“Pagliacci: Opera Festival of Chicago ” reviewed by Frank Meccia

***** The Opera Festival of Chicago has once again proven its mettle with a spectacular staging of Pagliacci at the George Van Dusen Theatre inside the North Shore Center for the Performing Arts. What unfolded on stage wasn’t just a performance; it was a resounding triumph of vocal power, musical precision, and dramatic intensity, presented in a space that, while perhaps never intended for opera, turned out to be acoustically perfect.

Under the baton of the passionate and commanding Sir Emanuele Andrizzi, the 40-piece orchestra—comprised of American Federation of Musicians members—performed with all the richness and nuance one would expect from the Lyric Opera or even the Chicago Symphony Orchestra. Andrizzi’s energy was infectious; from my vantage point in the upper mezzanine, I had a clear view of his every gesture, and it was easy to see how deeply connected he was to every bar of music.

The venue itself was an unsung star of the evening. The wood baffles in the ceiling and the elegant curvature of the walls created an acoustic environment where every note and every word—sung without microphones—carried beautifully, even to the back row of the second floor. It was a true testament to the potential of this space as a home for world-class opera.
The ensemble of 50 local singers added authentic vibrancy, filling the stage with energy and vocal depth. But the night belonged to the five principal singers. Jonathan Burton as Canio brought raw, tormented power to the role of the betrayed clown, his famed aria “Vesti la Giubba” tearing through the audience like a thunderclap of sorrow. Michelle Allie Drever was radiant and tragic as Nedda, with a voice that soared with lyrical sweetness and emotional complexity. Jonathan Wilson was a dashing Silvio, and their duet brimmed with genuine chemistry.

Baritone Franco Pomponi gave a standout performance as Tonio, the spurned and vengeful clown. Opening both acts from within the audience, he immediately broke the fourth wall, drawing us into his twisted world with a voice steeped in pain and manipulation. His presence anchored the narrative, lending the story both with gravitas and menace.
Director Sasha Gerritson’s stage direction was tight and evocative, using the two-hour and twenty-minute runtime to maximum effect. Her pacing never lagged, and she drew beautifully nuanced performances from the entire cast. Even the youngest audience members—sitting a few rows ahead of me—remained spellbound, proof that opera introduced early can indeed blossom into lifelong appreciation.

Scenic designer Shane Cinal returned to a classic opera aesthetic with sets that evoked a timeless, rustic Southern Italy—simple, effective, and perfectly atmospheric.
“Pagliacci”  only has one remaining performance, Sunday, June 29 at 2pm, and tickets—at just $25-$50—are a steal for a five-star production like this. The North Shore Center is located at 9501 Skokie Blvd, and tickets are available at the box office or www.operafestivalchicago.org.

If you’re looking for an opera company to support this season, make it the Opera Festival of Chicago. Their artistry, heart, and commitment to excellence deserve every ounce of your applause—and your donation.