Chicago Opera Theater / Critiques

Solid singing across the board—all the more remarkable for these singers being cast for a different score

Soprano Megan Pachecano is Beatriz. She sings with soaring high notes that seem to caress the tree that Beatriz calls her brother. She has the simplicity of a girl and the allure of a woman, all shrouded in a gentle yet lonely soul.

Another Polish singer, Iwona Sobotka, matched Godlewski’s intensity and provided a shimmering Queen Roxana. She persuasively championed the idea of love and brought seductive power to her Act II song inspired by the Shepherd.

Iwona Sobotka makes her COT debut as Queen Roxana, who is spellbound by the mysterious Shepherd. Sobotka possesses a velvety soprano that eases into the upper register of Szymanowski’s Bel Canto leaning music. Chambers has a wonderful stage presence with a comic edge. His tenor is also well-suited to the baroque/bel canto role.

We have nothing but praise for Amy Hutchinson’s stage direction. It unfailingly served the music and the drama with a light touch which is, sadly, infrequent these days. Ms. Hutchinson trusts the material, the performers and, most importantly, the audience. Her abundant creativity is evident throughout, but she never bludgeons us with her “concept”.

Yet this was serious fun and a worthy homage to Donizetti with kudos to Hutchison, Danzig and the creative team on this lively and witty production.