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  Although in terms of legendary saxophone players, I'm more inclined to listen to John Coltrane, Sonny Rollins or Dexter Gordon--and recently learned of Hank Mobley and bought his excellent Soul Station album--I have nothing but the utmost appreciation for "Bird" (a nickname shortened from another, "Yardbird") and how he revolutionized jazz and helped create bebop.
  Though it was only a few days before attending that I actually read much about it, realized that although presented by Lyric Opera of Chicago--under their Lyric Unlimited banner--it was taking place at the Harris Theater, and bought myself a ticket.
  With music by Daniel Schnyder and libretto by Bridgette A. Wimberly, Charlie Parker's Yardbird was first produced at Opera Philadelphia and subsequently in New York City and Madison, WI, before a 2-performance run in Chicago.
  And rather than loosely interpreting "opera" with a score heavily reflecting the type of jazz made by Parker--who died in 1955 at just age 34--the 90-minute work is sung in traditional opera style.
  Certainly, the vocal caliber of Lawrence Brownlee as Parker--and those of Angela Brown (as his mom, Addie), Rachel Sterrenberg (as one of his wives, Chan), Will Liverman (as Bird's famed collaborator, Dizzy Gillespie, Julie Miller (as his patron & friend Baroness Nica, in whose residence he died) and others--sounded impressive to me.
  With an attractive backdrop (by set designer Riccardo Hernandez) spelling out BIRDLAND, its letters filled with images of other jazz icons, I had no reason to discern that the opera as written--and as directed by Ron Daniels--was not performed exceptionally well.
  I enjoyed it at face value, and especially as it was followed by a terrific performance by the Chicago Jazz Philharmonic of works recorded and popularized by Charlie Parker, I was glad to have snagged a relatively inexpensive ticket.