
Lyric Opera's 2025-2026 season includes "Madama Butterfly," Smashing Pumpkins tribute
The Lyric Opera of Chicago unveiled the lineup for its 2025-2026 season Tuesday, featuring a blend of tradition and modern musical concerts.
The new season includes both "Madama Butterfly" and a tribute to the album that featured the song "Bullet with Butterfly Wings."
Fall 2025
The season begins with Luigi Cherubini's "Medea," Oct. 11 to Oct. 26. The millennia-old tragedy tells the story of the sorceress Medea, who has been spurned by her lover and abandoned in a foreign land, and who kills her own children in a twisted act of revenge.
The Lyric Opera says director David McVicar brings the story to "life — and gruesome death." Lyric Opera Music Director Enrique Mazzola serves as conductor, while soprano Sondra Radvanovsky appears as Medea and tenor Matthew Polenzani as Glasone.
From Nov. 1 through Nov. 25, the Lyric will stage Pietro Mascagni's "Cavalleria rusticana" and Ruggero Leoncavallo's "Pagliacci." In line with the theme of "Medea," these one-act operas explore the stories of spurned lovers and the lengths they'll go to avenge betrayal. In "Pagliacci," the spurned husband at the center of the plot, Canio, is the lead clown in a comedy troupe.
Mazzola conducts again, while Russell Thomas plays Canio in "Pagliacci" and Gabriella Reyes plays his wife, Nedda. In "Cavalleria rusticana," SeokJong Baek plays villager Turiddu, while Yulia Matochkina plays his lover Santuzza.
For three performances on Nov. 14, 16, and 18, Mazzola leads the Lyric Opera Orchestra and Chorus in a performance of Carl Orff's "Carmina Burana." The 1936 opus is based on a collection of medieval poetry. Its opening movement "O Fortuna," is best known, but operagoers on those November dates will get to hear the whole thing.
From Nov. 21 through Nov. 30, something completely different is in store — involving not spurned sorceresses or jilted clowns, but Junebug skippin' like a stone back during the Carter administration, and the world being a vampire sent to drain.
For "A Night of Mellon Collie and Infinite Sadness," Billy Corgan has composed a new commission of Smashing Pumpkins' classic double album "Mellon Collie and the Infinite Sadness," which came out in the fall of 1995.
"You'll hear Billy Corgan and special guest artists along with the epic sound of the Lyric Opera Orchestra and Chorus in a completely new sonic and visual experience," the Lyric Opera wrote. "Whether you love the Pumpkins and are excited to hear their music in a sumptuous new dimension, or you simply crave the opportunity to hear a new work inspired by the unexpected, this promises to be one of the can't-miss cultural collaborations of the season."
Winter 2026
A new-to-Chicago production of Richard Strauss' "Salome" takes the stage from Jan. 25 to Feb. 14, 2026. "Salome" is based on a one-act play by Oscar Wilde, which is itself an adaptation of the Biblical story of John the Baptist's martyrdom.
This latest rendition of "Salone" is set in 1940s fascist Italy, and is described by the performance arts organization as a "gory thrill ride" that "drips with decadence." Tomáš Netopil conducts and McVicar directs, while Elena Stikhina plays Salome, Brandon Jovanovich plays King Herod, and Nicholas Brownlee plays Jochanaan.
Meanwhile, Mozart's "Così fan tutte" comes just in time for Valentine's Day, from Feb. 1 to Feb. 15, 2026. In the opera, two soldiers named Ferrando and Guglielmo hatch a plan to switch places and try to court each other's fiancées — but the women know exactly what's happening from the get-go. This new-to-Chicago production takes the action to a 1930s-era seaside country club.
Mazolla conducts, Anthony León plays Ferrando, and Ian Rucker Guglielmo. Cecilia Molinari plays Ferrando's fiancée, Dorabella, and Jacquelyn Stucker plays Guglielmo's fiancée, Fiordiligi.
For one night only, at 7 p.m. Thursday, Feb. 26, the revered Renée Fleming returns to the Lyric Opera with a program based on her 2023 Grammy Award-winning Best Classic Vocal Solo Album, "Voice of Nature: The Anthropocene." She with pianist Ian Bartman to a video curated by the National Geographic Society.
Spring 2026
As winter turns to spring, Giacomo Puccini's "Madama Butterfly' comes to the Lyric Opera stage from March 14 to April 12, 2026. Cio-Cio-San, or Madama Butterfly, is a geisha in love with Navy Lt. B.F. Pinkerton — whom everyone else knows will break her heart and destroy her life.
Domingo Hindoyan conducts, Karah Son plays Cio-Cio-San, and Evan LeRoy Johnson plays Pinkerton.
Concurrently, from March 21 through April 4, 2026, a much newer opera about Mexican artist Frida Kahlo and her husband, artist Diego Rivera. "El último sueño de Frida y Diego" is set on Day of the Dead, and involves Kahlo crossing back from the underworld to spent 24 hours with the still-alive and grieving Rivera. The opera had its world premiere in 2022.
Roberto Kalb conducts, and Daniela Mack plays Frida — except on April 1, 2026, when Stephanie Sanchez takes over the role. Alfredo Daza plays Diego.
For two nights only on April 17 and 18, 2026, the Lyric will present a world premiere of a musical work by Chicago's first ever poet laureate, avery d. young. "safronia" is an Afro-surrealist story told from the perspective of the Booker family, who return from the Northern U.S. to their hometown in the South after five years of banishment to bury their family patriarch.
Opera in the Neighborhoods also returns for school and public performances in 2025-2026 with "Katie: The Strongest of the Strong," which tells the true story of circus strongwoman Katie Sandwina. She was known as the strongest woman in the world, but was also a wife and mother who helped lead the women's suffrage movement of the early 20th century. The production features an all-female cast.
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Chicago Tribune
2 days ago
- Chicago Tribune
CSO hires a new chorus director; cancels next season's MusicNOW series
This week, Symphony Center saw a one-two punch of good news and bad news. On Tuesday, the Chicago Symphony Orchestra announced that Donald Palumbo, the former chorus master of the Metropolitan Opera, would lead its award-winning chorus on an initial three-year contract — a cheering development for an ensemble that has been without a director since 2022. That was followed on Thursday by word that MusicNOW, the CSO's contemporary music series, would be 'paused' next season. A statement from Cristina Rocca, the orchestra's vice president for artistic planning, said the organization intended to 'imagine new possibilities for connecting Chicago audiences with new music.' Once the domain of the CSO's composer-in-residence, MusicNOW programming is typically unveiled after the bulk of season programming has been announced. Instead, series subscribers were notified of the cancellation via a mailer. Palumbo will prepare the 2025-26 season's previously announced Chicago Symphony Chorus programs: Mozart's Requiem (Nov. 20-23), an Italian operatic potpourri conducted by music director emeritus Riccardo Muti (March 19-21, 2026) and Poulenc's 'Gloria' (May 14-16, 2026). He will also work with the chorus for 'Merry, Merry Chicago!', a CSO holiday tradition (Dec. 19-23). Palumbo spoke with the Tribune by phone between sessions with young singers at Lyric Opera's Ryan Opera Center. Rehearsals were well underway with the Chicago Symphony Chorus for Verdi's Requiem (June 19-24), his debut as chorus director designate. 'The rehearsals of the Verdi have gone really, really well so far,' Palumbo says. 'If I sound like a kid in a candy store, well, I kind of am.' Palumbo is only the third director of the Chicago Symphony Chorus in its nearly 70-year history. At 76, his tenure will doubtlessly be shorter than predecessors Duain Wolfe and founding director Margaret Hillis, the latter leading the chorus for a whopping 37 seasons. But Palumbo — whose remarkable career trajectory saw him ascend from being a primarily self-taught hobbyist musician to the most in-demand choral director in the country — says he's approaching the job like any other. 'I'm going to do my job, and it's going to go on as long as I'm doing a good job, I want to do it, and they want me,' he says. Palumbo's résumé made him a contender to watch after Wolfe's mid-season departure from the chorus in 2022. Prior to his appointment at the Met, the country's most storied opera house, Palumbo directed the Lyric Opera chorus from 1991 to 2007. He is still a known quantity to scores of local singers, including some who sang under him during his Lyric tenure. 'He prepares you in such a way that you feel so understanding of the piece of music that you're doing,' says Chicago Symphony Chorus alto Emily Price, whom Palumbo also hired to the Lyric Opera Chorus in his final season there. 'The language is so important, and the intensity of each line has to be so specific.' Palumbo's preparation of the chorus for two Muti-led programs in 2022 and 2023 — an unstaged 'Un ballo in maschera' and Beethoven's 'Missa solemnis,' respectively — sealed the deal. Muti made his affinity for Palumbo known when, after 'Missa solemnis,' the outgoing CSO music director implored Palumbo to consider leading the chorus 'permanently' in onstage remarks. 'That was very unexpected,' he recalls, laughing. But in time, the prospect began to make natural sense. Palumbo feels he'd done his time in the opera world, where margins are getting ever tighter. At this stage in his career, he prefers to focus on the music — a stated position of Muti, once again his collaborator in the forthcoming Verdi Requiem concerts. The CSO post, Palumbo says, allows him to get down to fundamentals. 'I was just in Japan for a month doing a 'Traviata' production with a chorus of young singers. … I told them, 'For better or for worse, this could be my very last 'Traviata,' and it's your first,'' he says. 'It's a progression.' The appointment comes at a time when the CSO is in need of steady leadership. Klaus Mäkelä, the CSO's music director designate, does not begin his term at the organization until 2027. While he continues to spearhead orchestral hires, Mäkelä did not participate in Palumbo's search committee, owing to the timing of his own appointment, in 2024. 'When we engaged Klaus, we informed him of any number of things artistically that were going on here, including the search for a new chorus director. Knowing that he wouldn't be working with the full chorus for quite a while, he agreed that we should just move ahead and have the committee make the selection,' says CSO president Jeff Alexander. Mäkelä will, however, be part of Palumbo's renewal talks in 2028, which were intentionally timed to the end of Mäkelä's first season. Though Mäkelä and Palumbo are not working together next season, Alexander confirmed they would begin working together on programs beginning in the 2026-27 season. The CSO has pointed to the same contractual awkwardness in its curtailing of MusicNOW, its contemporary music series. Last year, the CSO did not appoint a composer-in-residence, citing the interregnum between music directors Muti and Mäkelä, who have hiring power over the position. (Despite this, the CSO filled a similar gap between Muti and former music director Daniel Barenboim 20 years ago with a twin appointment of composers Osvaldo Golijov and Mark-Anthony Turnage.) Alexander reaffirmed the CSO's commitment to hiring a new composer-in-residence, 'probably' during Mäkelä's first season in 2027-28. But he acknowledged that MusicNOW, or anything like it, may not be under that person's aegis. 'It may still include some curation of some kind regarding our contemporary music offerings, and the rest will probably remain pretty much the same: writing a new piece for the orchestra each year, et cetera,' Alexander says. Above all, economic factors prevailed. Alexander noted that MusicNOW — essentially a chamber series featuring members of the CSO — tended to follow the ticket-sale trends of those programs, filling just a fraction of Orchestra Hall's capacity. That's despite having costs not usually associated with those programs, like music licensing fees or guest artist expenses. (Featured composers and, occasionally, soloists and conductors were typically flown out for the series.) Instead, Alexander signaled that a short-term strategy may be to program more contemporary music on the CSO's mainstage. Though the CSO's 2025-26 season includes just one premiere (Matthew Aucoin's 'Song of the Reappeared' in December), subscription concerts feature works by 16 living composers: Camille Pépin, Carlos Simon, Thea Musgrave, Unsuk Chin, Jörg Widmann, Paquito d'Rivera, Gabriella Smith, Kevin Puts, Joel Thompson, Jennifer Higdon, Erkki-Sven Tüür, John Adams, Wynton Marsalis, Joe Hisaishi and former CSO composer-in-residence Jessie Montgomery. 'The word we're using is 'pause,' because, as we thought about it, we're a symphonic organization first of all,' Alexander says. 'If we put a contemporary piece on a CSO subscription program and it's performed three times, on a good week, 6,000 people are hearing it. If we put it on a MusicNOW concert, maybe 300 people were hearing it. … Part of our thinking is, let's beef up the contemporary offerings on the CSO main (series). Cautiously, of course. But more than normal.' Rocca's written statement went on to say that 'conversations with the artistic planning team' and Mäkelä 'are underway to guide future plans' for contemporary music programming at the CSO.


New York Times
2 days ago
- New York Times
Watch Five Highlights From the Met Opera Season
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