Operagasm Review Rundown: Was Lyric Opera’s ‘Sound of Music’ Better than the Recent TV Version?
by Melissa Wimbish
Are you kidding me? Did you even have to click on this story to know the answer to that question? Check out the Operagasm Review Rundown of Lyric Opera Chicago’s Sound of Music:
I’d like to dedicate this performance to my….larynx: “The Lyric, now presenting a classic Broadway musical at the end of each regular season of grand opera, reportedly built the cast for this one around a pair of serious singers, internationally renowned sopranos Christine Brewer and Elizabeth Futral. There’s a real orchestra in the pit, with more real singers in the ensemble — and a blessed absence of silly dedications in the performers’ bios, too.”
Chesty sopranos! Oh my!: “If there was a little cognitive dissonance in hearing two great sopranos — one noted for Isolde and the other for coloratura roles like Lakmé — singing in essentially mezzo-soprano ranges, it was still sound casting on LOC’s part. [Christine] Brewer…was appropriately wise and loving as the Abbess, and she knocked her big tune, “Climb Ev’ry Mountain” out of the park… [Elizabeth] Futral…worked her chest voice, and was coolly sexy as Captain von Trapp’s wealthy and pragmatic fiancée, Elsa Schrader.”
Ice cold, baby: “There is a black hole in the production; unfortunately, it’s the performer who’s the show’s nominal headliner, movie actor Billy Zane as Captain Georg von Trapp… He had little presence, no chemistry with Gambatese (when they finally kissed, she was clearly the instigator), and he’s a terrible singer by any standard. In their scenes with him, Futral, Hibbert, and Gambatese knocked themselves out, attempting and failing to engage with him, vivid planets circling a cold dead star.”