“As the overture of Ferdinando Paër’s Leonora filled the historic Studebaker Theater, the audience for Chicago Opera Theater’s opening opera of the season experienced a once-in-a-lifetime opportunity to witness an important – yet sadly overlooked – early-nineteenth-century work....Given the infrequency of performances, each note of the opera felt like a chance to experience a piece of history... Lawrence Edelson, General Director of Chicago Opera Theater, directed one of the most engrossing opera productions I have seen in recent years. Helping him were Cameron Anderson with sets and Josh Epstein with lighting. Anderson’s sets were clean yet convincing in how they allowed the action to unfold, and Epstein’s lighting choices added a visual dimension that matched the dramatic cues on stage.Chicago Opera Theater’s production of Paër’s Leonora is a remarkable achievement and honors an historically significant work forgotten by most opera houses. The combination of a talented cast, expert direction and engaging visual design created an experience that will not be easily forgotten, making it one of the most important classical events in Chicago this year.

- Seen and Heard International

Lawrence Edelson, the new general director of Chicago Opera Theater (COT), is off to a tremendous start with a season opener that plays to the company’s strengths while offering something that is simultaneously new as well as familiar...sitting down to experience “Leonora”... I wasn’t in the dark about what to expect, but nonetheless I ended up very surprised. This is because at every turn Edelson’s production (he was the stage director with scenic design by Cameron Anderson) was such a pleasing and enjoyable experience... this “Leonora” had it all: superb casting of fine singers; a stage setting which was evocative and always assisted in telling the story, not obscuring it; vitality from the pit which propelled the opera forward and, most importantly, a work that was deserving of the time and effort of the professionals at COT.

- Hyde Park Herald

The idea of Chicago Opera Theater presenting Paër’s “Leonora” alongside Lyric’s run of “Fidelio” is an inspired one. It says a lot about COT’s new general director Lawrence Edelson that he wanted “Leonora” to be the first opera of his regime and that he wanted to direct it... The singing is of high and consistent quality, the production values and direction impressive. If this is an indication of what to expect during the Edelson regime, there is much to look forward to.

- Newcity Arts and Culture

Local opera lovers have been enjoying a pleasant compare-and-contrast challenge this fall. In a brilliant stroke, Lyric Opera of Chicago and Chicago Opera Theater (COT) have been offering near-simultaneous chances to hear two quite different operas based on one familiar story… The timing was thanks to Lawrence Edelson, COT’s general director and stage director of Leonora… he enlisted Dame Jane Glover, music director of Chicago’s acclaimed Music of the Baroque and frequent COT guest, to ensure that Paër’s score would receive first-class treatment… Minimalist but handsome sets by COT scenic designer Cameron Anderson underscored the contrasts of comedy and tragedy. Minimalist but handsome sets by COT scenic designer Cameron Anderson underscored the contrasts of comedy and tragedy in Leonora. Act I unfolded on broad, sharp-edged veranda steps leading to an expansive back wall and a set of elegantly molded double doors, all painted a dazzling white. Marcellina watered a row of red flowers that looked as chipper and precise as a Rockette chorus line. In Act II we could practically smell the fetid air of Florestano’s cell, a low angular corner of rough grey stone where he huddled for warmth. Lit by smoky spotlights, the characters came and went surrounded by darkness.”

- Musical America
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