
distinguished Italian comic bass-baritone and an exceptionally versatile artist, as much at home in Massenet as he is in the buffo roles
of Rossini and Donizetti.
Along with our desire to bring Ferruccio Furlanetto back to Lyric,
Don Quichotte
has returned to the company this season
thanks to the enthusiasm of our music director, Sir Andrew Davis. One of the most exciting aspects of Andrew’s operatic activity
internationally during the past decade has been his championing of Massenet’s operas. Having begun this voyage of discovery with
Lyric’s production of
Thaïs
(2002-03), he has subsequently reprised that work in other venues, while also adding
Cendrillon
and
Werther
to his repertoire – in each case, with great success.
In a new staging by Lyric’s own Matthew Ozawa utilizing charmingly traditional sets and costumes from San Diego Opera,
Don Quichotte
will be a rare and special treat for all of us.
From the General Director
STEVE LEONARD
Anthony Freud
General Director, President & CEO
The Women’s Board Endowed Chair