|Count Almaviva||Nathan Gunn|
|Countess Almaviva||Ailyn Perez|
|Don Basilio||John Aler|
|Don Bartolo||Richard Bernstein|
|Don Curzio||Rodell Rosel|
In 2008 James Conlon led the Chicago Symphony Orchestra into the Martin Theatre for two intimate concert productions of the Mozart operas Don Giovanni and The Abduction from the Seraglio. Instant sell-outs, the shows had staying power on the minds and hearts of all who saw them.
Now the magic’s back, as Conlon and the Chicago Symphony Orchestra and Chorus return to the Martin Theatre with a collection of brilliant soloists—including the legendary mezzo-soprano Frederica von Stade and Nathan Gunn (recipient of the first annual Beverly Sills Artist Award and the Pittsburgh Opera Renaissance Award, he was recently named one of the “sexiest men alive” by People magazine)—in two of the composer’s most popular comedies, with librettos by Lorenzo Da Ponte: Cosí fan tutte and The Marriage of Figaro, each presented for one night and one matinee only.
“Gotcha” TV shows like Jerry Springer and Maury Povich have nothing on The Marriage of Figaro, the sex comedy ranked by most opera lovers as one of Mozart’s finest works. Suspicious husbands and wronged wives do more than point fingers and wag tongues; they deliver some of the greatest arias in opera history.
Mozart: Le nozze di Figaro (“The Marriage of Figaro”) (supertitles)
I was even more taken with Oropesa, the bright-voiced, very musical singer who played the chambermaid Susanna. Her sharpwitted and beautifully sung portrayal was a smooth fit with John Relyea's amused and amusing manservant, Figaro.— John von Rhein • Chicago Tribune
Lisette Oropesa sang the role of Susanna with a sweet sound as pure as a silver bell.— Mike Silverman • Huffington Post