As Ariodante pledges his allegiance to the King and his world, signaling a restoration to order, it is more than fitting that Ginevra cuts her own path forward. The concept of contrast and return is fundamental to Baroque opera, but so is the idea of variation in the return to the original, in the form of a singer’s personal vocal decoration of the main melody.

Cleverly, the Act 3 dance sequence involves a return to the Act 1 puppetry scenario, as if all wrongs have been righted and the normal course of things restored. The production runs April 29 through May 22 (press opening April 30) at the Civic Opera House, 20 N. A co-production of the Metropolitan Opera, Greek National Opera, Canadian Opera Company, and Lyric Opera of Chicago. When things look bleak, at the end of Act 2, the Ginevra puppet seems fated for a dissolute life. At the end of Act 1, when all bodes well for Ginevra and Ariodante’s marriage, puppet lookalikes (designed by Finn Caldwell and Nick Barnes) anticipate their married and chaotic life with many offspring.

This beautifully constructed show is a wonderful mix of humor, sentiment, romance, and powerful drama.

The King and I has all the elements of triumphantly successful musical theater, with Rodgers and Hammerstein at their absolute peak of achievement. The community of non-singing extras in this production includes a fleet of puppeteers who spring into action during the musical stretches originally choreographed as dance numbers. Welcome to Lyric Opera’s production of The King and I.

The king and i lyric opera chicago