#85. I first became interested in opera by watching a movie. In “Philadelphia”, Tom Hanks describes a scene from “Andrea Chenier”. As Maria Callas is singing powerfully, belting out her aria, Hanks is describing her anguish. That was THE moment I started to immerse myself in this passionate genre. I’ve seen probably 100 operas. Most of them were heavy-duty subject matters: insanity, incest, murder… sometimes all three. Opera is as dramatic as theatrics get. Love is most often punishable by death. But every once in a while, love survives with an operatic flourish of pure pleasure.
Chicago Opera Theater presents Moscow, Cheryomushki. Housing, unemployment, socialism, Moscow is facing troubling economic times. And even worse, love is struggling to bloom. Sasha and Masha, a couple of newlyweds, are forced to live apart. Sergei adores Lusya from afar… she’s on top of a crane. Boris is trying to find love that conveniently comes with an apartment. Vava wants to be married, but to a sugar daddy. When a new housing complex opens up, everyone is looking to shack up. But who really holds the keys to their happiness? Moscow, Cheryomushkiis the musical “Rent”… Russian style.
Read the rest of my review at Chicago Theater Beat.
Filed under: Chicago Opera Theatre
Tags: Adrian Kramer, Alexander Platt, Anya Klepikovh, Ashleigh Semkiw, Chicago Opera Theater, Dmitri Shostakovich, Dominic Armstrong, Emily Fons, Eric Sean Fogel, Gerard McBurney, Harris Theater, Harris Theater for Music and Dance, Julian PIke, Katy Walsh, Liz Lauren, Matt Boehler, Meg Miroshnik, Mike Donahue, Millennium Park, Paul Corona, Paul LaRosa, Paul Scholten, Sara Heaton, Sophie Gordeladze