For a one-act of such obviously colossal scope and ambition — for a composer’s operatic debut, at that — Everest is freakishly assured, and, as it transpires, justifiably so.

The shrewd adaptation at work in the Lyric production should serve as a reminder that the overriding theme of the story is, after all, justice.

Dead Man Walking a truly transcendent artistic experience that not only reminds the audience of why the story is worth telling in the first place, but also of why opera as a medium remains a worthy and vital mode of storytelling.

What promises to be a no-holds-barred take on mental illness maddeningly demurs at every turn.

Chicago favorite Hollis Resnik is certainly such a storied actress, and while her stunning turn as Norma in Porchlight Theatre’s Sunset is the big draw, Director Michael Weber and company moreover prove the musical can find unqualified success in an intimate setting.

Mazzola’s first Lyric production after the announcement proves a beautiful, if unpolished, evening of music.

That said, if anyone reading this review has found themselves curious about opera, but held off on buying a ticket for any or all of the reasons above—now is your time. You are unlikely to have a better chance at a first opera than this Barber of Seville.

If the audience is meant to buy into how amazing the genre is or how remarkable it was that it was birthed in the very same city where they now sit, why is it that they are given so little exposure to it?

That the production values are spectacular goes without saying. Ever since Paramount started producing professional theatre in-house a few years ago, their sets, costumes, and lighting have been of the highest caliber and this production is no different.

To Chicagoland musical theatre aficionados who didn’t already know (and plan accordingly), Meghan Murphy is this production’s Lady of the Lake. Don’t make me repeat that…proceed to the link at the bottom of this review and buy your tickets.