Billy Corgan to premiere Smashing Pumpkins opera at Lyric Opera Chicago
Driving the news: Lyric Opera on Tuesday announced their 2025-26 season, which includes the Nov. 21 world premiere of "A Night of Mellon Collie and Infinite Sadness," composed by Corgan.
The big picture: Considered one of the greatest alternative rock albums and symbolic sound of the '90s, "A Night of Mellon Collie and Infinite Sadness" opera will feature Corgan and special guests in a "completely new sonic and visual experience," for Lyric, according to press release.
What they're saying: "Opera and rock both tell stories of heightened emotions, and I am excited for both fans of my music and traditional opera fans to hear some truly inspired work; for the balance here is to honor both traditions in a magisterial way," Corgan said in a statement.
Zoom out: The opera's 71st season opens on Oct. 10 and will include two performances as part of the "Movie Nights at Lyric" with the Lyric Opera Orchestra performing the live score of films that will be announced soon.
"Carmina Burana" will feature 225 artists on stage, including the Uniting Voices Chicago children's choir.
Renée Fleming returns to Lyric for one night only in April 2026 for "Voice of Nature: The Anthropocene" with music accompanied by video by National Geographic Society.
The intrigue: " safronia," written by Chicago poet laureate avery r. young, tells Young's story about the Great Migration and a family's return to their southern hometown. It is a mix of poetry and folklore to the sounds of blues, funk and soul.
What's next: Tickets for "A Night of Mellon Collie and Infinite Sadness" go on sale to the public April 11 at 10am.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Chicago Tribune
a day ago
- Chicago Tribune
Review: Guerrero and the Grant Park Music Festival close the season with a rousing ‘Carmina Burana'
Highbrow and lowbrow. Sacred and profane. Closing its 2025 season on Aug. 15 and 16, the Grant Park Music Festival argued that the distance between those two poles is rarely as great as it appears. The festival would know that better than most, juxtaposing classical music—and its expectation of monkish silence—with the heart of Chicago's downtown, and the human mix therein. Where else must a soprano nobly compete with police sirens zooming down Lake Shore Drive? The public face of such an organization needs to understand that — someone who marries musical excellence with a come-as-you-are approachability, so that classical music's audience base grows rather than grays. In his first season as Grant Park artistic director and principal conductor, Giancarlo Guerrero has proved he's that person. He's drawn remarkable precision and luster from festival musicians in a range of repertoire, from Mendelssohn's lacy violin concerto to bold new works. He's able to succinctly elucidate the 'why' behind a program — like the holy/unholy dichotomy tying together the finale program, with Nikolai Rimsky-Korsakov's 'Russian Easter Overture' and Carl Orff's 'Carmina Burana.' And he whirrs through it all with an infectious, Energizer-Bunny enthusiasm, practically bouncing through Friday's concert in a pair of white-soled sneakers. Sometimes that translated to a certain restlessness in still moments. Alan Hovhaness's Symphony No. 2, 'Mysterious Mountain,' was once ubiquitous in midcentury concert halls; today, it's the only one of the Armenian-American composer's 67 completed symphonies to get meaningful airtime. Per its nickname, 'Mysterious Mountain' is less a symphony than a 20-minute panorama, which Guerrero more or less strode through. But it was an Olympic feat in ensemble playing, gears large and small clicking into perfect place in the second movement's double fugue, and the violins taking their running lines in lockstep. The orchestra demonstrated the same massed virtuosity in the 'Russian Easter Overture.' Rimsky-Korsakov wrote in his autobiography that he sought to reference pagan as well as Christian spirituality in the piece, resulting in a work that is at once vivacious and big-boned. From the podium, Guerrero allayed the overture's bombastic writing with a buoyant, supple spirit. The musicians even sounded relaxed, as though they were cruising over, rather than sprinting through, Rimsky-Korsakov's most demanding passages. The various solo spotlights were seized by the Grant Parkers with passion and originality: concertmaster Jeremy Black, principal cellist Walter Haman, acting principal flute Jennifer Lawson, and acting principal trombonist Jeremy Moeller. With all the choral-orchestral showstoppers out there, Grant Park ending its season with Carl Orff's 'Carmina Burana' when it did the same in 2018 could seem a little close for comfort. This time, however, Guerrero is the one putting his mark on the blockbuster work, set to an irreverent set of poems by medieval clergy. It's no wonder Guerrero was so eager to show Chicago his 'Carmina Burana.' Friday's performance—with Guerrero conducting from memory and mouthing along with the chorus — sounded as dotingly prepared as the rest of the program, but with an unbridled emotional palette. The pacing here also felt just right: driven, but not hurried. One of Grant Park's great gifts is its platform for artists whose careers are right on the precipice, so we can all say 'I heard her when…' On Friday, that artist was the California-born Jana McIntyre, the same singer who went head-to-head with sirens in 'Dulcissime.' It's been a while since I heard a high soprano with so much poise and control, from her crisp articulations in 'Amor volat undique' to her lofted upper extension in 'Stetit puella.' I'm eager to watch her career continue to unfold. Orff doesn't let any solo singer off easy in 'Carmina Burana.' Baritone Troy Cook was less adroit in his own sky-high passages, but in the sweet spot of his register — as in his purring 'Omni sol temperat' and elastic 'Estuans interius' — his voice was richly textured and full-bodied. Modern performances are still split over whether to feature a tenor or countertenor for 'Olim lacus colueram,' the swan's aria. Orff originally wrote it for tenor, that soloist's single appearance in the cantata. But might he have written it for countertenor, had he had the option? ('Carmina Burana' premiered in 1937, with the countertenor renaissance still a couple decades off.) Reginald Mobley made the countertenor argument compellingly on Friday. Where the strain required for a tenor to hit that upper register lends these verses an acerbic, explosive edge, a countertenor can approach the same lines with lamblike lyricism, as Mobley did. His swan was lachrymose rather than embittered, his aria mounting in urgency as it went on. Much like last year's Mahler blowout, Friday's performance could be hair-raisingly loud. But even atop those peaks, the orchestra and chorus remained well-balanced, and the chorus's diction impeccable. Slicing sibilances in the choruses' first whispered chant chilled to the bone, as did the low voices' declamations against the swan in 'Olim lacus colueram.' Uniting Voices Chicago (formerly the Chicago Children's Choir) joined them in the risers, a ghostly and almost ethereal presence against the fullness of the Grant Park choristers. Already Guerrero seems to be able to convey of-the-moment phrasings and character directions with a few emphatic motions—a roller-coaster swoop here, a waggle of the fingers there—and get an immediate response from the choristers. That's a credit to Guerrero, surely, but also to this nonpareil ensemble and their thorough preparation by chorus director Christopher Bell. As the festival opens a new chapter with Guerrero, five retiring musicians closed theirs. On Friday, the festival sent off Mary Stolper, the orchestra's ever-distinguished principal flute, assistant principal percussionist Joel Cohen, violist Patrick Brennan, cellist and frequent CSO sub Linc Smelser, and chorus bass Jan Jarvis, leaving after a remarkable 52 years with the ensemble. When his name was called, the chorus terrace responded with deafening cheers. Yes, fortune is fickle and the years are long. But if this season is a harbinger of things to come with Guerrero, Grant Park has hit the jackpot.
Chicago Tribune
3 days ago
- Chicago Tribune
Donna Vickroy: Tribute to the tribute troubadours who help us stay forever young
Bravo! An evening of 'almost' Linda Ronstadt, 'practically' Warren Zevon and 'as good as' Jackson Browne had me on my feet, singing, dancing, fist-bumping the memory of my 20-year-old self. 'Desert Rock Show: A Tribute to the Laurel Canyon Music Scene' at The Lyric Theater in Blue Island featured the work of more than a dozen top-tier artists performed by the tribute band Soundtracks of a Generation. The evening was a musical explosion of nostalgia, all for about what it had cost us to park a few months earlier at a concert by the 'real' Four Tops. Don't get me wrong, the Four Tops, who were joined by The Temptations, put on a great show, a veritable time travel back to my mom's Motown record-spinning days. There's something very special about seeing your musical heroes in the flesh. But at more than $300 for a pair of tickets, it was not the kind of event one can spring for every weekend. Plus, we had to travel almost an hour both ways, wait in line to drop $50 on parking and be understanding when the 80-year-old performers needed to be seated on stage. Of course, as fellow aging Boomers, we're a forgiving lot. Which may be why tribute shows have become a growing trend. They give us the heart-pounding bass, the emotionally-charged lyrics, the incredible guitar riffs and, perhaps most of all, the sensation of being 25 or even 50 again. At the Lyric, which offers a steady flow of tribute music in addition to other kinds of entertainment, we can roll into the free parking lot 10 minutes before showtime, be escorted to our seats, signal for our preordered dinner to be delivered, select a cocktail and then jam to some of our favorite music — performed by the next best thing, which often enough sounds like the real thing. Is it compromising on authenticity? We prefer to call it getting all the feels of our favorite music when all of us were at our best. It's not just affordability driving the growing popularity of tribute bands. It's convenience, atmosphere and the acceptance that while music may be larger than life, its superstars are only human. Tribute artists keep us all forever young. Pat Disabato, live events manager for the Lyric, said tapping into feelings is exactly what the Lyric is all about. 'What helps us stand out from the crowd is our unique spot. We offer a 1930s-'40s cabaret feel, with servers and a state-of-the-art sound system. The look is cool. The service is fantastic,' he said. The Lyric books both national tribute acts as well as original acts, he said. 'All of that plays into a good experience. There's nothing else quite like it. The acts are good. There's free parking and our price point is good.' It is not just Boomers selling the place out, he said. It's also teens and families and young couples who, after feeling closed off from the world during COVID, just want to get out and clap along. Tribute musicians are not a new thing. Just ask Elvis and Beatles fans. Today, some of the most popular tribute bands pay homage to Pink Floyd, Queen, Grateful Dead and Bon Jovi, according to but the pool is growing. 'There's never been a better time to be a musician,' said Ron Onesti, founder of Onesti Entertainment, which provides live entertainment at Arcada Theatre in St. Charles and Des Plaines Theatre in Des Plaines. And there's never been a better time to be a fan of live music. 'People hunger for it these days,' Onesti said. The challenge for venues, he added, is in differentiating yourself from a growing field of locales, which vary in atmosphere as much as they vary in price. Like the Lyric, the Arcada and Des Plaines venues are iconic theaters that exude atmosphere. 'We strive for quality, value and ambience,' Onesti said. 'The responsibility is heightened to make these events more experiential because expectations are different,' he said. 'Lighting has to be different, there needs a lot more multimedia, such as videos of the band and psychedelic backgrounds. We're doing more lasers. It's more experiential and it's more festival style,' meaning the music of two or three groups is presented in the same show. Even with growing demand, Onesti said, competition is fierce, especially when towns such as Elk Grove Village, Addison, Hillside and Tinley Park are offering concerts in the park for free. Disabato said, within a few miles of the Lyric are several venues competing for the same audience, from Gaelic Park in Oak Forest and CD&ME in Frankfort to City Winery in Chicago. The Lyric pulls in acts from across the country, including a Jimmy Buffett/Neil Diamond performer from Las Vegas, a Stevie Ray Vaughn act from Texas and a Motown group from Ohio. Tribute acts, Disabato said, are not necessarily cheap. Some command $4,000 to $6,000 a show, he said. Popularity, Onesti added, crosses all genres. 'Country is huge. Rock is huge, Disco is becoming huge.' Bands playing original music are also finding their niche, he said. 'Open the papers any weekend and there are a hundred options to see live music.' The biggest winners in the battle of the bands are the fans, of course, who for a brief moment in time, get to relive their glory days.
Yahoo
02-08-2025
- Yahoo
This Is What Kyla Pratt's Daughter Looks Like Now, And It'll Make You Think You're Seeing Double
This is the phenomenal Kyla Pratt, and she's a mommy. No, she's a mom. She has a daughter, a human child, and she's seriously a spitting image of her parents. Related: Kyla and her longtime boyfriend, tattoo artist Danny Kirkpatrick, have been together since 2008, and share two daughters, Liyah, born in 2013, and Lyric, born in 2010. Before her adventures in motherhood, Kyla had the late '90s/early 2000s on lock, reprising her role in sequels to 1998's Dr. Doolittle, starring in One on One, and voicing Penny Proud in The Proud Family. ©Paramount Television/Courtesy Everett Collection, 20th Century Fox Film Corp. All rights reserved. / Courtesy Everett Collection Kyla's currently reprising her role as Penny in the revival series, The Proud Family: Louder and Prouder on Disney+. But, even with those most impressive acting credits, Kyla's most groundbreaking role is co-starring in her daughter Lyric's TikTok because why do they look so alike, and why do I feel ancient now? Related: Back in 2023, Kyla and Lyric made their TikTok debut together for the first time, and everyone was stunned by their identical appearance. Now, Lyric has posted new videos with her mom, and people are even more flabbergasted at how much they look like each other. In a TikTok shared on Aug. 1, Lyric and Kyla were joined by internet personality and actor Charles Brockman III to recreate an iconic moment from the very first episode of The Proud Family, "Bring It On." In the video, Lyric looks just like her mama, and she's mastered her mother's iconic sassy neck rolls and hilarious face expressions. @lyric_k_ / Via Related: People are rightfully losing it over the similarities. One person even joked that Lyric "literally looks like Penny" from The Proud Family. Related: Another said that she "could play penny proud in a live action" version of the animated series. And like most millennials who grew up with Kyla, this person said, "this just healed something in me," and I get it. Lyric really looks JUST LIKE her mother! Polygram Filmed Entertainment / courtesy Everett Collection, And, of course, she looks like her daddy, too! Look at those adorable smiles. Also in Celebrity: Also in Celebrity: Also in Celebrity: Solve the daily Crossword
