Katya Kabanova Composer: Leos Janacek; Libretto: Vincenc Cervinka after Alexander Ostrovsky At: Lyric Opera of Chicago, 20 N. Wacker Phone: 312-332-2244; $33-$207 Runs through Dec. 12
Souvenir Playwright: Stephen Temperly. At: Northlight Theatre, 9501 Skokie, Skokie. Phone: 847-673-6300; $25-$55. Runs through Dec. 20
It's easy to see why the operas by Czech composer Leos Janacek ( 1854-1928 ) have rightfully gained a larger and more respected foothold in the standard operatic repertory.
Just look at the Lyric Opera of Chicago's compelling Katya Kabanova, Janacek's 1921 masterpiece last seen locally in 1986. This intense and compact drama of passion, infidelity and suicide packs an emotional wallop. And Lyric debut conductor Markus Stenz brings great nuance to Janacek's lush music ( which any Hollywood director would kill for as a film score ) .
With Finnish soprano Karita Mattila, the Lyric has engaged one of the most celebrated Katyas of our age. Mattila gives all the intensity of a passionately religious woman who struggles with her attraction toward the handsome Muscovite Boris ( a strong role debut by American tenor Brandon Jovanovich ) .
Katya is dreadfully unhappy, and it's easy to see why with all the verbal and/or physical abuse she must deal with from her gorgon of a mother-in-law, Kabanicha ( a formidable Judith Forst ) , and her drunken mamma's boy husband, Tichon ( tenor Jason Collins, who complexly shows his character's own personal demons ) .
Strong support work also comes from mezzo-soprano Liora Grodnikaite and tenor Garrett Sorenson ( as the young lovers Varvara and Kudrjas ) and Andrew Shore's as Boris' tightly wound and critical uncle, Dikoj.
If there's one element that doesn't fully please, it's the borrowed 1991 Jonathan Miller Metropolitan Opera production. The scaled-down buildings could be production designer Robert Israel's way of representing the small-mindedness of the provincial Russian town of Kalinov. But the structures also make the cast look like they're treading around a miniature golf course.
If that sounds silly, then consider the musical career of the late New York socialite Florence Foster Jenkins and her devoted accompanist, Cosme McMoon.
Jenkins would give classical song recitals despite being completely tone-deaf. Her 1944 performance at Carnegie Hall has become the stuff of camp legend ( especially since she also designed her costumes ) .
Stephen Temperley's two-person 2005 Broadway comedy shows the enduring fascination around Jenkins. But now in it's Chicago-area premiere at Northlight Theatre, Souvenir doesn't live up to its potential.
That's not the fault of Neva Rae Powers as the screechy soprano and Mark Anders as the doubting ( and assumedly gay ) accompanist, for are both polished musicians ( honestly! ) and great with their comic timing. Nor is it the handsome production under Steve Scott's direction.
It's just that Temperley's script doesn't contain much drama amid his questions of celebrity and passion for the arts ( no matter how miserably you fail to become respected for your work ) . Any attempts at profundity get drowned out by the snicker-inducing singing, which makes this two-act play come off as a Saturday Night Live sketch that wears out its welcome.