CHICAGO—Although Italian composer Giacomo Puccini’s (1858–1924) operas are some of the most popular and most produced in opera houses worldwide, some of his arias can be difficult to sing. That’s because with fast changes in tempo and mood that require not just superb vocalization but great dramatic skill. Such is the case for a soprano singing the emotional role of Butterfly from “Madame Butterfly,” as well as other roles, which require a lyrical voice that’s also powerful and dramatic.
Fortunately for opera buffs, soprano Sondra Radvanovsky delivers on those requirements in her triumphant one-woman concert. It’s not enough for her to deliver a poignant, moving performance of Butterfly in concert at the Lyric Opera of Chicago. She goes even further when she embodies Puccini’s great heroines and she sings 12 of their arias.
Opera lovers and Puccini aficionados who attend Radvanovsky’s concert will be thrilled that she took on the challenge.
Against a backdrop of projections that gradually change settings, which include a leafy forest, an evocative snowy landscape, and a celebratory atmosphere, Radvanovsky captivates an exquisite panorama of grand Puccini women.
A Standout Performance
Only a singer of Radvanovsky’s stamina and virtuosity could deliver on the program’s intense vocal and dramatic demands. Furthermore, Radvanovsky singing Puccini’s iconic arias all in one concert is a groundbreaking event for the Lyric.
Although we know how much work goes into each aria, the soprano seems to move smoothly from famous selections in “Madame Butterfly” to “La Tosca,” to “La bohéme,” “Turandot,” “Manon Lescaut,” “Gianni Schicchi,” “La fanciulla del West,” “Le Villi” and more.
Her extraordinary vocal control and ability to change characters’ emotional states stood out. She went from flirtatious coyness as Mimi in “La Bohéme” to the desperation of Floria Tosca in “Tosca” without missing a beat. Moreover, while one might expect that her voice would waver the more she sang, the opposite happened. Her voice became stronger with each characterization, and was in top form to the last note.
Radvanovsky was in total command during the entire extraordinary presentation. She moved effortlessly from “Laggiù nel Soledad” from “La Fanciulla del West,” which she acknowledged she was performing live for the first time. In it, she demonstrated a poignant and palpable intimacy. Her expertise continued in “Addio, mio dolce amor!” and “In questa reggia” from “Turandot.”
But she delivered even more riveting highlights such as “Vissi d’arte.” In it, Tosca sings about her fate, how the life of her beloved Mario is at the mercy of Baron Scarpia, and why God has seemingly abandoned her. She flirts with Mazzola during the seductive “Quando m’en vo,” in which she tries to reclaim the attention of her occasional boyfriend Marcello. As Lauretta with “O mio babbino caro,” she makes an emotional plea to her father, Gianni Scicchi, to let her marry her true love, Rinuccio.
Audiences familiar with Puccini will be captivated by Radvanovsky’s interpretations of Puccini’s most famous arias in one marathon showcase. Those new to opera will discover why Puccini’s music has remained popular for over 100 years. A delicious concert of heart-melting, spine-tingling, glorious music and palpable emotion, this is a not-to-be-missed gem of an opera event.
