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Don Giovanni's BERG WOZZECK Untitled-2 1 10/7/15 4:07 PM LYRIC OPERA OF CHICAGO Table of Contents IN THIS ISSUE Wozzeck – pp. 24-38 TONY ROMANO DAVID H. FISHMAN 6 From the General Director 55 Breaking New Ground/Look To 8 From the President The Future WHAT IS 57 10 Board of Directors Major Contributors – Special Events and Project Support TECH WEEK? 12 Women’s Board/Guild Board/ 58 Chapters’ Executive Board/ Ryan Opera Center pp. 16-22 Ryan Opera Center Board 59 Ryan Opera Center Contributors 14 Administration/Administrative 60 Lyric Unlimited Contributors Staff/Production and Technical 61 Planned Giving: Staff The Overture Society 16 What Is Tech Week? 63 Annual Corporate Support/Special 24 Tonight’s Performance Thanks and Acknowledgements 25 Synopsis 65 Annual Individual and Foundation Support 27 Cast 71 Commemorative Gifts 28 Artist Profiles 72 Facilities and Services/Theater Staff 35 Opera Notes 38 Director’s Note 40 Musical Staff/Orchestra/Chorus On the cover: Montage – soldier photo 43 Supernumeraries/Lyric Unlimited/ (public domain) by James Francis Education Corps Hurley, grave photo from Margaret 44 Patron Salute Hall Collection of the Massachusetts 46 Aria Society Historical Society. 2 | November 1 - 21, 2015 LYRIC OPERA OF CHICAGO Since 1991 www.performancemedia.us | 847-770-4620 3453 Commercial Avenue, Northbrook, IL 60062 Gail McGrath Publisher & President Sheldon Levin Publisher & Director of Finance A. J. Levin Director of Operations Account Managers Rand Brichta - Michael Hedge - Arnie Hoffman Executive Editor Karen Mathis - Greg Pigott Lisa Middleton Southwest Betsy Gugick & Associates 972-387-1347 Midwest David L. Strouse, Ltd. 847-835-5197 Editor East Coast Manzo Media Group 610-527-7047 Roger Pines Cathy Kiepura Graphic Designer Associate Editor Lory Richards Graphic Designer Magda Krance Josie Negron - Joy Morawez Accounting Willie Smith Supervisor Operations Administrative Offices: Earl Love Operations Operations 20 North Wacker Drive Wilfredo Silva Steve Dunn Web & Internet Development Suite 860 Chicago, Illinois 60606 You can view this program on your mobile device. For advertising information call 847-770-4620. To see our Terms and Conditions relating to advertising orders, visit our website at www.performancemedia.us. All contents copyrighted. All rights reserved. Nothing may be reproduced in any manner without written permission. © 2015 Performance Media & Gail McGrath & Associates, Inc. is a Woman Owned Business 4 | November 1 - 21, 2015 LYRIC OPERA OF CHICAGO From the General Director I know that a great many people have asked themselves the question, “Is opera really for me?” People go gladly to the movies or the theater, yet at the same time they may seem reluctant to give opera a try. I want to persuade you that opera is indeed for you, and this opera, Alban Berg’s Wozzeck, in particular. Experiencing it at Lyric Opera, you’ll discover theater set to some of the most powerful, gripping, and beautiful music ever written. Of course, this isn’t a particularly cheery work – there’s no getting around that. It’s a dark, gripping story, full of unnerving emotional depths. On the other hand, the impact of Wozzeck will leave you stunned and deeply moved. If you love great drama, whether onstage or onscreen, Wozzeck is your perfect entry point to opera. LEONARD STEVE Wozzeck overwhelmed me for the first time more than 40 years ago. I remember seeing it as a teenager at Covent Garden in London, at a time when I was beginning to get completely hooked on the glories of this art form. I’d never experienced anything like Wozzeck, and it remains a piece that, in my view, makes a unique impact. It’s very short, and both dramatic and romantic at the same time. The brilliance with which every scene is constructed, the devastation of the title character in understanding the betrayal of the woman he loves, the final catastrophe that overtakes them both – all of this stays with you forever. It unfolds to riveting, astoundingly imaginative music. Conducting Wozzeck requires the abilities of a superbly skilled and profoundly expressive musician. We’re exceedingly fortunate that our music director, Sir Andrew Davis, will be on the podium for this production. Berg’s music is one of his great passions, and he’s conducted it all over the world with great distinction. The only major work of Berg that Sir Andrew has yet to conduct is Wozzeck, which he has longed to do for many years. It will be enormously exciting for all of us to share what is unquestionably a hugely significant milestone in his operatic career. Sir David McVicar is an immensely distinguished director whose work has been seen at Lyric repeatedly and with consistently outstanding success over a period of nearly 15 years. When Sir David discussed his approach to Wozzeck with me, I was impressed by the fact that he is treating it as a romantic story. He has set the opera at the end of World War I, in the aftermath of that great destructive conflict, presenting characters affected in widely different ways by the traumas of contemporary society. Lyric has welcomed the greatest artists in the world for more than six decades. While giving extraordinarily talented young singers major opportunities (notably members of our Ryan Opera Center, several of whom are performing in Wozzeck), we continue to relish visits from eminent artists internationally and give them rewarding opportunities for Lyric debuts. No fewer than five important European singers in Wozzeck – Tomasz Konieczny, Angela Denoke, Stefan Vinke, Gerhard Siegel, and Brindley Sherratt – are all new to Lyric this season, and I couldn’t be more excited about that. After seeing and hearing Wozzeck at Lyric, I know you’ll agree with me that the superb talents involved in this new production have created an unforgettable piece of music theater, doing full justice to the genius of Alban Berg. Anthony Freud 6 | November 1 - 21, 2015 LYRIC OPERA OF CHICAGO From the President I’m thrilled to begin my tenure as President of Lyric Opera for many reasons, but above all, because opera has become a vital element of my life, both personally and professionally. In the early 1990s, when my company was about five years old, I realized that in the marketing world you took clients to a Bulls Game, or to Wrigley Field – there was a customary set of entertainment venues. But rather than a sports outing, what if we treated them to the opera? We began bringing clients, for whom it was unique and unforgettable, introducing them to an art form they’d heard about but never experienced. For me, it checked the boxes on the business side, but it also nurtured in me an enduring love for opera. I’d grown up in New Jersey listening to WQXR, hearing the Met on the radio, but becoming a subscriber and enjoying opera in the theater was brand ROSENBERG TODD new to me. It’s been my great pleasure to be a Lyric subscriber since 1992. l feel a special excitement every opening night, and when I return to a production a second or third time, I always see things I hadn’t seen before. My wife and I continue to introduce people to Lyric, many of whom have become subscribers themselves. When I was growing up in the 1960s and ‘70s, people frequently responded to opera as something classic, almost old world, best seen and heard in traditional performances. Today, however, I relish the broad range of theatrical interpretation. I’m struck every season by performances that communicate a particular resonance with what’s happening culturally or socially in our world at the time. Certain truths captured so memorably in opera are timeless, still challenging us as they challenged these works’ original audiences. I think of recent productions, such as Rusalka or The Passenger – each was a truly visceral experience that stayed with me for weeks. This year I’m looking forward with great anticipation to Lyric’s new production of The Marriage of Figaro, and especially to the world premiere of Bel Canto. Under my watch, the next chapter in Lyric’s history will implement the strategic plan the management and board developed four years ago. The principles of excellence, relevance, and fiscal responsibility are our key priorities of focus. I’m excited to witness Lyric becoming a broader provider of cultural service to Chicago and the Chicagoland region. To stay excellent, relevant, and fiscally responsible in this rapidly changing world, we need to be prepared to innovate. That means looking beyond the customary constraints of our art form and asking, “What can we learn, borrow, beg, or steal from other forms of entertainment and cultural enrichment?” One idea behind the board’s innovation committee has been to empower a small group of board members to do just that. In many ways Lyric Unlimited is our laboratory. Through it we are reaching out to communities throughout Chicago, we are forming collaborative partnerships with other cultural, community, and educational organizations, and we are exploring the ways in which opera, as an art form, may develop in the future. Lyric offers an increasing number of diverse activities – not only our mainstage opera season, but also our productions of great musicals, Lyric Unlimited’s wide-ranging projects, and, of course, our world-renowned Ryan Opera Center. But we need to think of ourselves as one Lyric. Everything we do is part of a unified, single-minded goal to be the great North American opera company of the twenty-first century. David T. Ormesher 8 | November 1 - 21, 2015 LYRIC OPERA OF CHICAGO Board of Directors The Honorable Bruce Rauner Life Directors Mark E.
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