****HIGHLY RECOMMENDED Chicago Opera Theater is slowly evolving into one of the most interesting and dynamic small-scale opera companies in the country. Under the leadership of General Director Lawrence Edelson and with their mission deeply rooted in discovery, Chicago Opera Theater continues to uncover lesser-known works by famous composers -- as well as more obscure works created by what may be heretofore unknown composers. All so that Chicago audiences can have a broader perspective of the operatic realm while also enjoying a rare hidden gem neglected in favor of the more popular titles found in the repertory. The Chicago premiere of Kurt Weill/Georg Kaiser's "Der Silbersee (The Silver Lake)" is clearly an excellent example of that. This exquisite "Der Silbersee" is quite a polished production and, technically speaking, the best work that Chicago Opera Theater has done thus far. 4 SPOTLIGHTS
Much of that credit belongs to Edelson himself. He directed "Der Silbersee" nobly and assembled a very able cast. With over a dozen roles, this is one of the larger ensembles for a Chicago Opera Theater production. Every single performer is perfectly cast, both for their vocal abilities as well as their dramatic prowess. Several of them have to tap into their comedic skills also. While "Der Silbersee" is a considerably dark work (especially in the first half), Kaiser's libretto wisely finds many moments of merriment to lighten things up a bit.
Der Silbersee. Photo by Michael Brosilow
The historical significance of "Der Silbersee" cannot be overstated. Kurt Weill was a very respected and popular composer by the time that "Der Silbersee" had its world premiere in February 1933. So grand was Weill's vision that three separate productions of "Der Silbersee" premiered on the same date in three different German cities. Due to the rising political unrest under the newly appointed Nazi regime and the harsh realities of everyday survival that many citizens faced (which was eerily similar to that of the characters on stage), Weill and Kaiser decided to frame "Der Silbersee" as an adult fairy tale, albeit a very dire and elegiac one. The Nazis weren't buying it. Once word got out, and certain figures of authority actually saw the work, all three productions were shut down within weeks of opening. Weill, fearing for his life, fled to Paris immediately. Shortly thereafter, Kaiser left for Switzerland. "Der Silbersee" is the last work that Kurt Weill created while still living in his native Germany.
Justin Hopkins as Olim. Photo by Michael Brosilow
Honoring his legacy, this "Der Silbersee" is anchored by two captivating performances. Justin Hopkins is nothing short of sensational as Olim, a local policeman. Hopkins has an extensive background in performing the works of Weill, having appeared in his works in multiple cities in the United States and Europe, as well as a 2nd place win in a previous Lotte Lenya competition. Hopkins brings all of that mastery of Weill's musical sensibility to his portrayal. From the very first scene in which his Olim appears, Hopkins commands your attention. Alone on stage, seated behind his desk writing up a police report, Hopkins delivers his first aria with ease, all while mostly remaining stationary. It is a micro-study in how to deliver emotional resonance while motionless. In addition, Hopkins has impeccable diction and delivers the heavy German libretto and dialogue so effortlessly that you might assume that German was his native tongue. Impressive.
Chaz'men Williams-Ali (Severin) with Steele Fitzwater, Sam Grosby, Evan Bravos & Leroy Davis. Photo by Michael Brosilow
The flipside to Hopkins' regal and restrained performance is Chaz'men Williams-Ali as Severin, an unemployed youth suffering from hunger and general directionlessness. Williams-Ali has a warm and mellow tenor voice but his portrayal of Severin is fiery and impassioned, especially in the first half. By the second half, as Severin is beginning to put the pieces together, Williams-Ali's Severin has now become magnanimous.
As for the comic performances referenced above, the one which has the most stage time is Leah Dexter as Frau von Luber. Stern and no-nonsense, Dexter's Frau can be extremely manipulative but also downright delightful, in a twisted way. Ariana Strahl, in crystal clear voice, sings the role of Fennimere, Frau von Luber's niece, and also plays the Child, seen reading a book in bed which opens and closes the show. Korey Simeone has great fun as the Fat Policeman but also does double duty as the Doctor. Another dual role belongs to Dylan Morrongiello, who swaggers as the Lottery Agent and waltzes with the Frau as the plump Baron Laur.
Ariana Strahl (Fennimore), Dylan Morrongiello (Baron Laur), Leah Dexter (Frau von Luber). Photo by Michael Brosilow
"Der Silbersee" has a bit of an enigmatic ending, which is open to personal interpretation. As both Olim and Severin approach the title body of water (The Silver Lake), they discover that it has frozen solid. Since they went there with the intent to drown themselves, they find that this outcome is no longer feasible. Instead, hand in hand, they walk upstage in silence. It is an image that one can view in which Olim and Severin are substitutes for Weill and Kaiser as they begin their journey into exile.
Ariana Strahl (Fennimore) with the Ensemble. Photo by Michael Brosilow
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"Der Silbersee" continues until March 8, 2026
Remaining performances are as follows:
Saturday, March 7 at 3:00 PM
Sunday, March 8 at 3:00 PM
The Studebaker Theater is located within the Fine Arts Building, 410 South Michigan Avenue
Tickets: Please visit www.COT.org
Running time is approximately 3 hours with one intermission