New Lyric season plays it safe

Given how hard it is to sell tickets to arts events these days(just look at Ravinia attendance for classical performance), it makes sense to me that the Lyric Opera would continue to be careful to please its audience for the 8 or 9 operas it presents. Are arts venues supposed to teach and lead or to satisfy or both? Hard to do both sometimes depending upon the financial climate. I have season tickets and deeply appreciate the amazing visual spectacle of these performances, which at times is very adventurous. I consider this season so far to be a complete home run in terms of my overall satisfaction. Dr. Atomic was the most uniquely modern piece that we watched this year, and it received a standing ovation by many at the performance I attended-so could the envelope be pushed further? Perhaps. But should that be the lead of the story in this paper? I don't think so. Should a season where Renee Fleming isn't there be criticized? No, although I will miss her, Deborah Voigt is also world class. All in all, I wouldn't criticize the Lyric for what it is: namely a "lyric" opera company looking for the right, affordable drama/spectacle/showpiece to attract a midwestern audience. A completely safe season would be one in which "Carmen" and "Marriage of Figaro" factored in every year...

thanks for the honesty, alas to the airport to the Met or San Francisco! or of course there's the Met's Imax shows!

I've seen Renee Fleming in Susannah, Marriage of Figaro, Alcina, Thais and Traviata at Lyric Opera. For Lyric to have her that many times in 15 years is amazing. So let up on Lyric and realize that they are sustaining grand opera in Chicago for many years to come by balancing the old and new, traditional and advantgard. Comparing them to the MET also unfair because the MET has greater financial support. When YOU raise the millions it takes for movie theater and/or tv broadcasts then start talking. Lastly, Lulu is not at all safe, musically or dramatically. Seasons of only 20th century and new opera would put a company like Lyric out of business. Remember, keeping them in business keeps you in business.

Less Risk, Less Reward:
To a certain extent, I agree with the columnist to the extent that between fiscal and artistic balance, the Lyric sways to the former more than it should. The arts should be at the arts' behest; if done well, monerary viability should be sound.

If more artistic risks were taken would the old-money families who fund and subscribe to Lyric still support the organization?
I don't think so.

I am so disappointed in the downward direction Lyric has chosen to take over the past few years-- I did not renew for the current season: How many Barbers of, Falstaff, Boheme and Traviata can a season ticket holder endure; Of course, Fleming as Violetta makes a season worthwhile.
No Renee? No way for next season. Been there, heard those, no NEW work? Humbug.

I like boldness and innovation more than most, but I can't really fault Lyric much when they're doing Lulu (how many other US companies ever do it?) and Tristan, IMHO the greatest musical work ever and one that can never be done often enough. And many companies manage to present great opera without Anna Netrebko or Renee Fleming headlining. So can Lyric.

I've been an out-of-town subscriber to the Lyric since 1999. We get four of the eight operas on our series.

I've been very happy with what I've seen and heard over the past eight years. I must admit, however, to some disappointment to yet another "Barber of Seville." This must be the third time in the last eight years that it's been a part of the "O" series.

Having gone through the financial collapse of the KC Philharmonic, I strongly support fiscal responsibility in the arts - patrons will rally to a sinking ship for only so long. But, I sure hope that 'Cav/Pag' and 'Butterfly' aren't on my series. ;>)

How many years has it been since the Lyric did a season with no operas by Verdi?

I wouldn't consider any 9-production season that holds "Lulu", "Tristan" and "Porgy" as "playing it safe". And to say the Company is plunging into stodginess (or whatever adjective Mr Von Rhein used), is to not have been paying attention the last few years; Dr. Atomic (a vapid, boring piece of trash, as far as I'm concerned), A Midsummer Wedding, Frau Ohne Schatten, A Wedding, and Cunning Vixen are hardly stodgy or mainstream. Going farther afield would alienate Lyric's major Individual Contributors. I do admit, however, I, too, have seen one too many Traviatas, Bohemes and Marriages of Figaro.

Let's be thankful for what we have AND that Peter Sellars (with his Santa Claus Wozzecks and O'Hare Airport Tannhausers) is NOT on the program!

Actually, Chrisine Brewer would be every opera house's Isolde of choice these days, not Ms. Voight. Anyone who has heard Brewer sing this role would have to agree.

Actually, David in KC, Barbiere was last performed at Lyric in the 00-01 season. So this will be the second time in nine seasons, not the third in eight.

There's a nifty archive here:

http://www.lyricopera.org/about/performanceAr...

Sounds like a great season to me! Good mix , looking forward to Lulu and Porgy & Bess . Manon is one of my favorites. I would like to see a Fortza by Verdi or some of verdi's early works; How about a tales of hoffman, or other french works! Mason is very conservative both artisticly

First of all, some singers are truly amazing, but what happened to loving opera? Do you really think Fleming is the only soprano worth seeing? Do you think anyone under 30 who is not already an opera fan even kows who she is? Secondly, I agree that new works are exciting, but will they bring in a new audience? Playing it safe and playing it smart just might be the same thing.