LYRIC 2015/16 OPERA

VOLUME 2 NEWS 2 VOLUME

STRAUSS SOPRANO returns in Nabucco: THE POWER of a Chorus SHALL WE DANCE with The King & I Romeo and Juliet: A Shakespeare LOVE STORY We love giving fl ying ovations. American Airlines is proud to sponsor the Lyric Opera.

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3 General Directions 4 Strauss Soprano Returns in Der Rosenkavalier STEVE LEONARD GENERAL 8 Nabucco: The Power of a Chorus 12 Shall We Dance with DIRECTIONS the King & I by Anthony Freud 17 Romeo and Juliet: General Director, Lyric Opera of A Shakespeare Love Story Happy New Year and welcome to commitment to achieving world-class 20 Lyric Stars the mid-season edition of Lyric Opera excellence with each offering. News. I hope you’ve had the pleasure The other exciting news comes from 22 Spotlights of joining us in the opera house for Lyric Unlimited, Lyric’s community some of Lyric’s most ambitious and engagement and education initiative. 28 High Notes acclaimed performances to date, In early January Lyric Unlimited including the much-celebrated world unveiled plans for Chicago Voices, its premiere of Bel Canto. most ambitious new project to date. PRE-OPERA TALKS Join us for our FREE pre-opera talks! Lyric staff and opera experts share As this issue reaches you, some of Made up of four key components, their wealth of knowledge and insights to enhance your the season’s most highly anticipated Chicago Voices will fuel celebration opera experience. The 30-minute talks start one hour productions are about to open on of the human voice in extraordinarily prior to curtain for every mainstage opera performance (excluding all special events and King and I performances). the main stage and we have recently creative and innovative events taking Visit lyricopera.org for more details. announced our most far-reaching place over the next two years. You can and groundbreaking Lyric Unlimited read more about Chicago Voices and project to date. the leadership role that our creative LYRIC OPERA NEWS Let’s look first at the titles that consultant, Renée Fleming, is playing

Executive Editor LISA MIDDLETON will take us through the winter with in every element of this project. productions full of romance, laughter, The pages that follow will bring you Editor HOLLY H. GILSON passion, and unparalleled artistry insights and behind-the-scenes access Deputy Editors MAGDA KRANCE, ROGER PINES from each cast and, of course, from into the second part of the season Contributors EMILY ESMAIL, the Lyric Opera Orchestra and Chorus. that music director Sir Andrew Davis MARTA GARCZARCZYK, MAGDA KRANCE, You’ll learn more about the specific and I have designed for you. None of KAMARIA MORRIS, ROGER PINES productions in the pages to come. the work onstage would be possible Project Manager STEFANY PHILLIPS Nabucco, Der Rosenkavalier, Romeo and without Andrew’s astonishing Production Manager JOCELYN PARK Juliet (a key part of Shakespeare400 talent and sheer dedication to Lyric. Designers DEBORA CLARK, SYLVIA CHUN Chicago, the international celebration I’m grateful to him, our orchestra Sales PERFORMANCE MEDIA of the Bard’s 400th birthday based and chorus, and the artists of the here in Chicago), an intimate Ryan Opera Center who are all such ON THE COVER Amanda Majeski as Countess Almaviva in the 2015/16 production of . recital by superstar baritone Dmitri integral parts of Lyric’s unique voice Photo: Todd Rosenberg Hvorostovsky on February 26, and in the world. and the Design are registered the opening of The King and ,I this Continued thanks for your interest trademarks of Lyric Opera of Chicago. year’s contribution to Lyric’s ongoing and support. I do hope you enjoy American Musical Initiative. the rest of Lyric’s season, and I look For up-to-the-minute information on all things Lyric, check us out on Facebook, Twitter, and All of the main-stage operas and the forward to welcoming you to the Instagram @lyricopera. musical feature incredible guest artists opera house. and some of the world’s top production teams, all hallmarks of Lyric’s For tickets and more information visit our website at lyricopera.org See more on Der Rosenkavalier at lyricopera.org/ Rosenkavalier

streaming down our faces. You can’t help getting swept up in the poignancy of the music. It’s the best there is.” The Marschallin isn’t about vocal fireworks. What it offers instead are “those colors that you have to find and bring out, because she’s so complex. You can’t just say it’s an easy sing and toss it off like it’s nothing. There’s so much depth. How to shape the phrases to bring out that emotion — that’s the biggest challenge.” Majeski’s ascent to stardom has been an extraordinary journey, crowned by her 2014 Met debut in the premiere of a new Figaro. Through all the acclaim, she’s kept her feet on the ground. She remains a Midwesterner through and manda Majeski is one of Lyric’s own. through, delighted with what she’s achieved yet at the same A Ryan Opera Center alumna, she’s now starring at one major time utterly genuine, irresistibly friendly, and still apt to company after another, from the Met to Glyndebourne, begin her response to a question by endearingly exclaiming, Zurich, and Madrid. Luckily for Chicago, she’s returned “Oh, my gosh!” Arepeatedly to Lyric, bringing her lustrous lyric soprano, elegant Growing up in Gurnee, Illinois, Majeski didn’t give singing musicality, and radiant stage presence to heroines as diverse much thought – she was an athlete and a professional tap as irrepressible Eva (Die Meistersinger), vindictive Vitellia (La dancer. But after failing to get into her high school’s annual clemenza di Tito), courageous Marta (The Passenger), and – to variety show, she took some voice lessons, progressing enough open the 2015-16 season – melancholy Countess Almaviva to pursue a double major in voice performance and music (The Marriage of Figaro). She’ll be back in February for her latest education at Northwestern University. “I dropped music ed,” role, the Marschallin, in Lyric’s eagerly awaited revival of she recalls, “because I went to Lyric andby Magda saw Carlisle Krance Floyd’s ’s Der Rosenkavalier. Susannah. I never thought opera could be that powerful, and I Wonderful Mozart sopranos also frequently excel in Strauss, fell in love with it. I thought this could be a cool thing to look as Majeski showed in Dresden singing Capriccio’s Countess into and take more seriously.” (she reprises that role at The this summer) and At Northwestern University, the young soprano told herself, in her first Marschallin, a triumph last spring at Frankfurt “If I get a part in my junior year, then that will be my sign.” Opera. Majeski cherishes Der Rosenkavalier because, both Sure enough, she was cast as Lauretta in Gianni Schicchi. Her musically and dramatically, “it takes everybody by the heart.” music-education major was history after that role and the Onstage in Act One of the Frankfurt performances, when the much larger one that followed, Tatiana in Eugene Onegin. Marschallin was quietly ending her romance with her much- Graduate school at Philadelphia’s Curtis Institute of Music younger lover, Octavian, “often we both would have tears brought some huge performance opportunities, including AMANDA MAJESKI: A LYRIC SUCCESS STORY The Illinois-born star of Der Rosenkavalier has a terrific international career DARIO ACOSTA — Chicago Tribune leaps and plunges...” not the least huge vocal of Vitellia’s bravura arias, theequal to murderous demands and feistiness... Her technique is “Majeski brings fearless vocalism — Chicago Sun-Times singing.” exquisite most and moments moving most opera’s (contributes) some of the Majeski,Amanda who soprano “…Illinois-born main character available. character main performance, reconciling ideal interpreters of this She the most surpasses celebrated Marschallin Marschallin celebrated — Deutschlandradio Deutschlandradio — of our day, even with “… Majeski Amanda — Opéra Magazine— Opéra soulful expression.” delivers atop flight experience, power power experience, is oneis of the most Amanda MajeskiAmanda youthfulness and and youthfulness technique and and technique and fragility.” “Soprano “Soprano Kultur

Majeski has returned to Lyric as Countess Almaviva in The Marriage of Figaro (pictured with Luca Pisaroni).

Majeski continued to move audiences while singing the role of Marta in The Passenger last spring.

TODD ROSENBERG ROBERT KUSEL

Poulenc’s one-woman opera, La voix Daily training with Lyric’s terrific into leading roles at Dresden’s renowned humaine: “That was the highlight of my coaches gave Majeski the opportunity for Semperoper, spending a year there before time at Curtis, presenting it in a black-box constant growth. Today, she misses the going freelance. While she continues to theater and really digging into it. So rich, time spent with them: “They celebrate work frequently in Europe, Chicago is full of emotion and tension – I loved it! your successes, but they also help you home – “hopefully for life,” she declares. Not every soprano gets to do that piece.” understand your failures, so you can When in town with her husband, When Majeski was attending Lyric keep growing.” bass-baritone (and Ryan Opera Center performances during her college days, From Chicago, Majeski went right alumnus) Sam Handley, their idea of a fun she says, “I saw Nicole night out would “probably Cabell, Erin Wall, all those Majeski had great success in 2013 be to go to Bavette’s for a wonderful people in the as Eva in Die Meistersinger, seen fantastic meal. Or we’d go to Ryan Opera Center, and I here with Dimitry Ivashchenko The Publican, where we had thought, ‘Wouldn’t this be our wedding reception.” the most amazing thing?’ I Majeski still has her tap- always had it in the back of dancing chops, memorably my mind.” She got into the displayed earlier this season program and suddenly she during one of the Harris was onstage at Lyric, debuting Theater’s “Beyond the Aria” as a peasant girl in Figaro. She programs. As the Ryan also understudied major roles, Opera Center’s Jonathan beginning with Marguerite in Johnson sang Frank Faust, portrayed by Ana María Loesser’s song “Dolores,” Martínez: “I remember being Majeski complemented her in awe of her. She’d always tenor colleague’s ebullient show up to rehearsal on time, performance with a she had a positive attitude, marvelous tap routine. Just was willing to take advice, as she does in opera, she was open, and exemplified brought down the house. ‘the class act.’ I was so inspired watching her and Lyric Opera presentation of thought, ‘This is the kind of Strauss’s Der Rosenkavalier singer I want to be’ – not just generously made possible by because she was a beautiful an ANONYMOUS DONOR artist, but also because she and MR. & MRS. DIETRICH REST DAN was so gracious throughout M. GROSS. the process.” 7 Hear more Nabucco at lyricopera.org/ podcasts

Nabucco’s CHORAL STAR POWER Before Rigoletto, Il trovatore, La traviata, Aida, and so many more…there was NABUCCO.

Simply put, Nabucco is the opera that made Giuseppe Verdi an international star before he turned 30 – largely because of the chorus’s starring role as Hebrews enslaved by the Babylonians in the biblically - inspired potboiler (whose main story concerns struggles over power and love). Back in 1842 when Nabucco premiered, it was a new trend in opera to have the chorus do more than set the scene. And when they sang “Va, pensiero,” a powerful expression of longing for their lost homeland (based on Psalm 137) – well, the crowds went wild. That piece quickly became the unofficial Italian national anthem, and is widely considered the #1 opera chorus ever written. Not everyone knows Nabucco as well as Verdi’s more famous operas, which are performed far more frequently – but virtually everyone can hum along with That Chorus. Lyric will present Nabucco this winter for the first time since it opened the 1997 season, and only the third time in the company’s history. Of the 82 singers comprising the expanded choral forces, just a handful of the 48 regular-chorus members have sung the full opera previously. Director Matthew Ozawa is confident they’re up to the mighty challenge: “I know this exceptional chorus very well, and I believe they are one of the best in the nation, if not the world.” As chorus master Michael Black notes, this opera entails learning a vast amount of music beyond the big hit – which isn’t so easy either. “It’s hard work – Nabucco has so many words! In ‘Va, pensiero’ nothing really repeats. Often in Verdi’s other works you get things that come around many times, and there are a few choruses like that in Nabucco, but there are many where the words just don’t come back again. It’s through-composed; you have to remember this stream of storytelling. And the challenge for those choruses that repeat five times is you have to remember the differences – whether it’s short or long, major or minor, how it scans. It’s difficult!” It took Lyric’s chorus nearly five months to learn and memorize the score, while preparing the rest of the season’s also-challenging choral music, including a world premiere. “It’s a great sing,” Black adds. “The chorus actually gets to sing – blood-and- guts, pour-your-heart-out choral music. There are some more intimate, quiet MICHAEL BLACK SCOTT HOLMES moments, but a lot of it is right out there.” Thrilling for performers and audience Lyric Chorus Master Bass, in his 44th season at Lyric alike, in other words. CORY WEAVER/SAN DIEGO OPERA

SCOTT HOLMES JANET MENSEN REYNOLDS RONALD WATKINS MATTHEW CARROLL Bass, in his 44th season at Lyric Mezzo-soprano, Baritone, in his 24th season Baritone, has been in Lyric’s chorus in her 26th and final season at Lyric at Lyric for a decade Lyric Opera is grateful for our 2015/2016 Season Production Sponsors In most operas, the chorus has a few opera has the potential to really move singing the familiar refrain as they passed scenes interspersed with long stretches the audience in an emotional way they’ve the opera house. “It was so cool.” of down time in the dressing rooms and never experienced before. In my opinion Bass Jeffrey Taylor, in his 34th season, lounge. In Nabucco, the chorus figures this is one of Verdi’s better scores. It has recalls singing “Va, pensiero” at the 1996 prominently throughout the entire opera, all the drama of grand opera and then gala concert celebrating the life of Lyric’s portraying both the oppressed Hebrews some. To hear our orchestra play and our second general director, Ardis Krainik, and the oppressive Babylonians. chorus sing this enormous score will give who, “sadly, did not live to hear us do the Bass Scott Holmes, in his 44th season you major goosebumps moments.” complete opera the next fall.” For the at Lyric, calls Nabucco “daunting” in Baritone Ronald Watkins, in his 24th iconic chorus, “we sang directly to the quantity, complexity, and range. “Verdi’s season here, recalls his first Nabucco under audience, letting the music speak our choral writing requires the chorus to the baton of the late Bruno Bartoletti, emotions. The house had been renamed convey such a wide range of emotion and then Lyric’s artistic director and principal the Ardis Krainik Theatre. It was the temperament,” Holmes notes. “A great conductor. Singing “Va, pensiero” with first opening night without her physical deal of the music is incredibly rhythmic the beloved Italian maestro “was special presence, yet I truly felt she was listening and ‘muscular,’ demanding so much varied due to its status among Italians. It’s a from the next world and applauding with detail to be absorbed in rehearsal and rare moment among any composers’ the audience. It was an amazing night I’ll concentrated on in performance. Verdi’s works where there is an ‘aria for chorus.’ always remember.” choral writing in Nabucco is in a very Even out of context, such as the concerts Bass Earl Hazell relished performing high tessitura, especially for the basses, we sang last season, it’s recognized and in Lyric’s 2008 and 2014 productions of and the basses have an entire scene by revered among audiences.” Watkins Porgy and Bess, and returns as a member themselves. Within two or three pages, appreciates that the chorus “is a key of Lyric’s supplementary chorus. “Nabucco approximately 18 high E-naturals are character within the opera. The choral is far less about the life and times of required, then Verdi asks for a repeat of music is voluminous and technically Nebuchadnezzar from the Old Testament that section, followed by a coda with about challenging. You have to feel nearly than it is about the community who, in 16 more high Es.” Holmes adds that the exhausted after the performance to their unshakeable love of each other and most tiring aspect of Nabucco “is that the know that you did it well. It is a true faith in God, changed the entirety of men (particularly the basses, because of masterwork.” He and the others returning his life more than he could ever change the extra scene) are constantly changing to this work admit “we didn’t recognize theirs. This rendering of the spirit of a costumes backstage – from Hebrews to or remember a lot of the music at first community and its effect on an individual Babylonians, back and forth. Once an act reading. However, after the second or made Verdi an opera star.” He predicts has started we don’t return to our dressing third time it came flooding back – not just that on hearing the opera’s most famous rooms until the act is over.” He calls the the notes and rhythms, but articulation, music, “you will find yourself not just experience “a full and tiring night, and an dynamics, and character as well. I am truly moved, but humbled; not just touched, extremely rewarding one as well.” looking forward to this season’s Nabucco!” but changed.” Baritone Matthew Carroll, who has For mezzo-soprano Janet Mensen been in Lyric’s chorus for a decade, was Reynolds, in her 26th and final season Elizabeth Morse Genius Charitable Trust, “extremely surprised at the volume of at Lyric, the famous chorus “will always The Elizabeth Morse Charitable Trust, the the work as well as how well written it is hold a dear place in my heart.” She Harris Family Foundation, and Katherine musically.” He compares rigorous demands was pregnant with her daughter (now A. Abelson and Robert J. Cornell are the to the choral music of Aida, Turandot, and a promising young singer) when Lyric generous sponsors of Lyric’s presentation Lohengrin, and looks forward to “seeing last staged Nabucco, and less than a year of Verdi’s Nabucco. Lyric Opera production and hearing the audience’s reaction to later sang “Va, pensiero” at her father’s originally made possible by the Gramma the sound of the chorus, both huge in the memorial service. After opening night in Fisher Foundation of Marshalltown, Iowa. dramatic sections and intimate in the September, Mensen Reynolds adds, the soft portions. The chorus alone in this chorus took a celebratory riverboat cruise, LYRIC CHORUS REHEARSALS CHORUS LYRIC Lyric Opera is grateful for our 2015/2016 Season Production Sponsors

Verdi’s NABUCCO

Harris Family Katherine A. Abelson and Foundation Robert J. Cornell

January 23- February 12, 2016

Anonymous Mr. & Mrs. Dietrich M. Donor Gross

Strauss’

ROSENKAVALIER February 8- March 13, 2016

Gounod’s ROMEO AND JULIET

Julie and Mr. and Mrs. W. James Roger Baskes Farrell

February 22- March 19, 2016

Roger’s and Hammerstein’s The Negaunee Robert S. and Foundation Susan E. Morrison THE KING AND I Anonymous Donor (2)

April 29- May 22, 2016

To learn more about Lyric Opera sponsorship opportunities please visit lyricopera.org/sponsorshipopportunities PAUL KOLNIK s ’ ammerstein odgers & H odgers & R 71/ 100/ 24/ 0 71/ 100/ 0 14/ 14/ 75/ 0 9/ 75/ 100/ 13 13

The women behind the show

ANNA LEONOWENS was the real-life teacher of the children of Mongkut, King of Siam, and the author of two memoirs of her experiences, The English Governess at the Siamese Court (1870) and Romance of the Harem (1873).

MARGARET LANDON turned Anna’s story into a novel, Anna and the King of Siam (1944).

GERTRUDE LAWRENCE, the unforgettably charismatic star of the London and New York IS IT A LOVE STORY theater, read Landon’s novel and instantly knew it could OR ISN’T IT? be worked into a play to mark Early in the pre-Broadway tryout in New Haven, Yul Brynner realized there was her eagerly awaited return to nothing but conflict between the King and Anna – no love story: “After the show, Broadway. which lasted about five hours and was obviously a flop, I took Gertrude Lawrence to supper, alone, and I said, ‘Darling, from now on, from the moment you come into my Theatrical attorney FANNY palace, from the moment we are together onstage, we are going to play a great love HOLTZMAN, Lawrence’s story, through conflict, through everything.’ So she said, ‘Well, we’ll try. I don’t see agent, suggested to Oscar how, but we’ll try.’” Hammerstein’s wife that she In the Boston tryout, Hammerstein saw what the couple was doing onstage. “And read the novel and mention out of that came his writing of the whole section that surrounds ‘Shall We Dance?’, it to her husband. Brynner recalls.” She finds the king reading poetry, he tells her what nonsense the English poets write about ‘love, etcetera, etcetera, etcetera.’ And that leads into DOROTHY HAMMERSTEIN and DOROTHY RODGERS’s ‘Shall We Dance?’ Which is really as close to being a love scene between them as enthusiasm for the book anything can be. It was marvelous to see how these things happen, how Rodgers led to their husbands’ could write ‘Shall We Dance?’ in something like three or four minutes. That’s the considering it. length of time it takes to play it – and that’s how fast he wrote it.”* *Brynner quotes in On Broadway by Fred Fehl, William Stott, and Jane Stott: University of Texas Press, 1978. IRENE DUNNE’s portrayal of Anna (opposite Rex Harrison) in the film version of the What you didn’t know about the king novel had much to do with the initially reluctant R&H deciding Mongkut spent years as His many hundreds of By the time he died in that this story would, in fact, a Buddhist monk (he was letters during his reign 1868 at the age of 63, make a terrific musical! ordained at age 20), and kept him in regular touch he’d fathered more than not until he was 47 – in with leaders from all over 80 (!!) children. 1851 – did he become king. the world, from three U.S. presidents to Pope Pius IX and Queen Victoria. The King and I’s Some wonderful Progress songs you may have forgotten

1. PRE-BROADWAY TRYOUTS: New Haven, Boston

2. SHOW’S BUDGET: All those exotic sets and costumes cost just $360,000 (!)

3. SHOW’S LENGTH AT ITS FIRST PERFORMANCE: Four (!!) hours

4. BROADWAY PREMIERE: March 29, 1951 1,246 Performances

5. TONY AWARDS, 1952: Best Musical, Best Actress (Gertrude Lawrence), PAUL KOLNIK PAUL Best Featured Actor (Yul Brynner)

6. NUMBER OF BROADWAY REVIVALS TO DATE: 4 WHAT YOU DIDN’T KNOW ABOUT THE REAL “MRS. ANNA” 7. FIRST U.S. TOUR: 1954

fession. “The most important thing the successful trading company 8Born in India to a cabinet 8. FILM: 1956 maker who enlisted in the Bombay in life,” she wrote, “is to choose Louis T. Leonowens Ltd., which is Five Academy Awards infantry and his Anglo-Indian wife, your parents.” still trading in Thailand today. (nine nominations), Anna took pains to disguise her including mixed-race heritage to improve 8Anna had a daughter named 8In Siam, Anna’s pupils Best Actor (Yul Brynner) the opportunities available to her Avis, who was sent to a boarding included the crown prince, and her children. school in England when Anna Chulalongkorn. Thirty years left Singapore for Siam, because after leaving Siam, Anna met her 8To pass as a Victorian lady in Siam wasn’t a safe place for young former pupil again, when – as Singapore (where she received women at the time. King Rama V of Siam – he visited the invitation to move to Siam), London in 1897. Anna changed the following facts 8Anna’s son Louis (her only about her life: her actual age, her child in The King and I) was 8A prolific writer, a feminist, birthplace, her mother’s Indian schooled by his mother alongside and a suffragist, Anna settled in parentage, her father’s military the royal children and later re- Canada, dying in Montreal at age rank, and her late husband’s pro- turned to Siam, where he founded 83 in 1915. 15

“MY LORD AND “A PUZZLEMENT” “WESTERN PEOPLE “SHALL I TELL YOU MASTER” – The King wonders FUNNY” WHAT I THINK OF – The Burmese slave what to tell his – Lady Thiang, YOU?” Tuptim, given by son (the crown the King’s head – Having been Some wonderful her king as a gift to prince) about the wife, is amused by outraged hearing songs you may have the King of Siam, world, which has westerners who the King refer to forgotten reflects that the become so much attempt to remake her as his servant, latter will never have more complex than the Siamese in their Anna, once alone, her heart, for she formerly. own image. explodes with rage loves another man. and disgust.

“Small House of Uncle Thomas”

Jerome Robbins, the original choreographer, studied Southeast Asian court dancing extensively, attempting to develop a special authenticity in creating the now-celebrated Act Two ballet (staged as a special entertainment for the English guests at the King’s banquet). The ballet didn’t work in rehearsal, since Robbins was trying to be too authentic! Once Rodgers suggested that he create the ballet with the perspective of his Broadway experience, he was able to develop a masterpiece.

Who’s covered “Hello, Young Lovers”?

The greatest hit in the glorious score of The King and I has been

recorded countless times – by everyone from Lyric’s own Renée

Fleming, Julie Andrews, Stevie Wonder, Nancy Wilson, Tom Jones,

and Eydie Gormé to the kings of ’50s pop (Frank Sinatra, Perry

Como, Paul Anka, Bobby Darin, Mel Tormé), as

well as the Temptations and at least two very

unexpected gentlemen – Lorne Greene (of TV’s See and hear more at Bonanza fame) and Jimmy Durante! lyricopera.org/ kingandi

ALL IMAGES COURTESY OF RODGERS & HAMMERSTEIN: AN IMAGEM COMPANY, WWW.RNH.COM A love story for the ages: 17 Find out more at lyricopera.org/ romeoandjuliet

A love story for the ages: RomeoANDJuliet Lyric Opera presents Romeo and Juliet in conjunction with the ShakespeareJ 400 Chicago Festival In 2016, the world commemorates by Charles Gounod in 1867, Romeo and A Midsummer Night’s Dream, Hamlet, the 400-year anniversary of William Juliet brings iconic scenes and characters and Macbeth, to name a few. The city of Shakespeare’s death. Known as one of the Chicago has also long-embraced the works greatest poets and playwrights to have of Shakespeare. Director Barbara Gaines ever lived, the spirit of Shakespeare is (director of this season’s The Marriage of alive and well today. His plays have been Figaro) is founder and artistic director of adapted into popular movies, TV shows, the Chicago Shakespeare Theater, which novels and much more. To celebrate his performs at Navy Pier, in city parks and legacy, the city of Chicago is hosting throughout various public schools and the world’s largest global festival in his neighborhoods across the far north, honor: the Shakespeare 400 Chicago west and south sides of the city. The campaign. The year-long international Shakespeare 400 Chicago festival will arts festival will showcase how the engage more than 500,000 Chicagoans words of Shakespeare still resonate with and visitors with roughly 850 events Chicagoans from all walks of life. The Susanna Phillips, Ryan Opera throughout the year. Center alumna, returns as Juliet. campaign will bring together various “Chicago will take center stage in 2016, cultural institutions such as the Harris as more than 1,000 local and international Theater for Music and Dance, Joffrey from Shakespeare’s unforgettable tragedy, artists will create a global celebration of Ballet, the Art Institute of Chicago, along which tell, the classic, deeply romantic Shakespeare like no other in the world,” with Chicago Public Libraries and the story of feuding families and star-crossed said Mayor Rahm Emanuel. “During this Chicago Park District to present multi- lovers. The opera features four iconic love landmark year, Shakespeare will be alive faceted events to Chicago residents. duets, a spectacular duel scene, dazzling on our stages, in our schools and across Lyric’s contribution to the Shakespeare costumes, and of course, unforgettable 400 Chicago campaign is a take on the music from the chorus and orchestra, playwright’s most famous love story: conducted by Emmanuel Villaume. Originally presented at the Salzburg Opera House in Vienna, followed by La Scala in Milan, Lyric will be the third stop for this production of Romeo and Juliet. However, Lyric’s version will be presented with adjustments due to the fact it has been adapted from significantly EMI CLASSICS, NINA LARGEEM NINA CLASSICS, EMI

Joseph Calleja sings the role of Romeo will be sung by Eric Cutler Romeo in the first six performances. for the final three performances. TEAM PHOTOGENIC

our neighborhoods. The power of our Director Barlett Sher makes his Lyric debut. world-class cultural institutions uniting behind one theme serves to amplify Romeo and Juliet. Chicago’s role as a global destination for Beginning in late February, Lyric cultural tourism.”

will present nine performances of DECCA FOWLER SIMON Shakespeare’s Romeo and Juliet has Romeo and Juliet in a new-to-Chicago proved to be a love story for the ages, production. It’s directed by Bartlett and Lyric is excited to present the Sher (Lyric debut), who brings a wealth dazzling, devastatingly beautiful operatic of experience directing Shakespearean masterpiece this winter. The full line up plays such as Titus Andronicus and different venue types: Salzburg is an of Shakespeare 400 Chicago productions, Cymbeline. His production of Cymbeline outdoor amphitheater, while the stage at events, and programs can be found at went on to become the first American La Scala is raked opposed to flat. Lyric’s www.shakespeare400chicago.com. theater production to be seen at the technical department has modified the Royal Shakespeare Company, located production in slight ways that will make Lyric Opera presentation of Gounod’s Romeo in Stratford-upon-Avon, the celebrated performances intimate. and Juliet generously made possible by the birthplace of William Shakespeare. Lyric has a long history of undertaking NIB Foundation, Julie and Roger Baskes, Singing the heroine will be soprano extraordinary Shakespeare-inspired Mr. and Mrs. W. James Farrell, and Susanna Phillips, while her ill-fated lover operas. The first was back in 1954 when PowerShares QQQ. Production owned by The is set to be sung by tenors Joseph Calleja The Taming of the Shrew was performed . and Eric Cutler (the latter sings the role in during its first-ever season. Since then, the last three performances). Composed Lyric has presented productions of Otello, 19

Lyric’s standout programming extends beyond the main stage to Chicago-area schools and neighborhoods each season through Lyric Unlimited, our education and community engagement division. Lyric Unlimited brings opera and the arts to thousands of Chicagoans each year. Many participants are children who come from low-income, at-risk neighborhoods where opportunities to engage in arts education and live theater are limited or opera companies interact with and serve nonexistent. Season-long Lyric Unlimited their cities, acting both as a laboratory programs like Student Backstage Tours, Op- and a playground for interaction with era Residencies, Performances for Students, the community, an incubator through Educate, Engage, Explore and Opera in the Neighborhoods introduce which groundbreaking, innovative, and Lyric Unlimited was launched with major catalyst young people to enchanting arts expe- transformational programs are developed. funding from The Andrew W. Mellon Foundation riences they would not otherwise have Through fresh, radical, and surprising and receives major support from the Hurvis Family Foundation and the Nancy W. Knowles Student access to, all for little to no cost. In the new opportunities for participation, Lyric and Family Performances Fund. Additional support last year alone, Lyric Unlimited served Unlimited is extending Lyric’s civic foot- for Lyric Unlimited is provided by: Anonymous (2); Bax- more than 126,000 children, families, print and drawing in new individuals and ter International, Inc.; Helen Brach Foundation; Nancy and adults! communities, unleashing the creative po- Dehmlow; Roger and Chaz Ebert Foundation; Richard B. Lyric Unlimited is redefining how tential that exists within our society and Egen; Envestnet; Dan J. Epstein Family Foundaton/Judy Guitelman & ALAS Wings; Helyn D. Goldenberg; The demonstrating Dolores Kohl Education Foundation-Morris and Dolores Help us keep these programs accessible! Please call how opera has rel- Kohl Kaplan Fund; Judith Z. and Steven W. Lewis Family; 312-827-3500 or go to www.lyricopera.org/support to make evance to a much Daniel Lome; Northern Trust; Charles and M.R. Shapiro a contribution to Lyric Unlimited. Foundation, Inc.; and The Wallace Foundation. broader public.

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Das Rheingold Wagner Oct 1 – 22    SEASON Lucia di Lammermoor Donizetti Oct 15 – Nov 6 Subscribe now and save up to 50% Les Troyens (The Trojans) Berlioz Nov 13 – Dec 3 Create Your Own Series — Don Quichotte Massenet You Choose the Operas and Dates! Nov 19 – Dec 7 The Magic Flute (Die Zauberfl öte) Mozart Dec 10 – Jan 27 Norma Bellini Jan 28 – Feb 24 Carmen Bizet Feb 11 – Mar 25 Eugene Onegin Tchaikovsky Feb 26 – Mar 20 Celebrating Plácido Mar 9 & 13 Charlie Parker’s Yardbird Schnyder Mar 24 & 26 Brownlee & Owens Subscriber Recital Apr 9 Itzhak Perlman in Recital Apr 23 My Fair Lady Lerner & Loewe LYRICOPERA.ORG  .. Apr 28 - May 21 critics alike. audiences and responses from ecstatic he’s provoked In eachportrayal, Eugene Onegin. Tchaikovsky’s signature role, maschera, andhis Un balloin Traviata again, for here inLatraviata(1993).He’sreturned baritone, whomadehisAmericandebut list –DmitriHvorostovsky. add anotherdistinguishednametothe and SusanGraham.OnFebruary26,we recently aremarkableduo,RenéeFleming Horne, LucianoPavarotti,andmore of nameslikeLeontynePrice,Marilyn what it’sbeenfromthestart–justthink we’ve chosenisoneofthegreats.That’s in recital,youcanbesurethatthesinger DMITRI HVOROSTOVSKY Lyric haslongcherishedtheSiberian Whenever LyricOperapresentsasinger Faust,

up hearing.” up that I love and grew appreciate the music and understand around the world maketo people all I have been trying Russian music and performing “I have been —HVOROSTOVSKY

DAN REST His range is vast – Mahler, Strauss, a wide His rangeisvast–Mahler,Strauss,awide he’s devotedsomuchattentiontorecitals. innumerable fanshavebeenthrilledthat extraordinarily quietandintimatesinging. mesmerize hisaudienceswiththemost the rafterswithpower,yethecanalso Onstage he’sallelectricitywhenringing Hvorostovsky’s uniquelyvelvetysound. concert hallworldwide. the ViennaStateOpera,andeverymajor he’s theidolofMet,CoventGarden, That’s nothingnewtoHvorostovsky – Throughout his career, Hvorostovsky’s Throughout hiscareer,Hvorostovsky’s Audiences can’tgetenoughof —GARDNER dramatically” maketo it tell more of Elgar an motet do the with shape ing what you could think remember I choir,cathedral singing a in “ Even akid, as - —HOPKINS a flash!” words thatgobyin It involvesatonof very quicklypaced. as playful,flighty, Mab, “I’ddescribe the BalladofQueen exhilarating aria, Mercutio’s STARS LYRIC human feelings, whether it is grief or human feelings,whetheritisgriefor music –isalwaysexpressiveofextreme “Any pieceofart–literature,painting, makes aHvorostovskyrecitalmemorable: music thatIloveandgrewuphearing.” the worldunderstandandappreciate been tryingtomakepeopleallaround performing RussianmusicandIhave he toldVenicemagazine.“Ihavebeen Union, withacertainRussianrepertoire,” ‘ambassadors’ comingfromtheSoviet Soviet-era Russia:“Iamoneofthefirst particular specialty–popularsongsfrom known composers.He’sdevelopeda Rachmaninoff) butalsomanylesser- (Glinka, Rimsky-Korsakov,Tchaikovsky, run thegamut,featuringbignames contribution inhisnativerepertoire. but he’smadehisgreatest variety ofItalianandFrenchmaterial– It’s depth of feeling, above all, that It’s depthoffeeling,aboveall,that Hvorostovsky’s all-Russianprograms creativity.” with great and comeup state ofbeing this extreme themselves into life; theyput normal human cannot leada because they way forartists, a veryproductive joy….It actuallyis 21

orchestras internationally (“Colin Davis from McGill University, Hopkins joined said whenever you go to a new orchestra, Houston Grand Opera Studio, the it’s like a blind date -- you don’t know if springboard for a hugely successful it’s going to work!”). He leaves time for operatic career taking him across North non-musical pursuits, such as cycling “and America (Toronto, Washington, Dallas, here’s one that won’t translate over the Santa Fe) and Europe (Glyndebourne, Atlantic – watching cricket.” A soccer fan, Frankfurt, Lisbon). A particular highlight he roots especially for “my team, Arsenal, was portraying the protagonist, Junior, in in London.” He’s very excited about Bernstein’s A Quiet Place at New York City coming to Chicago for “my first proper Opera, where “I really sank my teeth into conducting there. Venturing outside in playing a tortured and emotionally com– January isn’t going to be easy – it’s not plex character.” T-shirt weather! – but I’m going to delve Also highly praised for recitals, Hopkins

B. EALOVEGA right into it. All my colleagues who have loves the intimacy they can provide: “I been to Chicago love it, and I’m sure it’s think it comes down to vulnerability. In EDWARD GARDNER going to be the same for me.” recital, I’m in front of an audience without Edward Gardner’s enthusiasm is makeup or staging. I need to connect with boundless, and his every performance JOSHUA HOPKINS communicates his consuming desire to Joshua Hopkins made share great music with his audiences. This an unforgettable Lyric electrifying English musician debuts at debut last season in The Lyric this season in Der Rosenkavalier. In Passenger. He portrayed Strauss’s opera he savors “the combination the concentration- of effervescent comedic energy and the camp prisoner Tadeusz, most passionate, most full-of-ardor riveting the audience with expressions of love and relationships – the his glowing voice and honesty of relationships, too. It’s also about profound expressiveness. the passage of time, and in that respect The Canadian-born completely heartbreaking. It’s grand-scale, baritone treasures being but also intimate – it’s extraordinary!” part of The Passenger, Gardner searches out the drama in especially because “we any music he conducts (“Even as a kid, were blessed to have Zofia singing in a cathedral choir, I remember Posmysz [author of the thinking what you could do with the original novel] there to shape of an Elgar motet to make it tell witness this piece. She more dramatically”). A very impressive spoke to the cast about musical education led to several years her experiences, she working under Sir Mark Elder at took our questions. I felt the Hallé Orchestra (“He was a very extremely honored to be SIMON PAULY generous colleague and really looked in her presence.” after me”), then the music-directorship Quite a different role awaits Hopkins text and emotion, that’s all it comes down of Glyndebourne’s touring company, and for his return to Lyric. In Romeo and Juliet to.” by his early thirties that same position he’s Romeo’s friend Mercutio, “the life Offstage, Hopkins’s idea of “blissful at London’s English National Opera. of the party - witty, cynical, but also very serenity” would be “hiking on forest and The highlight of his eight years at ENO? fun.” Mercutio’s exhilarating aria, the mounting trails, or downhill skiing, or “Meistersinger in my last season. It’s those Ballad of Queen Mab, “I’d describe as kayaking down a secluded river.” Good kinds of pieces that an artistic institution playful, flighty, very quickly paced. food is another major enthusiasm; is really judged by – they’re gargantuan It involves a ton of words that go by Hopkins also considers himself “a genuine to put on. I was so proud of what the in a flash!” foodie – I’ll try anything once.” Wherever company did. As an advert for our work Hopkins discovered his voice in his he and his wife Zoe travel, interesting together at ENO, I thought Meistersinger early teens. A few years later he landed eateries are a priority. Zoe is “great at was extraordinary.” his first serious gig, Haydn’s Creation: “I’d finding the restaurants people are talking Gardner has guest-conducted at the never sung in front of an orchestra before about wherever we go. We’re prepared Met, Paris, La Scala, and many major – I was 16. It was crazy!” After graduating with an arsenal of places to try!” SPOTLIGHTS

an array of vocal talent with deep The performance will pay tribute to ties to Chicago. It will feature a the great Chicago vocalists of the past, dynamic, high-quality performance such as Mary Garden, Mahalia Jackson, that will highlight the best of Muddy Waters, Louis Armstrong, Sam Chicago vocalism, exploring Cooke, the Staples Singers, and others. distinctions between vocal styles Narrated video segments will ground and resonating across social, ethnic, the performance in Chicago’s rich vocal and economic boundaries. The gala history and will make connections to will be an opportunity to share and the social and political movements that celebrate the legacy of great Chicago are so deeply entwined with the musical vocalists and will attract first-time genres associated with the city. attendees into the Civic Opera ThroughChicago Voices, Lyric will House, demonstrating how Lyric expand the traditional role of an connects with music enthusiasts opera company within the cultural across genres. Lyric Opera creative consultant Renée Renée Fleming will curate, Fleming and Lyric Unlimited are joining headline, and perform in the forces to present an extraordinary gala performance. Chicago is new initiative that will celebrate the a city known for its essential diversity of Chicago vocal traditions. role in American music history, The initiative, beginning in 2016, and is home to generations of will include a multi-year community groundbreaking artists across a engagement program, symposia wide range of genres. The vocalists and special events, and a citywide featured at the gala will represent celebration, culminating in an all- the city’s deep musical traditions star, multi-genre gala performance at and will include top singers in the Civic Opera House on February 4, blues, jazz, soul, rock, hip-hop, 2017. The distinct yet interconnected house, gospel, and classical, among activities that make up the Chicago other genres. ecosystem of its city, engaging greater Voices initiative will bring together audiences through participatory music enthusiasts from throughout arts experiences and dynamic Chicago’s many communities, programming initiatives. Chicago including patrons of the arts, Voices will establish Lyric as an music scholars, and professional epicenter of the arts in Chicago’s and amateur performers across cultural landscape that not only genres. By distilling opera to its brings world-class opera stars to core components of music and the city, but which also draws on storytelling, Chicago Voices will offer Chicago’s unique musical heritage audiences throughout the city an to expand opera’s reach, creating a accessible avenue to connect the art product that is fresh, innovative, form to genres that hold meaning and significant to a wider audience. for them. Directly in line with the Chicago Cultural Plan, Chicago Chicago Voices is made possible by major Voices will promote community support from The Andrew W. Mellon participation in the arts and Foundation and the Ford Foundation. will facilitate creativity and self- This project is partially supported by expression through the essential The Chicago Community Trust and elements of music and theater. an IncentOvate Grant from the City of Chicago Department of Cultural Gala Performance Affairs & Special Events. The Chicago Voices gala, a one- night- only event, will showcase 23 Shall we dance? Join the Women’s Board and Guild Board of Directors on Saturday, May 7, 2016, to celebrate Rodgers & Hammerstein’s musical masterpiece, The King and I. More than 400 guests will gather at the Civic Opera House for a fun and festive themed party with cocktails at 5:00 pm, dinner at 6:00 pm, and a 7:30 pm performance. Event sponsors will have the option to dine like kings in their own premium boxes or in the Graham Room. Following the performance, the festivities continue onstage with dancing like Anna and the King of Siam – a once in a lifetime opportunity! The King and I Celebration Lead Sponsor: Zurich Media Sponsor: Make it Better Media Tickets begin at $500. Limited tickets available. For reservations and inquiries, please call (312) 827-5681.

Pau Gasol & LyricLeave Your Where does Pau Gasol, five-time NBA All Star power forward for the Chicago Team Up! Bulls, goLegacy to escape from his daily, hectic Name a Seat in thelife? Ardis Lyric Krainik Opera, Theatre of course! You haveThe been basketball awed forstar’s years first by stopperformances after a successful now you, too,season can inspire with the by namingBulls was a Lyric—heseat at Lyric is gracing Opera. the cover Putof your this name year’s on Operathon a seat in brochure.the Ardis DuringKrainik the Theatre 2014/15 and createbasketball your own season, legacy Pau at found Lyric time forever. to see This Don opportunity Giovanni, Il canTrovatore, be yours Tosca, now with and aour planned spring gift.musical Carousel. Pau has already held time on his calendar to attend Contactoperas the at LyricOffice this offall. Planned He’s starting Giving off at his 2015/16 312-827-5696season on a high or [email protected]! Operathon is a project of Lyric Opera Chapters. CHOOSE YOUR PAYMENT OPTION SelectAll proceeds your benefit Lyric Unlimited. You can go to Seatlyricopera.org Location rightCash now to or make a donation.Cash Deposit Stock Gift plus Planned Gift

BoxOperathon Seats 2015 is $25,000*cosponsored by$ Ardmore 5,000* deposit Associates plus or Mainfloorand Walgreens. A $100,000 planned gift

Mainfloor B $15,000* $ 2,000* deposit plus $100,000 planned gift Tune in to Operathon on 98.7WFMT on Dress Circle/ $10,000* $ 1,000* deposit plus FirstBalconySaturday, October 3 from$100,000 8am to planned midnight. gift Also be sure to follow along on social media. BEHIND THE SCENES WITH PAU GASOL Mainfloor B $ 5,000* $ 500* deposit plus TODD ROSENBERG DURING HIS OPERATHON PHOTO SHOOT You never know who will$100,000 stop by! planned gift TECHNOLOGY BRINGS STORYTELLING TO LIFE Behind the thrill of every Lyric production should be sophisticated technology and engineering. This is not the case. It takes dozens of talented stagehands countless hours and considerable manpower to lift, light, fly, and maneuver Lyric’s increasingly realistic scrims and sets.

When the Civic Opera House was built in 1929, it was the most state-of-the-art building of its time. Today, the Ardis Krainik Theatre is one of the most antiquated of any major opera house in the U.S. and the world. For both cost-effectiveness and safety reasons, we need to fix this problem and we need your help. Our most pressing needs:

1 POINT HOISTS Point hoists enable us to fly anything, anywhere, in any direction. In 2001, we purchased motors from the Millennium Dome in London which we were able to inexpensively obtain secondhand. Fifteen years later, these outdated motors are severely slowing us down. New motors are capable of lifting 1,200 pounds each at triple the speed of our current motors!

NEEDED: 48 NEW POINT HOISTS Cost: $64,000 each 2 COUNTERWEIGHT PIPE AUTOMATION SYSTEM With the existing equipment, we can only move scenery and scrims either horizontally or vertically. We need to be able to move them along angles as well.

Cost: $5 million

3 PROJECTORS Increasingly, opera productions require video projections as part of their design. Right now, Lyric has two projectors that are very old; only one can be used at a time, and their projection capacity is only 27’ x 36’. We need 6 projectors that can project 70’ wide x 40’ tall.

Cost: $800,000

4 STAGE LIFTS Lyric has no stage lift system. We only have one single temporary stage lift which was installed in 1994 as a short- 5 term solution in preparation for our first Ring cycle. Right TURNTABLE now, we have to build the elevations for each production Scenic automation is at the forefront of the largest, most instead of pushing a button to create the elevations instantly. intricate opera productions in the world, ensuring that the As we prepare for our new Ring cycle, we still have only that most mind-numbingly complex sequences of scene changes one temporary stage lift! We need to demolish the pylons in can happen at the touch of a button. The Ken Pigott Stage has the third sub-basement of the stage and install a customized no turntable. We have been inventing temporary solutions on lift system comprised of 12 lifts. an ad-hoc basis. Safety is our principal concern when there are 15 tons of scenery and as many as 82 chorus members Cost: $6 million (Nabucco) in our upcoming productions.

Cost: $1 million 26

MEET ME IN ST. LOUIS JUNE 23-26, 2016 Opera THeaTre of SAINt Louis featuring Marjorie Owens**, with Cecelia Hall** and Levi Hernandez** Shalimar the Clown, a world premiere adapted from the award-winning novel by Salman Rushdie La Bohème featuring Hae Ji Chang, Anthony Kalil, Anthony Clark Evans*, and Bradley Smoak*

Accommodations at The Chase Park Plaza $2,900 per person, shared occupancy

*current member, The Patrick G. and Shirley W. Ryan Opera Center **alumna/alumnus, Ryan Opera Center

Custom-designed trips, enhanced by opera experts, with behind-the-scenes visits, premium theater seats, luxury accommodations, and privileged entrée into the magical world of opera

SAVE THE DATE! vienna & salzburg early june 2017

For more information regarding this trip and the Lyric on the Move travel program, please contact Leslie Mastroianni at 312.827.5723 or lmastroianni@ lyricopera.org. Please note: itinerary details are subject to change and are posted on Lyric’s website at www.lyricopera.org/travel. Airfare is not included in program fee. Lyric on the Move operates in partnership with Act 1 Tours. Lyric on the Move is o– ered to current annual donors of $2,000 and above. Bradley Smoak in Jonathan Johnson and Jesse Donner in The Marriage of Figaro. Paul La Rosa in The Merry Widow. Tannhäuser. L-R, TODD ROSENBERG, Join us Monday, February 29, 2016, supporters of the Ryan Opera Center will supporters of the Ryan Opera Center gather at The Casino Club for an evening will gather at The Casino Club for an of merriment and song benefiting the evening of merriment and song program. Current ensemble tenors Alec benefiting the program. For more Carlson, Jesse Donner, Jonathan Johnson information or to attend the event, please call Meaghan Stainback at and Mingjie Lei will join tenor alumnus 312-827-5691. actively participate in Lyric’s mainstage René Barbera and music director Craig productions, performing thirty-five roles Terry for an unforgettable and intimate and covering sixty others in the 2015/16 evening, as other alumni and current The Patrick G. and Shirley W. Ryan season. Additionally, thirteen roles are sung members join guests for an elegant Opera Center is internationally recognized by celebrated Ryan Opera Center alumni seated dinner. as one of the premier artist-development this season as Lyric continues to engage For more information or to attend the programs of its kind in the world. successful graduates of the program. event, please call Meaghan Stainback at During their residency, young artists On Monday, February 29, 2016, 312-827-5691. HIGH NOTES (L-R) Kim Smith, Mozart’s Luca Pisaroni/Count Almaviva, and Lyric Executive Committee Member Eric Smith MARRIAGE OF representing JP Morgan FIGARO Chase & Co.

Lyric Board member Melvin R. Berlin Mozart’s THE MARRIAGE OF FIGARO and Randy L. Berlin New Lyric Opera production generously made possible by The Negaunee Foundation, the Abbott Fund, Randy L. and Melvin R. Berlin, Exelon, JPMorgan Chase & Co., and (L-R) Daniel Fischel, Adam Plachetka/ Sylvia Neil and Daniel Fischel. Figaro, and Lyric Board member Sylvia Neil

Rossini’s CINDERELLA

Lyric Opera presentation generously (L-R) Christiane Karg/Susanna, Women’s Board made possibly by Margot and Josef Member Liz Stiffel, Lyric Executive Committee Lakonishok, The Nelson Cornelius Member Ruth Ann Gillis, and Anthony Freud Production Endowment Fund, and Rossini’s PowerShares QQQ. CINDERELLA (L-R) Director Barbara Gaines with Robin and Steve Solomon representing Exelon

(L-R), Lyric Executive Committee member Josef Lakonishok, Christian Van Lawrence Brownlee/Don Ramiro (C) with Horn/Alidoro, and Margot Lakonishok representatives of PowerShares QQQ 29

Berg’s WOZZECK

Sir Andrew Davis with Lyric Board (L-R) Jill Grove/Margret, member Joseph Rubinelli, Jr. (R) Stewart Grimshaw of The Monument Trust (UK), and the Mazza Foundation and director Sir David McVicar

Berg’s WOZZECK (L-R) Lyric Board member Stefan Edlis, Tomasz Konieczny/Wozzeck, New Lyric Opera production and Gael Neeson generously made possible by The Monument Trust (UK) and Stefan Edlis and Gael Neeson, with additional support from Robert L. Turner. (L-R) Thomas Hampson/Count Danilo, Andrea Herberstein, Lyric Executive Committee member Donna Van Eekeren, and Dale Connelly Lehár’s THE MERRY WIDOW

Lyric Opera presentation of Lehár’s The Merry Widow generously made (L-R) Angela Denoke/Marie, possible by the Donna Van Eekeren Robert L. Turner, and Peter Speliopoulos Foundation, Howard Gottlieb and Barbara Greis, Mr. J. Thomas Hurvis, Kirkland & Ellis LLP, and the Mazza Foundation. Production owned by The Lehár’s Metropolitan Opera. THEThe 2014/15 MERRY members of The Patrick G. and Shriley W. Ryan (L-R) Lyric Executive Committee member Opera Center ensemble take a boaft at Howard Gottlieb, Heidi Stober/Valencienne, RisingWIDOW Stars Concert and Barbara Greis

Renée Fleming/Widow Hanna Glawari with Lyric Executive Committee member J. Thomas Hurvis (3rd-L) and guests HIGH NOTES

(L-R) Nancy Crown and Caryn Harris, Women’s Board Member Opening Night Gala co-chairs Nancy and Scott Santi representing ITW Gregory Case of Aon and Women’s Board member Mamie Biggs Case THE OPENING NIGHT BENEFIT

The Opening Night Benefit generously sponsored by Aon.

(L-R) Marlys A. Beider with Elizabeth DeShong THE OPERA BALL

The Opera Ball is cosponsored by ITW and Northern Trust. The Opera Ball Reception is sponsored by (L-R) Sheila Ormesher, Christiane Karg, and Lyric’s President and CEO David T. Ormesher Liz Stiffel. of closerlook, inc.

(L-R) Beatrice Crain and Michael Maling of the Crain-Maling Foundation with Amanda Majeski and Sam Handley THE GRAND MARCH

The Grand March is sponsored by Barlit Beck Herman Palenchar & Scott LLP Sir Andrew Davis with Lyric Executive Committee member Marion Cameron representing Sipi Metals Corp.

SPECIAL EVENTS

Stars of Lyric Opera at Millennium Park Generously supported by Lead Sponsor closerlook, inc. and cosponsors two Anonymous Donors, Marlys A. Beider, Rhoda L. and Henry S. Frank, Baker Tilly Virchow Krause, LLP, Christine and Paul Branstad Family Foundation, Crain-Maling Foundation, Ernst & Young LLP, Greg and Annie Jones/The Edgewater Funds, Sipi Metals Corp., and the Music Performance Trust Fund and Film Fund.

Elizabeth Yntema and Lyric Board Lyric Executive Committee member member Mark Ferguson of Bartlit Beck Jana Schreuder representing Northern Herman Palenchar & Scott LLP Trust and Amanda Majeski/Countess Almaviva Aucoin Second Nature 31 Major support provided by the Nancy W. Knowles Student and Family Performances fund.Generous Second Support Nature forand the Opera Final in the NeighborhoodsAuditions is provided are supported by Lead by Lead SponsorSponsor: J. ElizabethChristopher F. and Cheney Anne N. Reyes andFoundation cosponsors: Sponsor: Anonymous The CozadDonors (2), Joyce E. Chelberg, Dover Foundation, Brent and Katie Gledhill, Goldman Sachs, Mr. and Mrs. Eric L. Hirschfield, Kenneth R. Norgan, the Donna Van Eekeren Foundation, Marilyn D. Ezri, M.D., Walter Family Foundation, and Wintrust Community Banks, with additional support from Norman and Virginia Bobins/ The Robert Thomas Bobins Foundation and Richard P. and Susan Kiphart.

Lyric Signature Events Lyric Signature Events are generously cosponsored by PwC and United Scrap Metal, Inc. Lawrence Brownlee (C) with Maggie Rock (L) and Amy Newkirk (R) representing PwC.

NEXT NEXT is supported by Lead Sponsor The Grainger Foundation and cosponsors Mr. and Mrs. Paul F. Anderson, Dr. and Mrs. Arthur J. Atkinson, Jr., The Brinson Foundation, The Ferguson-Yntema Family Charitable Trust, Elaine Frank, the Komarek-Hyde-McQueen Foundation/ Patricia Hyde, NiSource, Nuveen Invest- ments, Satter Family Foundation, and the Donna Van Eekeren Foundation.

The Patrick G. and Shirley W. Ryan Opera Center Final Auditions Generous Support for the Final Auditions is provided by Lead Sponsor: Elizabeth F. Cheney Foundation Sponsor: The Cozad Family. Cast members from Second Nature perform at Café Brauer at NEXT student ticket buyers enjoy a Lincoln Park Zoo. Lyric Opera performance.

Members of the 2016/17 Ryan Opera Center Ensemble with Scott McCue of the Elizabeth F. Cheney Foundation, Virginia Cozad, and Allan Drebin of the Elizabeth F. Cheney Foundation. Lyric Opera of Chicago NON-PROFIT ORG 20 North Wacker Drive U.S. POSTAGE Chicago Illinois 60606 PAID CHICAGO IL PERMIT NO. 6047

Verdi Strauss Gounod Nabucco Der Rosenkavalier Romeo and Juliet Jan 23 - Feb 12 Feb 8 - Mar 13 Feb 22 - Mar 19

STRAUSS SOPRANO returns in Der Rosenkavalier FILL YOUR NEW YEAR WITH DRAMA, PASSION, BEAUTY, AND ARTISTRY Experience Lyric LYRICOPERA.ORG ­€‚.ƒ‚„. †‡‡

Dmitri Hvorostovsky Rodgers and Hammerstein in Recital The King and I Feb 26 Apr 29 - May 22