Singing a new tune

Since 1974, Chicago Opera Theater has gained a first-class reputation for what it doesn’t do. It doesn’t bring in opera’s household names; it doesn’t always play a well-worn 19th-century repertoire; its minimalist Harris Theater interior isn’t the gold-clad hallowed corridors of Lyric Opera. Yet these differences account for its most attractive assets: far fewer egos and last-minute cancellations; more attention on works you haven’t heard; and a modern, comfortable space that’s less intimidating to curious opera newcomers. COT’s dedicated community outreach has converted countless opera novices into enthusiasts. In anticipation of its season opener Wednesday 30 with Don Giovanni, we chatted with company representative Colleen Flanigan and came up with five reasons COT should be a cultural stop this spring.

1. Live Simulcast of Don Giovanni in Millennium Park
Here’s a Chicago first: On May 9, COT will present a free broadcast of Don Giovanni on a giant screen at the Jay Pritzker Pavilion as it’s happening in the Harris Theater. Simulcasts have caught fire on the coasts (Met Opera, SF Opera) but have yet to be introduced here. The 11,000-some Pritzker attendees will get a Ravinia-like experience as they camp out on the lawn, taking in the Mozart masterpiece often cited as the ideal beginner opera. Music of the Baroque conductor Jane Glover and director Diane Paulus, who have successfully collaborated on past Mozart productions (such as Figaro in 2005), come together again here. The whole event should have a laid-back vibe, making it a nice alternative to traditional opera-going.

2. John Adams’s A Flowering Tree
The COT doesn’t lure only up-and-comers. The brilliant American composer of Nixon in China and Doctor Atomic conducts the first two performances (May 14 and 17) of his 2006 opera, which is based on a southern Indian folktale of a young girl who can turn herself into a tree. Adams was so impressed with the Nixon in Chicago citywide events a few years back, he was eager to return, Flanigan says. His longtime artistic director, Peter Sellars, sits this one out while German director Nicola Raab provides her own savvy staging. Coinciding with the opera is “India Blooms in Chicago,” a monthlong festival thrown by COT to celebrate Indian culture.

3. Opera Underground
Flanigan loves the clever name (the Harris Theater…underground…) but is more thrilled with its function. For $50, COT will offer a main-floor ticket along with a preconcert reception for young people at a downtown establishment yet to be named. “We hope that this will turn into a fund-raising board which will throw its own events in the theater’s off season,” she says. There will be one Opera Underground event for each of the season’s three shows (May 6, May 20 and June 3) from 6–7pm.

4. Young stars
It doesn’t take hard science to notice that COT pulls in some real lookers, but do they ever. “Young and attractive singers, who can also sing!” Flanigan exclaims, referring to international vocalists Natasha Jouhl, Isabel Leonard and Tim Mead, all of whom will star in various productions this season. COT’s certainly carved a niche with these introductions: The lovely Danielle de Niese made her area debut with COT in 2004.

5. Modernization
“Opera doesn’t have to be period costumes and sets. It can look familiar,” Flanigan tells us, adding that the art form is great for theater audiences who might be weary of dainty wigs and florid parlors. Case in point: Don Giovanni will be transported to an exclusive nightclub reminiscent of Kubrick’s Eyes Wide Shut, while Handel’s Orlando will look like something out of a Chandler or Hammett novel.

For details on the entire season, visit chicagooperatheater.org.