The Verismo Opera Club Wades Into The Waters Of Chicago’s Off-Loop Opera Scene

Chicago is home to any number of small, hard-working, barely-funded opera and operetta companies, some professional, some all-volunteer, and these for the most part fly entirely under the radar of traditional media and even of the internet itself. Some of these companies have been around in one form or another for years, and others emerge quickly and vanish just as quickly. Some are closely tied to area colleges and universities, and many are not. Some perform at one consistent location, and many do not. 

If one would like to name Chicago's Loop opera companies, there would be the two: Lyric Opera Of Chicago (the giant, internationally-known 55-year-old company in residence at the Civic Opera House on Wacker Drive) and Chicago Opera Theater (the mid-size, somewhat internationally-known 35-year-old company that is one of the performing arts groups ensconced at the Harris Theater For Music And Dance In Millennium Park). So far, so good. Most cities would kill for either of these companies to even tour there, much less for both of them to call their town home.  (Indeed, many nearby cities--Milwaukee, Des Moines and Grand Rapids, to name just three--routinely use Chicago-based vocal talent to mount locally-produced opera productions for their local audiences.) 

Chicago's Off-Loop opera scene, harder to pin down, consists of musico-dramatic organizations like Da Corneto Opera, Chamber Opera Chicago, Genesis Opera, Bellissima Opera, Vox3, Elgin Opera, The Savoyaires, L'Opera Piccola, Intimate Opera, DuPage Opera Theatre, OperaModa, The Gilbert And Sullivan Opera Company and Light Opera Works. There are others. But I mention these lucky 13 companies because they are the ones mentioned in the biographies of the artists engaged by the Verismo Opera Club for their concert evening, "Arias: The Passion Of Puccini," which I had occasion to attend last Friday night, November 19, 2010. (It was presented Sunday afternoon, as well). Verismo Opera Club, based in west-suburban Oak Park, is endeavoring to be the latest opera group on the Chicago horizon, and it is off to a somewhat promising start. 

Now, I can hear you thinking, "Why is this review on BroadwayWorld.com? This is a theater website, not a classical music site!" Well, that is true. But I counter with the notion that an alien witnessing our activities from outer space would see very little difference between an opera house and a theater, or between an opera and a Broadway musical, especially if it were a work like, say, "Candide," "Porgy And Bess," "Sweeney Todd," "Street Scene," "Nixon In China," "The Pirates Of Penzance," "La Boheme," "Amahl And The Night Visitors" or "The Phantom Of The Opera." I don't have to remind you that "Rent" and Elton John's "Aida" are only two of the many musicals based on operas ("Carmen Jones," anyone, or the play "M. Butterfly?"). And of course, many artists, particularly young ones and ones that can dance, work regularly in both worlds, and are usually encouraged to do so. Many audiences love the theater and the opera with equal passion. Characters are characters. And I would love to debate with you the difference between a musical and an opera (no, it isn't the language, nor the frequency of spoken dialogue), but who has the time? 

Enough of my justification soapbox. I'm doing it. 

The brainchild of a husband and wife team, Bradley Schuller and Yasmeen Schuller, Verismo Opera Club presented composer Giacomo Puccini's "La Boheme" over the summer as its inaugural production, and will present his "Madama Butterfly" on July 29 and 31, 2011. In between these two shows, the company presented "Arias: The Passion of Puccini" this month and will up the ante with "Duets + 1" on March 25 and 27, 2011. "Arias" was a narrated concert, really, at the lovely, neo-classical Arts Center of Oak Park. There were virtually no scenery or props, and the singers wore formal attire rather than costumes, rather like a gala evening celebrating Stephen Sondheim, or, say, Kander and Ebb (except there was no need for microphones). The lighting was poor, but spirits and voices were high. 

Actor Aaron Hunt read the "and then he wrote, and this is about" narration firmly and convincingly, keeping the proceedings flowing smoothly through a generous helping of twenty arias from eight of Puccini's operas (most would be familiar to frequent listeners of WFMT-FM, Chicago's Fine Arts Radio Station--98.7 on the dial). Ukrainian pianist Anatoliy Torchinskiy accompanied the singers with sensitive balance and firm support, though he didn't take a big ending on most arias, opting instead for the real notes Puccini wrote. This had the effect of denying the singers a bigger round of applause, but provided a more accurate rendition of the way the pieces fit into these through-composed works. 

There were four sopranos and two tenors on hand, giving the audience (and contraltos, baritones and basses) a clear idea of where Puccini's compositional ear lay with regard to big set pieces and large character moments. (There were supposed to be three tenors, but one was indisposed and his selections were split between the other two men, each delivering five [five!] big numbers.) Impresiario Bradley Schuller impressed with a firm and well-placed top range on "E Lucevan le Stelle" from "Tosca" and the even better-known "Nessun Dorma" from "Turandot," with its triumphant "Vincero!" at the end. His mid-range was less well-placed, however, but his acting was committed and commanding. Tenor Oscar Menoyo was most effective on his last aria, "Guardate, Pazzo son" from ""Manon Lescaut," a piece I do not know well but which was amply dramatic and intense. Menoyo has a creamy voice, consistent throughout his range, though his ardent presentation came across as a bit stiff, without anyone else to play off of. 

I should add that even after singing so much all night, the two handsome men added a bonus encore at the end of Friday night's performance, the Neapolitan song "O Sole Mio" (music by Eduardo di Capua). It was quite musical, and was delightedly received by the attentive audience. 

The sopranos sang between two and three selections apiece. Big-voiced veteran artist Katherine Bergman received the biggest ovation of the night with her thrilling delivery of "Turandot"'s "In Questa Reggia," the second biggest Everest in all of the soprano repertoire (Brunnhilde wins). Bergman was also quite moving in the aria many associate with Maria Calla, "Vissi d'Arte" from "Tosca," and brought an American swagger to "Laggia nel soledad" from "Fanciulla del West." Young Samantha Stein was lucky enough to be assigned the famous "Musetta's Waltz" from "La Boheme," (with an assist from actor Hunt) as well as the most well-known aria Puccini ever wrote, the brief "O mio babbino caro" from "Gianni Schicchi" (it's recognizable from its use in television commercials and as an encore in many, many recitals). Her mid-range is still developing, but there is a rounded, commanding top there. 

Elizabeth Abowd sang affectingly and lyrically in her interpretation of arias from two of Puccini's more virginal characters, "Suor Angelica" and "Turandot"'s Liu. And Emily Becker (replaced by Mary Lutz-Govertsen for Sunday's concert) brought a heightened theatricality to her selections, the hooky "Che il bel sogno di Doretta" from "La Rondine" and Liu's final, affecting aria, "Tu che di gel sei cinta," the last notes Puccini composed. 

So, then, the talent is there. The will is in place. And the operatic repertory, stubbornly fixed and yet ever striving to grow, is at the beck and call of this new opera company. Will the Verismo Opera Club find its way and take its place in the network of locAl Small opera companies, keeping these works alive for performers and audiences alike? Will it shrivel for lack of support, or from indifference in a difficult economy? No one can say. But the small audience I joined last Friday enjoyed itself with the music, and supplied more with their mind's eye and their love of the performing arts. If you can't make it to one of their performances in the future, go to somebody's performance. Odds are, the same artists will be on the stage, and the same fans will be seated next to you. Opera--it's really a lot like musical theater! 

For more information, visit www.verismooperaclub.org