On February 8, 2025, the Lyric Opera House in Chicago was graced by an extraordinary performance as soprano Sondra Radvanovsky took the stage in “The Puccini Heroines.” Accompanied by the Lyric Opera Orchestra under the masterful direction of Music Director Enrique Mazzola, Radvanovsky delivered a tour-de-force that left the audience in awe.
Photo by Robert Kusel
It was an incredibly interesting night of music, spanning Puccini’s career and incorporating both well-known and lesser-known musical pieces and arias from his operas. The evening commenced with the orchestra under Mazzoli’s masterful baton playing the Prelude from “Le Villi,” a seldom-performed early opera. Then Radvanovsky, resplendent in a red gown and carrying a bouquet of flowers, began her portion of the evening with the delicate strains of “Se come voi piccina,” heroine Anna from “Le Villi’s” aria. It served as a perfect warm-up, showcasing Radvanovsky’s creamy and lush voice. She also seems constitutionally unable to not act each part. She not only sang these wonderful pieces, she portrayed each heroine and in between told the occasional anecdote about how each piece fit into her career and its significance to her. She didn’t talk overmuch and what she had to say was delightful.
Transitioning seamlessly, Radvanovsky then embodied Mimì from “La Bohème,” delivering a charming rendition of “Mi chiamano Mimì.” Her nuanced portrayal captured Mimì’s shyness and underlying awareness of her insignificance, bringing depth to the character’s longing for love and connection. This aria is not a terrific match for her robust tone. You don’t buy her as a woman dying of consumption, but the aria was masterfully acted and delivered.
Photo by Robert Kusel
The soprano’s versatility shone as she navigated through the complex emotions of Puccini’s diverse heroines. From the heartrending despair of “Madama Butterfly’s” “Un bel dì vedremo” beautifully delivered but another bad match for her voice and stature, to the resolute passion of “Tosca’s” “Vissi d’arte,” which was an absolute masterpiece, Radvanovsky’s performance was a masterclass in vocal artistry and dramatic interpretation.
Particularly noteworthy was her rendition of “In questa reggia” from “Turandot.” Radvanovsky’s powerful soprano effortlessly conveyed the icy exterior and hidden vulnerability of the titular princess, culminating in a performance that was both intimidating and profoundly moving. She does this one better than anyone else I’ve seen perform it. You really get the Princess’ profound horror at the prospect of marriage and identification with her murdered forebear.
Throughout the concert, Maestro Mazzola and the Lyric Opera Orchestra provided impeccable support, their lush and expressive playing enhancing the emotional landscape of each aria. It was also so nice to see them up on stage and get to witness their incredible artistry. They played entire instrumental sections from various operas including “Madama Butterfly” and “Edgar,” giving Radvanovsky important recovery time. The synergy between conductor, orchestra, and soprano was palpable, creating a cohesive and immersive experience for the audience. And Mazzola had many moments of fun interaction with Radvanovsky as she acted out each aria.
Photo by Robert Kusel
In “The Puccini Heroines,” Sondra Radvanovsky not only showcased her magnificent voice and stylistic command but also her incandescent dramatic powers. One of the best things about her is her impeccable style, sliding up with full control to certain notes to enhance the drama and dropping from full voice to near sotto voce on a dime. She has a truly marvelous instrument and makes the most of it. Her ability to inhabit each character fully, combined with her vocal prowess, made for an unforgettable evening that celebrated the passion and romance of Puccini’s masterpieces.
Photo by Joe Mazza
As the final notes resonated through the Lyric Opera House, the audience rose in a well-deserved standing ovation, a testament to Radvanovsky’s unparalleled artistry and the enduring power of Puccini’s music. This led to two encores, the beloved “Quando me’n vo” from “La Bohème,” and Radvanovsky is a much better Musetta than Mimi, and the easiest aria in the repertoire, which is nonetheless a favorite “O Mio Babbino Caro” from “Gianni Schicchi.“
All in all this is a must-see for any lover of Puccini and really good singing. And there are two more opportunities to see it. Go!
Photos by Rober Kusel and Joe Mazza
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