LYRIC OF CHICAGO Table of Contents

IN THIS ISSUE – pp. 24-38

6 From the General Director 47 Patron Salute LYRIC'S AUDIENCE 8 From the President 48 Production Sponsors SPEAKS pp. 16-22 10 Board of Directors 51 Aria Society 12 Women’s Board/Guild Board/ 60 Breaking New Ground/ Chapters’ Executive Board/ Look to the Future Ryan Opera Center Board 62 Major Contributors – Special Events 14 Administration/Administrative Staff/ and Project Support Production and Technical Staff 63 Lyric Unlimited Contributors 16 Why I Love Opera … 64 Lyric Unlimited Programs and Why I Love Lyric – Part 1 65 Ryan Opera Center 24 Tonight’s Performance 66 Ryan Opera Center Alumni Around 25 Synopsis the World 27 Cast 67 Ryan Opera Center Contributors 28 Artist Profiles 68 Planned Giving: The Overture Society 35 Opera Notes 69 Commemorative Gifts 38 Director’s Note On the cover: Marie-Jeanne Lecca's costume 70 Annual Corporate Support sketch for the three Norns, who function as fates, 40 After the Curtain Falls 71 Matching Gifts, Special Thanks and weaving the rope of destiny. As such, although 42 Musical Staff/Orchestra/Chorus Acknowledgements they actually sing only in the last opera of the 43 Backstage Life Ring cycle, Götterdämmerung, in Lyric's new 72 Annual Individual and Ring cycle they will be onstage in all four . 44 Artistic Roster/Supernumeraries Foundation Support 45 Lyric and Social Media 79 Facilities and Services/Theater Staff

2 | October 1 - 22, 2016

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4 | October 1 - 22, 2016

LYRIC OPERA OF CHICAGO From the General Director

Welcome to Lyric Opera of Chicago! We’re thrilled that you’re here, and we hope you’re as excited about Das Rheingold and the rest of the season as we are. As with every Lyric season, in 2016-17 the individual operas offer something for everyone. The totality of these works will provide a sense of a journey, exploration, and discovery, as well as reacquaintance with longtime favorites. We’re very conscious of the fact that many audience members at Lyric will be giving opera a try for the first time. For them, those favorites will actually be works heard for the first time – some of the most popular and famous operas in the repertoire.

We offer opportunities for our opera “newbies” to discover exactly why those operas STEVE LEONARD are so popular and famous! Incredible as it may seem, our new production of Das Rheingold marks the first time in Lyric’s history that the company has launched a new season with a work of . How fitting that the work produced for this momentous occasion should be the first opera of the monumental Ring cycle. There is no more ambitious, large-scale, or exciting venture that an opera company can undertake than a new Ring. We’re producing the four operas that comprise the cycle in four consecutive years, culminating with the complete cycle in 2020. Das Rheingold is an ideal first opera. It has the running time of a movie, as well as a fantastic, action-packed story based in myth but with enormous contemporary resonance (think Star Wars or The Lord of the Rings). In every scene we can enjoy some of the most explosive, exciting, climactic music ever written. From the opening subterranean E-flat chord representing the River Rhine to the gods’ majestic entrance into Valhalla at the opera’s climax, the cumulative effect of Wagner’s music and drama is simply overwhelming. The creators of our new Ring are the same team that brought us The Passenger two seasons ago. Anyone who saw that unforgettable production will share our anticipation of an extraordinary theatrical spectacle in this Ring, with powerfully intense storytelling and detailed, passionate performances. In planning Lyric seasons, a new Ring has been a major priority both for me and for our music director, Sir . Over the past 15 years at Lyric, Andrew has brought enormous distinction to his conducting of all the greatest operas of Wagner. His remarkable affinity for this repertoire has been inspiring for our audiences. The Ring he conducted here in 2004-05 ranks as one of Lyric’s greatest achievements in recent decades, and I know that this success will be repeated in Das Rheingold and the other three Ring operas. Heading our cast of top-flight Wagner interpreters is Eric Owens, who appeared at Lyric most recently in Porgy and Bess and has already proven himself a very impressive Alberich in Ring cycles at the Met and in Europe. We’re excited to be presenting his first Wotan, a major milestone in his career. Samuel Youn, our Alberich, is a remarkable Korean - whom I’ve much admired in such portrayals as Wagner’s Dutchman and Berlioz’s Méphistophélès. His engagement at Lyric marks both his American debut and role debut. Four other major artists are debuting at Lyric in this production: Tanja Ariane Baumgartner (Fricka), a consummate singing actress whose career has taken her all over Europe; and three outstanding artists whom I’ve enjoyed onstage numerous times – Okka von der Damerau (Erda), Wilhelm Schwinghammer (Fasolt), and Tobias Kehrer (Fafner). We’re also very happy to welcome back Štefan Margita, our Loge, who was a marvelously devious Shuisky in Lyric’s most recent . The Ring adventure is beginning. Enjoy!

Anthony Freud The Women’s Board Endowed Chair

6 | October 1 - 22, 2016 LYRIC OPERA OF CHICAGO From the President

The 2016-17 season here at Lyric Opera of Chicago is going to be one of the most exciting in recent memory, and my wife and I are looking forward to every production. I expect you are, too. I’m particularly excited about the launch of the new Ring cycle with Das Rheingold. The first time I experienced the complete Ring, I wondered, as with many Ring neophytes, if this was just going to be four very long nights in a dark room! But I found that it is spellbinding, and that the longest of the operas seems to slip away in minutes. It’s a profound, transformative experience, and the fact that we’re creating a brand-new expression of the Ring makes me very proud of the artistic choices we’ve made at Lyric.

It’s likely that the production you’re enjoying tonight is benefiting from an TODD ROSENBERG ambitious stage-improvement project, the first step of which was implemented over the summer. Three new stage lifts, a turntable, and 16 new point hoists (individual motorized lines that can lift sets or people in the air) are enabling us to present Das Rheingold, , and . None of those new productions would have been possible were it not for that initial investment. Over the next two years we will see the second phase of the project, including additional stage lifts and point hoists, plus various other crucial technical capabilities. This will ensure our being able to present future productions exactly as our directors have imagined them, and in a safe, efficient manner. We’re exceedingly grateful to our Breaking New Ground campaign donors whose generosity has made this possible. Along with our investments backstage to enable these amazing productions, we are also investing in the front of the house to enhance your experience at Lyric. New concierge greeters in the lobby, additional ticket scanners to improve traffic flow, and better signage for our first-time guests are just a few of the changes you’ll be experiencing this season. We are looking for fresh ways to make your total Lyric experience a delight, from the moment you purchase your ticket until you depart after a wonderful performance. The future of opera and of Lyric is dependent not only on the loyalty of our longtime audience members, but also on our ability to cultivate the next generation. As we all know, “millennials” have many more opportunities for entertainment and cultural consumption than ever before. In achieving our goal of continually attracting and engaging younger audiences, we’ve embraced the types of media that they’re familiar with. Many of you who spend time online, particularly in social media, have noticed in the past year many more banner ads for Lyric productions or mentions and “likes” on Facebook and Twitter and photos on Instagram. I’m delighted to see social media channels bringing greater awareness of Lyric and its exciting offerings to a whole new audience. I use Lyric’s website on a regular basis, whether to provide background information for an upcoming production or to review the biography of an artist I don’t know. It’s not unusual for me to snap a picture of a current production banner and post it on my Facebook page! This season has so much to offer, from the Ring to Les Troyens to a new Magic Flute. The richness and diversity of opera and the world-class quality of our orchestra, chorus, and artists remind us how valuable and exciting the Lyric experience is and how fortunate we are to have an opera company of this caliber in the city of Chicago.

David T. Ormesher

8 | October 1 - 22, 2016 LYRIC OPERA OF CHICAGO

Board of Directors

The Honorable Bruce Rauner Life Directors Mark E. Ferguson Sharon F. Oberlander The Honorable Rahm Emanuel Edgar Foster Daniels Michael W. Ferro, Jr. * John W. Oleniczak Honorary Chairmen Richard J. Franke Matthew A. Fisher Olufunmilayo I. Olopade, M.D. of the Board Edgar D. Jannotta * Renée Fleming * David T. Ormesher Edgar D. Jannotta George E. Johnson * Sonia Florian * William A. Osborn Co-Chairman Emeritus Robert H. Malott Mike Foley Matthew J. Parr Allan B. Muchin Co-Chairman Emeritus James J. O’Connor * Anthony Freud Jane DiRenzo Pigott David T. Ormesher Gordon Segal Kristine R. Garrett Jose Luis Prado President and Robert E. Wood II Ronald J. Gidwitz Don M. Randel Chief Executive Officer * Ruth Ann M. Gillis * Anne N. Reyes Lester Crown Directors * Brent W. Gledhill J. Christopher Reyes Chairman of the Executive Committee Katherine A. Abelson Ethel Gofen Thomas A. Reynolds III Anthony Freud * Whitney W. Addington, M.D. * Howard L. Gottlieb † William C. Richardson, Ph.D. General Director and * James L. Alexander Melvin Gray Collin E. Roche Chief Operating Officer John P. Amboian Maria C. Green Ricardo Rosenkranz Sir Andrew Davis Paul F. Anderson * Dietrich M. Gross Edward B. Rouse Vice President Larry A. Barden Mary Pat Hay Joseph O. Rubinelli, Jr. Renée Fleming * Julie Baskes Carrie J. Hightman * Shirley Welsh Ryan Vice President James N. Bay, Jr. Elliot E. Hirsch * E. Scott Santi James L. Alexander Vice President Melvin R. Berlin Eric L. Hirschfield Claudia M. Saran Shirley Welsh Ryan Gilda R. Buchbinder * J. Thomas Hurvis Rodd M. Schreiber Vice President Allan E. Bulley, III Gregory K. Jones * Jana R. Schreuder William C. Vance John E. Butler † Stephen A. Kaplan Marsha Serlin Vice President * Marion A. Cameron Kip Kelley II * Brenda M. Shapiro Donna Van Eekeren * Paul J. Carbone * Nancy W. Knowles * Eric S. Smith Secretary David W. Carpenter † Fred A. Krehbiel Sarah Billinghurst Solomon Paul J. Carbone Timothy L. Christen Treasurer * Josef Lakonishok Pam Szokol Richard W. Colburn † Robert W. Lane Mary Ladish Selander Franco Tedeschi Assistant Secretary Michael P. Cole * James W. Mabie Mark A. Thierer Roberta Lane Vinay Couto * Craig C. Martin Cherryl T. Thomas Assistant Treasurer * John V. Crowe Robert J. McCullen * William C. Vance * Lester Crown Blythe J. McGarvie * Donna Van Eekeren Marsha Cruzan Andrew J. McKenna Mark Wagner * Andrew Davis Frank B. Modruson Roberta L. Washlow † Gerald Dorros Robert S. Morrison Miles D. White Alexandra Dousmanis-Curtis * Allan B. Muchin Ann M. Drake * Linda K. Myers William Mason Allan Drebin Jeffrey C. Neal General Director Emeritus John D. Edelman Amélie Négrier-Oyarzabal * Indicates member of the Stefan T. Edlis Sylvia Neil Executive Committee Lois Eisen † John D. Nichols † Indicates National Director W. James Farrell Kenneth R. Norgan

10 | October 1 - 22, 2016 LYRIC OPERA OF CHICAGO

Women’s Board Guild Board of Directors Ms. Nancy R. Fifield Laura Guili † Mimi Mitchell † James A. Staples Ms. Margie Franklin Amy O’Donnell President President Rick Greenman Liliana Salazar Jaramillo † Mrs. Christopher Murphy † Daniel T. Manoogian Dennis C. Hayes Marne Smiley Vice President of Board Activities Vice President – Backstage Tours Mrs. Mary Lunz Houston Tania Tawil † Marilynn Thoma † Maggie Rock Jach JJ Williams Vice President of Education Vice President – Membership Mrs. Jackie Knight Lauren Wood † Mrs. Matthew A. Fisher † Allison Alexander * Ms. Kate Letarte Vice President of Fundraising Vice President – Fundraising Ms. Vee Minarich The Patrick G. and Shirley W. † Betsy Bergman Rosenfield † Daria Lewicky Mrs. Maria Rigolin Ryan Opera Center Board Vice President of Special Events Vice President – Benefit Mrs. Carla Thorpe † Dorothy Kuechl Secretary Ms. Claudia Winkler of Directors Patrick G. and Shirley Welsh Ryan Mrs. Anthony A. Antoniou † Marc Lacher Treasurer Sustaining Members Ms. Silvia Beltrametti Honorary Co-Chairs * Ms. Julie Anne Benson John Nitschke President Margot Stone Bowen Julie Ann Benson Mrs. William Hamilton Suzette B. Bulley Leslie Bertholdt ^ Jane DiRenzo Pigott Vice President – * Mrs. Jorge Iorgulescu Fundraising Marie Campbell *† Patrick J. Bitterman * Ms. Dorothy Kuechl Mamie Biggs Case Minka Bosco Philip G. Lumpkin Vice President – Lester Marriner Fundraising Co-Chair Mrs. Alger B. Chapman, Jr. Sarah Demet Ms. Susan Miller Elizabeth O’Connor Cole Frank De Vincentis ^ Janet Burch Vice President – * Ms. Jennie M. Righeimer New Initiatives Mrs. Nancy Carrington Crown Eben Dorros Mr. and Mrs. Myron Tiersky * Mrs. Lester Crown Mrs. Amanda Fox ^ Joan Zajtchuk Vice President – * Mrs. Richard W. Durkes Mark Kozloff, M.D. Life Members Strategic Planning Mrs. Anne M. Edwards Gwen Kuger * Mrs. Anthony Antoniou Juliana Chyu Vice President – * Mrs. W. James Farrell Jonathan B. Lewis, Sr. * Mrs. J. William Cuncannan Strategic Planning Co-Chair Mrs. Michael Ferro * Ms. Martina M. Mead * Mr. Roy Fisher Debbie K. Wright Treasurer Regan Rohde Friedmann Craig R. Milkint * Mrs. Donald Grauer Roberta Lane Assistant Treasurer Mrs. Robert W. Galvin Melissa Mounce Mithal * Mrs. Patrick R. Grogan Richard W. Shepro Secretary Lili Gaubin Nathaniel W. Pusey * Mrs. Merwyn Kind Dan Novak Assistant Secretary Mrs. Ronald J. Gidwitz † Ms. Christina M. Rashid * Mrs. Jonathon R. Laing † Keith Kiley Goldstein Megan Burke Rovdebush * Mrs. Frank M. Lieber * Katherine A. Abelson Annemarie H. Gramm David J. Seleb * Mrs. Howard S. Smith Nicole M. Arnold Karen Z. Gray-Krehbiel Mary Lynne Shafer * Mrs. William C. Tippens *^ Julie Baskes Mrs. King Harris Fay M. Shong * Mrs. Dorothy V. Wadley Marcus Boggs Mrs. Julian W. Harvey Ilene Simmons * Mrs. Eugene E. White Heidi Heutel Bohn Caroline T. Huebner Ms. Joan M. Solbeck ^ Tanja Chevalier Chapter Presidents Tamara Conway Mrs. Philip E. Kelley * Oscar Tatosian Barrington † Rebecca Walker Knight Michael Tirpak Lawrence O. Corry Mary Robins * Allan Drebin Mrs. Frederick A. Krehbiel Karianne Wardell Evanston Mrs. Richard H. Lenny Ms. Cathy Wloch Ms. Erika Erich Barbara Eckel Sally Feder Mrs. Arthur C. Martinez Ms. Anne Zenzer Far West * Mrs. Richard P. Mayer Anthony Freud Sustaining Members Judy Marshall Melvin Gray Florence D. McMillan Flossmoor Area Alison Wehman McNally Mrs. John H. Andersen Mrs. Thomas D. Heath Ms. Sharon Gibson Mary Ellen Hennessy Mrs. Susan H. Mesrobian * Mrs. Gustavo A. Bermudez Glencoe Mrs. Christopher C. Milliken Mrs. Avrum H. Dannen Martha A. Hesse Anne Ruzicka Loretta Julian Mrs. Robert S. Morrison * Robert F. Finke Hinsdale Mrs. Susan B. Noyes Mrs. William R. Jentes Chester T. Kamin Joseph Ender * Kip Kelley * Mrs. James J. O’Connor Chester T. Kamin Hyde Park/Kenwood Mrs. William A. Osborn * Kip Kelley *^ Susan Kiphart Ms. Vee Minarich Jeanne Randall Malkin Mrs. Jerry K. Pearlman John M. Kohlmeier Lake Geneva Mrs. Frederick H. Prince Mrs. Robert E. Largay Robert C. Marks Vivian Fabbro Keenan Erma S. Medgyesy Mrs. James C. Pritchard James G. McCormick Near North M.K. Pritzker * Ms. Britt M. Miller Frank B. Modruson Jackie Knight Phyllis Neiman *† Mrs. J. Christopher Reyes * John H. Nelson Northfield Mrs. Ronald A. Rolighed Mrs. Lisbeth Stiffel Susan Noel Ms. Margareta Brown Michael A. Oberman Trisha Rooney R. Todd Vieregg Northwest * Mrs. Patrick G. Ryan Richard O. Ryan Mrs. James L. Sandner Chapters’ Executive Board Ms. Dorothy Kuechl Nasrin Thierer Riverside * William C. Vance † Mrs. E. Scott Santi † Mrs. Sherie Shapiro † Nancy S. Searle Mary Kitzberger Donna Van Eekeren President Wilmette Mrs. Richard H. Wehman Mrs. Alejandro Silva † Mrs. Peggy Beata Mrs. John R. Siragusa Mrs. Nancy R. Fifield Jack Weiss Vice President – Development Winnetka Mrs. Lisbeth Stiffel † Mary Robins Life Members Mrs. James P. Stirling Mrs. Julie McDowell Vice President – * Mrs. Anthony A. Antoniou * Mrs. Theodore D. Tieken Community Relations Mrs. Richard H. Wehman Young Professionals Mrs. James W. Cozad *† Mr. Jonathan Eklund Bernard J. Dobroski Mrs. Robert G. Weiss Vice President – Membership Justin Breitfelder President Hon. Corinne Wood Lisa DeAngelis Vice President Anne Gross † Ms. Ingrid Dubberke Barbara Heil Howard Mrs. Patrick Wood-Prince Vice President – Program Chris Hanig Secretary Jennifer Delagrange Events Chair * Keith A. Reed † Mr. David Nellemann Treasurer Orli Staley Life Members † Laura Shimkus Secretary Claudine Tambuatco Paula Hannaway Crown YP Outreach Chair * Mrs. J. W. Van Gorkom Howard A. Vaughan, Jr. * Mrs. A. Campbell de Frise Ms. Judith A. Akers Martha Grant * Jane Duboise Gargiulo Member Engagement Chair Mrs. Gerry Bellanca * Former President * Mrs. Paul W. Oliver, Jr. Ms. Marlene R. Boncosky Mrs. Jay A. Pritzker Members at Large † Executive Committee Mrs. Linda Budzik ^ Team Chair Mrs. Gordon Segal Mrs. Robert C. DeBolt Ian Cundiff Mr. Joseph Ender Lena Dickinson * Former President Ms. Erika Erich Evan Fry † Executive Committee Fritzi Getz

12 | October 1 - 22, 2016 LYRIC OPERA OF CHICAGO

Anthony Freud, OBE General Director The Women’s Board Endowed Chair

Sir Andrew Davis Renée Fleming Drew Landmesser Music Director Creative Consultant Deputy General Director John D. and Alexandra C. Nichols Endowed Chair

Roberta Lane Mary Ladish Selander Chief Financial Officer Director of Development

Brent Fisher Cayenne Harris Elizabeth Landon Nicholas Ivor Martin Director of Finance Lyric Unlimited Director Director of Human Resources Director of Operations and Special Initiatives

Andreas Melinat Lisa Middleton Dan Novak Director of Artistic Planning Director of Marketing Director, Ryan Opera Center The Ryan Opera Center Board Endowed Chair

Will Raj Rich Regan Michael Smallwood Director of Information Technology General Manager, Presentations and Events Technical Director Allan and Elaine Muchin Endowed Chair

OFFICE OF THE GENERAL Pavitra Ramachandran Aaron Andersen Alejandra Boyer DIRECTOR Coordinator of Institutional Deputy Director, Budgeting Director of Community Programs Anthony Freud Partnerships and Forecasting Will Biby General Director April Krzeczkowski Audience Education Manager The Women’s Board Endowed Chair Leslie B. Mastroianni Accounting Supervisor Todd Snead Linda Nguyen Irvin Deputy Director of Development Whitney Bercek School Engagement Manager Manager, Office of Kate Later Controller Dana McGarr the General Director Director of Women’s Board Teresa Hogan Lyric Unlimited Coordinator Chelsea Southwood Payroll Supervisor Drew Smith OFFICE OF THE DEPUTY Associate Director – Women’s Board Ralph Hicks Education Coordinator GENERAL DIRECTOR Leah Bobbey Payroll Analyst Jacob Stanton Drew Landmesser Women’s Board Administrative Assistant Kirsten Alfredsen Assistant to the Lyric Unlimited Director Deputy General Director Deborah Hare Payroll Accounting Assistant MARKETING AND PUBLIC Sarah Generes Assistant Director of Donor Services LeVora Martin Producer of Classical and Special Events Accounts Payable Coordinator RELATIONS and Crossover Programming Allison K. Taylor Dan Seekman Lisa Middleton Administrative Coordinator – Staff Accountant Director of Marketing ARTISTIC Donor Services and Special Events Andreas Melinat HUMAN RESOURCES Holly H. Gilson Director of Artistic Planning Warren M. Davis Elizabeth Landon Deputy Director of Communications Cory Lippiello Deputy Director of Development Director of Human Resources Roger Pines Deputy Director of Artistic Planning Amy Tinucci Tiffany Tuckett Dramaturg Evamaria Wieser Director of Systems, Reporting, Talent Manager, Administrative Staff Magda Krance Casting Consultant and Donor Records Stephanie Strong Manager of Media Relations Ellen Barkenbush Benefits Manager Andrew Cioffi DEVELOPMENT Digital Content Producer Mary Ladish Selander Director – Individual Giving Anna VanDeKerchove Scott Podraza Office Coordinator Kamaria Morris Director of Development PR Specialist Kate Bollier Associate Director of Annual Giving INFORMATION TECHNOLOGY Development Associate Michelle Neuffer Manager of Donor Communications Will Raj Tracy Galligher Young Hanna Pristave Director of Information Technology Deputy Director of Marketing Lawrence DelPilar Jennifer Colgan Deputy Director of Development Manager of Operations & Eric Hayes Data Analytics IT Operations Manager Senior Manager of Sales and Marketing Jonathan P. Siner Bailey Couture Senior Director of Planned Giving Sarah Geocaris Rita Parida Development Coordinator – Chapters Database Administrator Marketing Partnership Manager Lynn Bennett Joel Friend Associate Director of Planned and Meghan Pioli Nikoleta Aranassova Development Coordinator Systems Administrator Group Sales Manager Major Giving Jocelyn Park Kristin Atchison – Donor Stewardship René Calvo Stephanie Lillie Associate Systems Administrator Creative Project Manager Director of Major Gifts Carrie Krol Meaghan Stainback Senior Coordinator – Donor Records Christina Bledsoe and Reporting Systems Analyst Graphic Designer Associate Director of Individual Giving Sam Fain Daniel P. Moss Andrea Rubens Miles Mabry Development Coordinator Technology Support Coordinator Group Sales Associate Director of Institutional Partnerships Margaret Stoltz Jenny Seidelman – Guild Board and Young Professionals Nicole Sankowski Keyana Marshall Web Content Administrator Marketing Associate Associate Director of Valerie Bromann Corporate Partnerships Donor Records and Reporting Assistant LYRIC UNLIMITED Digital Marketing Coordinator Sarah Kull FINANCE Cayenne Harris Stefany Phillips Associate Director of Foundation Marketing and Public Relations Coordinator and Government Partnerships Roberta Lane Lyric Unlimited Director Chief Financial Officer Mark Riggleman Amanda Reitenbach Rachel Peterson Social Media Coordinator Administrative Coordinator – Brent Fisher Director of Education Director of Finance Chapters’ Endowed Chair for Education Michael Musick Planned and Individual Giving Interim Web and E-Marketing Contractor

14 | October 1 - 22, 2016 LYRIC OPERA OF CHICAGO

Ticket Department Sandra Zamora Richard “Doc” Wren Susan Harrison Niemi Assistant Stage Managers Warehouse Coordinator Brian Traynor Deputy Director of Audience Services Ben Bell Bern Charge Artist Alex Chatziapostolou (Demas) Rehearsal Scheduler Dan DiBennardi Tim Morrison Sales Manager Josie Campbell Ryan McGovern Michael Murtagh Laura Waters Artistic Services Coordinator Justin Hull Scenic Artists Customer Service and Call Center Marina Vecci Assistant Carpenters Manager Rehearsal Associate Scott Marr Kelly Cronin Isabella Czyrnyj Dan Donahue Production Design Director VIP and Inventory Associate Jeremiah Smith Robert Hull, Jr. Kristi Wood John Renfroe Christine Wagner John Ingersol Costume Project Coordinator Tessitura Associate – Ticketing Rehearsal Assistants Ray Schmitz Carpenters Maureen Reilly Donna Babonas PRESENTATIONS AND EVENTS Costume Director Justin Berkowitz Rich Regan Chris Maravich The Richard P. and Susan Kiphart Cassandra Dixon General Manager – Presentations Lighting Director Endowed Chair Leigh Folta and Events Mary-Louis and James S. Aagaard Lucy Lindquist Harrah Friedlander Nora O’Malley Endowed Chair Wardrobe Mistress Katie Galliart Facility Operations Manager Heather Sparling Martin Hughes Sharon Lomasney Eric Watkins Bradley Baker Aleksa Kuzma Presentations and Events Assistant Lighting Designers Jessica Doan Steven Landsman Manager and Producer Kate Keefe Katelyn Lee Leslie MacLean Michael C. Reynolds Cecylia Kinder Benjamin Liupaogo Facilities Coordinator Master Electrician Krystina Lowe Sara Litchfield Eleanor Sanchez Soren Ersbak Kathy Rubel LaRob Payton Presentations and Events Coordinator Board Operator Tony Rubino Karlos Piñero-Mercado Stephen Dunford Joanna Rzepka Lindsey Raker Chief Engineer John Clarke, Jr. Marguerite Scott William Roberts Gregg Brody Joseph Haack Ewa Szylak Adam Stubitsch Box Office Manager Michael A. Manfrin Barbara Szyllo Ivo Suarez Bernard McNeela Robert Reynolds Maggie Zabieowski Zachary Vanderburg Engineer Assistant Electricians Wardrobe Staff Anna VanDeKerchove Briette Madrid Scott Barker Mary Kate Von Lehn Stage Door Supervisor Anthony Coia Kelly Davis Tobias Wright Nathan Tuttle Jason Combs Kim Kostera Ticket Staff Facilities Porter Gary Grenda Anna Krysik Thomas Hull Ed Mack OPERATIONS TECHNICAL Daniel Kuh Wendy McCay Nicholas Ivor Martin Michael Smallwood Jeremy Thomas John Salyers Director of Operations and Special Initiatives Technical Director Electricians Isaac Turner Thomas Young Allan and Elaine Muchin Kevin Reynolds Chris Valente Director of Music Administration Endowed Chair Surtitle Operator Roger Weir Stephanie Karr April Busch Dressers Chorus, Orchestra, and Ballet Manager Production Manager Joe Schofield Tabitha Boorsma Michael Schoenig Head Audio/Visual Technician Sarah Hatten Administrative Coordinator – Operations Technical Finance Manager Nick Charlan Wigmaster and Makeup Designer Wendy Skoczen Madeleine Borg Matt Ebel Kathleen A. Evans Chief Librarian Production Manager – Lyric Audio/Visual Department Coordinator Gretchen Eng Unlimited/Ryan Opera Center Music Administration Coordinator Maria DeFabo Brittany Crinson Scott Wolfson Properties and Scenic Art Coordinator Chantelle Marie Johnson Production and Rehearsal Staff Assistant Technical Director Charles Reilly Robert Kuper Cameron Arens Stephen Snyder Property Master Lynn Koroulis Director of Rehearsal Administration Technical Coordinator Michael McPartlin Claire Moores Joe Dockweiler Properties Crew Head Staff Katrina Bachus Master Carpenter Phil Marcotte Daniel Ellis Mike Reilly Prop Carpenter Brook Carlson Jodi Gage Head Flyman/Automation Bob Ladd Lauren Cecil Elise Sandell Armorer Anelle Eorio David Toulson Jeffrey Streichhirsch Rachel Boultinghouse June Gearon Assistant Directors Automation Assistant Upholsterer David Grant Briette Madrid John W. Coleman Chris Barker Thomas Coleman, Jr. Helen Marchfield Chelsea Antrim Dennis Matt Reilly Robert Hartge Lauren Marchfield Rachel A. Tobias Rigging/Automation Assistants Richard Tyriver Nelson Posada Stage Managers Assistant Properties Jada Richardson Robert Barros Anita Trojanowski Kristen Barrett Shop Carpenter Michael Buerger Daria Wright Jordan Braun Brian Grenda Joseph Collins Wig and Makeup Crew Donald Claxon Layout Carpenter Kevin Gac Rachel Henneberry Gordon Granger Daniel Sokalski Drew Trusk Joe Mathesius Peggy Stenger Shop Welder John Miulli Amy Thompson Bruce Woodruff Michael O’Donnell, Jr. Bill Walters Layout Welder Properties

October 1 - 22, 2016 | 15 LYRIC OPERA OF CHICAGO Why I Love Opera … and Why I Love Lyric TODD ROSENBERG

Susan Harrison Niemi, Lyric’s deputy director of audience services, enjoying a conversation with a patron. COURTESY OF MARIA ENRIQUEZ Making opera a family event

It was the first time that my nine-year- old daughter Priscilla went to the opera! I remember so well getting ready, looking sharp. She even wanted to wear my perfume. Hey, why not?! A little makeup, too...and the black dress with sequins! Off we go, downtown – a glamorous evening, just the Diana Newman (Clorinda), Alessandro Corbelli two of us! Cinderella was playing that night, (Don Magnifico), and Annie Rosen (Tisbe) except this time the real Cinderella was my in last season's Lyric production of Cinderella, nine-year-old Priscilla... which was so enjoyed by Maria Enriquez and her daughter. Maria Enriquez (Stickney)

All dressed up and ready for the opera – Priscilla and Maria Enriquez.

16 | October 1 - 22, 2016 LYRIC OPERA OF CHICAGO

Why I Love Opera … The Audience Speaks: PART 1 Edited by Roger Pines For the first time in the Lyric program, we’ve given the Lyric audience and Why I Love Lyric a chance to reveal why they love opera – and why they love Lyric. This is the first in a four-part series. If you’d like to contribute, send your comments to: [email protected]

Great customer service As an undergraduate at Indiana University, I initially fell in love with opera for the MY MOST EXCITING I have enjoyed most every Lyric Opera passion displayed onstage by amazing, EVENING AT LYRIC presentation I’ve seen. Wonderful singing, versatile performers. Now, living in Chicago excellent repertory, incredible orchestra. I love Lyric not only for this reason, but also Lately the stagings have been better and for the individuals behind the scenes. This better. Did I mention the star power? past season, after experiencing an unpleasant The very first opera I attended And….would you believe, one of evening at one of the performances, with my newly purchased the things I like most of all about Lyric Martin Hughes from Audience Services subscription was are your telephone salespeople. They are called to assess my interest in renewing my some time in the late ’70s. I was knowledgeable to a fault. Flexible. I love subscription. After explaining my experience thrilled to be there, and even talking to them, even if I don’t buy anything. and that I was considering not renewing, he They certainly aren’t in it for the money, but took it upon himself to remedy the situation. more excited because Luciano they love opera, love talking about opera, Pavarotti was singing at a time romancing opera, and are huge fans. I love when he had cancelled many every one of them. :) performances. His voice was George Kriza spellbinding, but there was (Willow Springs) more to come. During the last curtain call, a cake was wheeled Thank you so much, George! Everyone in out to center stage, to the our telephone sales force loves their work, and surprise of Pavarotti. The entire clearly it shows. Great pains are taken to give audience joined with the cast Lyric patrons all the attention and consideration and orchestra to sing “Happy they deserve, so it’s wonderful to read of your Birthday” to this great . gratitude. I can’t imagine a more exciting Susan Harrison Niemi introduction to opera, and my Deputy Director – Audience Services enthusiasm for Lyric continues to this day. Claire Levenberg (Chicago) Martin J. Hughes of Lyric’s part-time audience services staff.

October 1 - 22, 2016 | 17 LYRIC OPERA OF CHICAGO

noticed, and we’re confident that those numbers Last season’s Romeo and Juliet, will keep growing! a Lyric production enjoyed by Sanam Shafii-Mousavi. Eve Moyar, age 17 Youth Opera Council member

Lyric is world class

Why do I love opera? Why do I love Lyric? Let me count the myriad ways. Do you have the time, the patience? This might take many days! Over four decades I’ve been a singer Within an hour he called back and offered two tickets for any of the upcoming performances in countless great choral productions, (amazing seats for Romeo and Juliet). He didn’t leave it at that, though; in fact, he said that as well as in semi-staged operas, such as he had spoken to his director and they were addressing the issues to ensure they would not Carmen, Turandot, Faust…to name but a few. happen to others. Martin even maintained contact with me up through and after the date of the I’ve even been a supernumerary, performance. Individuals like Martin have given me a greater appreciation for Lyric, both for the serving as crafty, clever innkeeper in … performers on stage and those behind the scenes. Thank you for the amazing customer service! with lots of fun things to do. Sanam Shafii-Mousavi I’ve been to opera performances (Evanston) all over the globe: in Nürnberg, Munich, Berlin, Bayreuth, Thank you truly, Sanam, for your generous words. It’s certainly a pleasure to assist patrons as grateful as Essen, Düsseldorf, , Barcelona, you are. All of us in Audience Services hope you enjoy all the operas this season! San Francisco, New York, Chicago, Martin J. Hughes, Audience Services Staff Toronto… and that’s only part of “the score.” A diverse audience Why do I love Lyric? It’s superb! It’s great! It’s world class! I love opera! The music is exhilarating, the has worked hard to diversify the audience in all It’s convenient! It’s close! performers and orchestra so talented, and it demographics, and most impressive is how often Need I say more? is amazing to see the time and dedication put young adults are now attending the shows. I These facts and other reasons into the shows. have lived and worked in Chicago for almost 30 will cause me to come to the Lyric, years, and it was only five years ago that I started hopefully, joyfully, expectantly, gladly… I am very impressed with Lyric Opera as attending performances at Lyric. Each season you for many more seasons! an organization; it is constantly working on encounter someone who is attending opera for Gerhard A. Fürst diversifying the audience. Over the years Lyric the first time. I have also made a point to bring (Kalamazoo, MI) someone who is experiencing opera for this first JACLYN SIMPSON time; this season it is my mother, who is 81! COURTSEY OF KAMANA MBEKEANI Kamana Mbekeani (Oak Park)

It’s wonderful to read your comments, Kamana! I love being a part of someone’s first opera experience! I have brought both teens and adults to their first opera, and always enjoy their reactions. All of us in Lyric’s Youth Opera Council are continually encouraging everyone we know to come to opera performances. That has a lot to do The number of young adults now attending with the number of young people that you’re now Kamana Mbekeani (right) at Lyric Lyric performances has greatly impressed with daughter Michelle Mbekeani-Wiley. Kamana Mbekeani. seeing in the audience. We’re so glad you’ve

18 | October 1 - 22, 2016 LYRIC OPERA OF CHICAGO DAVID H. FISHMAN DAVID H. FISHMAN In 1959, a few years after ending her music- teaching career, Ardis Krainik (left) was onstage at Lyric as Myrtale in Massenet’s Thaïs.

The stars of Lyric’s production of Verdi’sI due Foscari, Piero Cappuccilli and Katia Ricciarelli, whose performances so thrilled Kenneth Chrzastek.

Great artists at lyric Inspired by beautiful memories Kismet, perhaps? And I am not referring to the days…”too many treasured memories “Yesterday and today…” A young high- the Broadway musical of the same name..... of artists and productions…but these are school student registers for a required music Lyric Theatre of Chicago (later Lyric “the days,” as far as I am concerned! Renée appreciation class. The class boasted about Opera) and I were born a mere 20 days apart; Fleming, Dmitri Hvorostovsky, Deborah singing, listening to and identifying an myself on January 15, 1954, and Lyric with Voigt, , Sondra Radvanovsky, assortment of music selections, identifying its “calling card” production of Matthew Polenzani, Amber Wagner, Sophie composers and performing at select school on February 5 of that year. I will spare you all Koch, Christine Goerke, Eric Owens, Mariusz events. A young, inspiring, and enthusiastic the recollections of my soon-to-be 44th year as Kwiecień, Piotr Beczała, Anna Netrebko..... new music teacher shares her passion with a continuous, devoted subscriber. What I will Thank you, Lyric Opera, with hearty a class of mildly interested students about share is the first opera of my first season as a applause, for making my life so very rewarding. opera, obviously her favorite genre. The subscriber in September 1972, at the tender Kenneth Chrzastek teacher’s enthusiasm becomes contagious age of 17: I due Foscari, a Verdi masterpiece (Chicago) and permeates the class. The semester soon conducted by the cherished Bruno Bartoletti, ends with the teacher’s parting comments, with Michael Lepore’s astounding chorus, Dear Kenneth – My experiences at Lyric have “Tomorrow you will appreciate what we featuring Piero Cappuccilli and the American all been special moments in my career, and I’m experienced in this class!” After 35 years of debut of Katia Ricciarelli. hugely looking forward to returning this season attending Lyric Opera of Chicago, her voice That production shall always remain for my first Wotan in the new Ring cycle. I feel and words continue to resonate. The music in memory as a night of great opera. I was very gratified to be included in the group of teacher? Ardis Krainik. She left so much of transported/transformed by the beauty; singers you’ve cited. All of us take great pride herself to be remembered. Yesterday, today the sets, costumes, and lighting evoking in performing at Lyric, particularly when those and tomorrow…. Renaissance Italy and Miss Ricciarelli (golden listening are as appreciative as you are. Enjoy Dr. Sam Mikaelian of voice and coiffure) as if out of a painting the 2016-17 Lyric season! (Chicago) by Raphael. I won’t ever say “those were Eric Owens, bass-baritone

TODD ROSENBERG

A special joy

The English poet John Keats said, “A thing Every performance is a mini-vacation, of beauty is a joy forever.” His words are a multi-sensory feast, a magical ride on a prophetic for me. merry-go-round, a timeless story to soothe Every time I attend a performance at the soul. Lyric Opera, I experience joy! It begins when We are blessed to live in Chicago. I enter the magnificent lobby and queue Lyric Opera is a treasure beyond words. up with the people who have come to pay Anna Winterman Szanto Eric Owens, a current Lyric artist much homage to the world of opera. The music, (Highland Park) admired by Kenneth Chrzastek, pictured the arias, the costumes, the story. as the Vodník in Rusalka.

20 | October 1 - 22, 2016 LYRIC OPERA OF CHICAGO TODD ROSENBERG Worth a trip from across the world

My love of Lyric Opera of Chicago began in April 2005, when I first journeyed from Auckland, New Zealand, to hear Wagner’s Ring cycle, conducted by Sir Andrew Davis. The long journey was amply rewarded with a memorable experience, marrying great singing and orchestral playing with remarkable staging and direction, plus the bonus of English surtitles! The following year I returned eagerly to the Lyric to hear Gluck’s opera Orfeo ed Euridice, beautifully sung by David Daniels and strikingly staged in silhouette! After too long an absence I returned to Chicago in 2014 to hear the wonderful Renée Fleming and Jonas Kauffman in an unforgettable gala concert, and the lovely Joyce DiDonato in Mozart’s timeless La clemenza di Tito. Chicago residents will find nothing to surprise them in my enthusiasm for the city’s wonderful Lyric Opera, and other cultural venues. But you should know that their quality reaches to the far end of the world and, like a magnet, draws one back! Bryan Sayer TODD ROSENBERG (Auckland, New Zealand)

Dear Bryan – Thank you so much for making those long trips from New Zealand! I’m very glad to know that the 2005 Ring inspired you to return to Lyric on other occasions. Do come back for the individual Ring operas and again for our complete cycle in 2020. I’m Down Under quite frequently, as chief conductor of the Melbourne Symphony Orchestra – I hope you’ll come hear performances there, as well as in Chicago! Sir Andrew Davis, music director and principal conductor

Bryan Sayers traveled from New Zealand to Chicago most recently for the Renée Fleming/Jonas Kaufmann concert (top left) and La clemenza di Tito with Joyce DiDonato and Amanda Majeski (bottom left) in 2014. CHERI EISENBERG MY MOST TRAGIC EVENING AT LYRIC

A number of years ago, I lived in Warren, Illinois, in Jo Daviess County, in the northwest corner of the state. On opera nights, I would drive two hours to Elgin and take the train from there into Union Station, going back the same way after the opera. One night, Catherine Malfitano was singing (beautifully and movingly!), and I could see that, if I were to hear her final aria and stay to the end of the opera, I would miss my 10:30 train. The next train didn’t leave until 12:30, getting me back home at nearly 4:00 a.m. As Butterfly began to sing “Tu, tu, tu, tu, tu!,” I slipped quietly up the aisle, suffering, I thought, as much as Butterfly, because I was missing what I knew would be the very climax of an incredible performance. Douglas Asbury (Riverside) P.S. I wish METRA officials were opera lovers and would time train departures to accommodate Lyric patrons.

Dear Douglas – I’m very touched to read your response to the Butterfly performance. It’s an opera that means a great deal to me, and I was thrilled to sing the title role at Lyric in both 1990-91 and 1997-98. All of us in that production gave our hearts to it, and it’s lovely to know that you remember it so well all Catherine Malfitano at Lyric in the these years later, even if you had to miss the end – for a very understandable reason, needless to say! final scene ofMadama Butterfly, which Catherine Malfitano, soprano Douglas Asbury had to miss; and a smiling Maliftano in her 1997-98 curtain call.

22 | October 1 - 22, 2016

LYRIC OPERA OF CHICAGO

Set design by Johan Engels New Production Richard Wagner Das Rheingold SPONSORS MARLYS A. BEIDER LIZ STIFFEL HELEN AND SAM ZELL

The Ring Cycle 2016-2020 SPONSORS LEAD SPONSOR: MR. & MRS. ANONYMOUS DONOR DIETRICH M. GROSS GRAMMA FISHER FOUNDATION ADA AND WHITNEY OF MARSHALLTOWN, IOWA ADDINGTON With additional support from Robin Angly and Richard J. and Barbara Franke.

24 | October 1 - 22, 2016 LYRIC OPERA OF CHICAGO

DAS RHEINGOLD Synopsis

feel threatened by the Nibelung’s new power. ring’s power to replenish his hoard, Alberich TIME AND PLACE: Legendary After convincing Fafner that the gold is more summons the Nibelungs, who appear valuable than Freia, Fasolt announces that carrying the gold. Alberich then learns that Scene 1: The Rhine the two will accept it instead of Freia. Loge he must sacrifice the Tarnhelm. When Scene 2: An open space before Valhalla tells Wotan that there is only one way to forced to yield the ring, he curses it and Scene 3: Nibelheim obtain the gold: theft. The giants will return whoever possesses it in the future. He leaves, for the gold that evening – meanwhile, they free but powerless. Scene 4: An open space before Valhalla take Freia away as a hostage. Deprived of the Fricka, Donner and Froh return, eager apples, the gods begin to age and weaken. to learn the result of Wotan’s mission. The There will be no intermission. Wotan and Loge leave for Nibelheim, giants arrive with Freia, and Fasolt, who is Alberich’s subterranean kingdom. giving her up reluctantly, demands that the gold be piled so that it will hide her. When Scene 1. Woglinde and Wellgunde are Scene 3. Alberich torments his brother her hair gleams through a chink in the pile, guarding the gold at the bottom of the Rhine. Mime, who yields the magic helmet – the Fafner demands that the Tarnhelm fill the Flosshilde chides them for negligence when Tarnhelm – that Alberich had ordered him opening, but Fafner can still see one of the Nibelung dwarf Alberich appears. The to forge. When Alberich dons the Tarnhelm Freia’s eyes. He demands that Wotan close Rhinemaidens quickly realize that lechery and becomes invisible, he beats his brother the space with the Nibelung’s ring that the has brought the Nibelung to their domain. mercilessly. Wotan and Loge find Mime god is wearing on his finger, but Wotan Sunlight illuminates the gold, and Alberich groaning in pain. From him they learn that refuses. The earth-goddess Erda appears, questions them about it. Wellgunde reveals Alberich has enslaved the Nibelungs and reminding Wotan of the curse. He then that the man who renounces love and forges forced them to mine the gold, from which throws the ring on the pile and reclaims a ring from it will be master of the world. the power-hungry dwarf has amassed an Freia. The giants soon quarrel over the ring, Cursing love, Alberich seizes the gold and enormous hoard for himself. and Fafner kills his brother to possess it rushes away with it. Alberich ruthlessly drives his workers, before departing with the treasure. but seeing the two gods, he is immediately Donner invokes thunder and lightning Scene 2. As Wotan awakens, he sees that his suspicious. When he describes his helmet’s to clear the sky, so that the gods can dream of a grand, imposing, beautiful, newly powers, Loge asks for a demonstration. properly admire their new home. When it completed palace is realized. His wife, Fricka, Alberich then transforms himself first into a comes into view, Wotan is thrilled. Naming is alarmed: now that the giants, Fasolt and dragon, then a toad. Wotan swiftly captures it “Valhalla,” he invites Fricka to dwell Fafner, have completed the construction, the toad as Loge snatches the helmet. there with him. A rainbow bridge appears, the fee Wotan promised them must be paid Alberich is restored to his original form and and as the gods cross it, they hear the – Fricka’s sister, Freia, goddess of youth and dragged away by the gods as a prisoner. Rhinemaidens pleading for the return of beauty. Wotan assures Fricka that he never their gold. Loge prophesies the end of seriously intended to sacrifice Freia. Scene 4. Wotan and Loge inform Alberich the gods. Ordering Loge to silence the When Freia pleads for protection from that he cannot regain his freedom unless Rhinemaidens, Wotan leads the gods as they the giants, Wotan tells her that Loge, the he surrenders his treasures. Trusting the enter Valhalla with pomp and ceremony. demi-god of fire, has a plan to save her. DAN REST The giants arrive, eager for their reward. Wotan suggests some other payment, Alberich (Oleg Bryjak) at his most but Fasolt warns him not to break their triumphant: Das Rheingold at contract. The giants want Freia not only Lyric, 2004-05 season. for herself, but also for her golden apples that ensure the gods’ eternal youth. When the giants attempt to take Freia with them, she summons her brothers, Donner and Froh, to her defense, but Wotan stifles the kindling violence. When Loge finally appears, the giants repeat their demand. Loge relates how Alberich stole the gold. The gods and giants

October 1 - 22, 2016 | 25

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• The Ring cycle is a coproduction by New Production Lyric Opera of Chicago and Teatro Real, Madrid. Richard Wagner • Scenery constructed by Adirondack Studios and Bay Productions, DAS RHEINGOLD Cardiff, Wales, U. K. Music drama in one act in German

• Specialty inflatable props provided by Libretto by the composer Signs & Shapes International, Inc. First performed at the Königliches Hof-und-National Theater, Munich, on September 22, 1869 • Costume Supervisor: First performed by Lyric Opera on November 13, 1971 Rachel Dickson. Characters in order of vocal appearance: • By arrangement with Foreign Music Distributors for Bärenreiter-Verlag, Woglinde DIANA NEWMAN° Wellgunde ANNIE ROSEN° publisher and copyright owner. Flosshilde LINDSAY AMMANN* Alberich SAMUEL YOUN** • Projected English titles © 2016 Fricka TANJA ARIANE BAUMGARTNER** by Colin Ure. Wotan ERIC OWENS Freia LAURA WILDE°° Fasolt WILHELM SCHWINGHAMMER* • Lyric Opera of Chicago Broadcasts Fafner TOBIAS KEHRER* are generously sponsored by the Froh JESSE DONNER° Caerus Foundation, Inc., with Donner ZACHARY NELSON* Loge ŠTEFAN MARGITA matching funding provided by Mime RODELL ROSEL°° The Matthew and Kay Bucksbaum Erda OKKA VON DER DAMERAU*** Family, The John and Jacolyn Actors: Brian J. Barber, Jonathan Beal, Chuck Coyl, Katherine Coyl, Tony DiFalco, Bucksbaum Foundation, and Michelle Ford*, Nicholas Harazin, Patti Honacki*, Chris Lafferty, Joshua Lee*, The Richard P. and Susan Kiphart David Lintzenich, Richard Manera, Kelly Maryanski, Maggie Clennon Reberg, Family. Daniella Rukin*, Sarah Sapperstein*, Scott Shimizu, Kai Young

Conductor SIR ANDREW DAVIS • Lyric Opera of Chicago gratefully Director DAVID POUNTNEY acknowledges the support of Original Scenery Designer JOHAN ENGELS the Irma Parker German Opera Scenery Designer ROBERT INNES HOPKINS Costume Designer MARIE-JEANNE LECCA Endowed Chair. Lighting Designer FABRICE KEBOUR Choreographer DENNI SAYERS • Lyric Opera of Chicago wishes Wigmaster and Makeup Designer SARAH HATTEN Associate Director ROB KEARLEY to thank its Official Airline, Assistant Director KATRINA BACHUS* American Airlines. Assistant Scenery Designer MATT REES* Stage Manager JOHN W. COLEMAN Stage Band Conductor ERIC WEIMER • This season’s projected English titles Musical Preparation WILLIAM C. BILLINGHAM are funded in part by a generous JERAD MOSBEY grant from the Lloyd E. Rigler- Prompter SUSAN MILLER HULT Fight Director Lawrence E. Deutsch Foundation. CHUCK COYL Projected English Titles COLIN URE * Lyric debut • The performance will last ** American debut approximately two and one-half *** American operatic debut ° Current member, Ryan Opera Center hours. °° Alumna/Alumnus, Ryan Opera Center

October 1 - 22, 2016 | 27 PROFILES | LYRIC OPERA OF CHICAGO

ERIC OWENS SAMUEL YOUN Prague, Paris (Châtelet), Florence, (Wotan) (Alberich) , and Houston. He has also Previously at Lyric: American debut earned acclaim in other major roles of Janáček Four roles since such as Kudrjaš/Katya Kabanova (, 2007-08, most recently The Korean bass-baritone, Geneva); Živný/Osud (BBC Proms, Madrid); Porgy/Porgy and Bess making his role debut, has and Luka/From the House of the Dead (Pierre (2014-15); Vodník/ established himself as one Boulez/Patrice Chéreau production in Vienna, Rusalka (2013-14); of his generation’s most Amsterdam, Aix-en-Provence/DVD, Palermo, title role/Hercules (2010-11). prominent Wagnerians. A firm favorite at Berlin, La Scala, debut). Bayreuth, he appeared there most recently in Margita was heard at the Opéra National de The celebrated bass-baritone’s successes in 2015 as the Herald/ and his much- Paris as both Edrisi/Szymanowski’s King Roger formidable Wagner roles include the Dutchman praised Dutchman. He reprises the latter and Anatol/Prokofiev’s War and Peace (the (Washington) and Alberich (Metropolitan portrayal this season at both the Teatro Real latter is available on DVD). In recent seasons Opera, ). This season de Madrid and the Deutsche Oper Berlin he has turned increasingly to German roles, he returns to the Met for both Rusalka (new (where he also appears in ). Following among them the Drum-Major/ (Paris, production) and Kaija Saariaho’s L’amour de studies in Seoul, Milan, and Cologne, Youn Rome, Japan, Lisbon). Wozzeck brings him loin (company premiere). Owens spent much won numerous important competitions this season to the Opéra National de Paris, of 2015-16 with the New York Philharmonic in his homeland and Italy. He then made and he will also reprise his celebrated portrayal as Artist-in-Residence, performing a varied his professional debut as Méphistophélès/ of Janáček’s Luka at the , repertoire while also curating programs and Faust (Treviso, Rovigo), and first appeared Covent Garden and the Théâtre Royal de la participating in educational activities. Recent at Bayreuth in 2004 in . While Monnaie in Brussels. career highlights also include Orest/ developing his Wagner repertoire, he has been (Met, new production, HD); a return to heard in Der Freischütz (), Les contes TANJA ARIANE his hometown, Philadelphia, as Philip II/ d’Hoffmann (Toulouse), Die Frau ohne Schatten BAUMGARTNER Don Carlo (Opera Philadelphia); and bass (Hamburg, Florence), and Tiefland (Berlin). (Fricka) soloist/Bach’s St. Matthew Passion (Berlin Since 1999-00 the bass-baritone has been a American debut Philharmonic). Owens has created numerous member of the Cologne Opera, where he has challenging roles in contemporary repertoire, performed an extensive repertoire of leading The eminent German including Elliot Goldenthal’s Grendel (Los Italian, French, and German roles, among mezzo-soprano, who will Angeles), and two works by John Adams – them Attila, Escamillo, Alfio, and Orest, in be featured as Fricka in A Flowering Tree (Vienna’s New Crowned addition to the major Wagner baritone parts. both Das Rheingold and Die Walküre at the Hope Festival, CD) and Doctor Atomic (San Guest engagmenets have brought him in 2017 , also stars this season Francisco, released on DVD and a Grammy- recent seasons to Covent Garden (Scarpia/ at the Frankfurt Opera and Hamburg State winning CD). Owens’s operatic versatility Tosca and Raimondo/ Opera. She made a series of prestigious debuts encompasses The Magic Flute(Paris); Norma last season) and to the major houses of Athens, over the past three seasons: at Covent Garden (Covent Garden); and Il trovatore Nice, Madrid, Barcelona, and Seoul. (), the Edinburgh International (Los Angeles); and The Rape of Lucretia Festival (Bluebeard’s Castle), the Deutsche (Glimmerglass Festival). A Houston Grand ŠTEFAN MARGITA Oper Berlin (), and the Opera Studio alumnus, he has been heard (Loge) Hamburg State Opera (Beat Furrer’s La at HGO in six roles, among them Aristotle Previously at Lyric: Bianca notte, stage premiere). Baumgartner has Onassis/Jackie O (world premiere, CD), Shuisky/Boris Godunov been a prominent member of the Frankfurt Ramfis, Sarastro, and Méphistophélès. Owens, (2011-12). Opera since 2013-14, exhibiting a remarkable along with soprano Ana María Martínez, stylistic versatility encompassing standard serves Lyric as a Community Ambassador. The Slovakian tenor has repertoire but also more unfamiliar fare such in recent seasons made as Rusalka, The Passenger, Enescu’s Oedipe, Wagner’s Loge a signature role, singing it at Puccini’s Edgar, Rolf Riehm’s Sirens (world the Metropolitan Opera, Munich’s Bavarian premiere), and Aribert Reimann’s Medea State Opera, and the major houses of San (German premiere, CD). In Frankfurt she has Francisco, Amsterdam, Houston, and São also repeated a previous success achieved at Paulo. Margita has been hailed as definitive in Theater Basel, the title role/Othmar Schoeck’s several leading roles in Janáček operas, particu- Penthesilea. Baumgartner triumphed at the larly Laca/Jenůfa, which he has sung in nearly as Geschwitz/ (debut, 20 prestigious venues to date, among them 2010) and Charlotte/Die Soldaten (2012). Munich’s Bayerische Staatsoper and in Berlin She has recently added several iconic mezzo (Staatsoper, Deutsche Oper, Philharmonic), roles to her repertoire – Santuzza (Düsseldorf/

28 | October 1 - 22, 2016 PROFILES | LYRIC OPERA OF CHICAGO

Duisburg) and both Amneris and Carmen range there covers the gamut of repertoire, Munich Philharmonic (Mozart’s Requiem), (Basel, reprised in Frankfurt). The mezzo’s busy from Mozart to Verdi, Wagner, Berlioz, the Bavarian State Orchestra (Wood-Dove/ concert career includes recent performances Strauss, and Prokofiev. Kehrer will debut Schoenberg’s Gurrelieder), Berlin Staatskapelle of Berlioz’s Les nuits d`été and the Verdi at the Opéra National de Paris as Sarastro/ (Mahler’s Symphony No. 3), and the Bamberg Requiem (Frankfurt‘s Alte Oper) and Mahler’s The Magic Flute and at La Scala as Osmin/ Symphony (Beethoven’s Symphony No. 9). Symphony No. 2 (Stuttgart Philharmonic, CD). The Abduction from the Seraglio. He is a This season von der Damerau will also make frequent performer at the Salzburg Festival, her debut (Erda/Das WILHELM where he has been heard in Die Meistersinger Rheingold and Siegfried) and will be featured SCHWINGHAMMER von Nürnberg, , Ariadne auf in Munich in several roles, most prominently (Fasolt) Naxos, and Walter Braunfels’s Szenen aus Brangäne/Tristan und Isolde. Lyric debut dem Leben der heiligen Johanna, working with such major conductors as Daniel Harding, Sir RODELL ROSEL The Bavarian-born bass Simon Rattle, Daniele Gatti, Zubin Mehta, (Mime) debuted at the 2012 Franz Welser-Möst, and Manfred Honeck. Previously at Lyric: Bayreuth Festival as Other important guest appearances include 20 roles since 2005-06, Heinrich/Lohengrin (reprised in three subse- Sarastro at the Metropolitan Opera (company most recently Valzacchi/ quent seasons) and has returned as Fasolt. He debut) and Osmin at Munich’s Bavarian State Der Rosenkavalier made his American debut in 2013 as Marke/ Opera, Glyndebourne Festival, and the BBC (2015-16); Spoletta/Tosca Tristan und Isolde (Washington), and later this Proms. The Dessau native studied at Berlin’s (2014-15); Monostatos/ season the Nighwatchman/Die Meistersinger Hochschule der Künste, and even before The Magic Flute (2011-12). von Nürnberg will mark his La Scala debut. graduation had appeared in Karl Amadeus Schwinghammer studied in Berlin, where he Hartmann’s Das Wachsfigurenkabinett at the A Ryan Opera Center alumnus, the Filipino- was a finalist in the 2004 German Federal Festival in Dessau, as well as American tenor debuted his portrayals of Competition. He took second prize and with the opera companies of Neustrelitz (Der Mime/Das Rheingold (2014) and Siegfried the audience prize at Munich’s ARD Music Freischütz) and Chemnitz (La traviata). (2016) with great success at Houston Grand Competition (2009). His early career includ- Opera. Rosel also recently sang his first Don ed many performances as a member of the OKKA VON DER José/Carmen (Los Angeles County’s Center Hamburg State Opera’s International Opera DAMERAU Stage Opera) and created the role of Anthony Studio, as well as La traviata at the Salzburg (Erda) Candolino/Jake Heggie’s Great Scott (The Festival. A leading bass of the Hamburg State American operatic debut Dallas Opera). Other career highlights include Opera since 2006-07, he has appeared there in appearances in Houston (, major roles of Mozart, Weber, Johann Strauss, The German mezzo- Madama Butterfly) and at the Metropolitan Verdi, Wagner and Puccini. He returns to soprano is closely associated Opera (Les contes d’Hoffmann, Der Hamburg this season as Figaro, Osmin, and with the Bavarian State Rosenkavalier, both in HD), Heinrich. The bass has made guest appearances Opera, where she has been a member of (The Magic Flute, Tosca), The Santa Fe Opera in such operas as The Magic Flute(Dresden, the ensemble since 2010, including annual (Ong Chi Seng/Paul Moravec’s The Letter, Los Angeles), The Abduction from the Seraglio appearances at the Munich Opera Festival. world premiere), Pittsburgh Opera (Madama (, where he returns later this Among her portrayals with the company are Butterfly), Wolf Trap Opera Company (John season as Sarastro), under Sir Simon Ulrica/Un ballo in maschera, Magdalene/Die Musto’s Volpone, nominated for a Grammy Rattle (Salzburg, Berlin), Tannhäuser (Berlin, Meistersinger von Nürnberg, Mary/The Flying on CD), Florentine Opera (title role/Albert CD), and Strauss’s Feuersnot (Munich). Dutchman, Waltraute/Götterdämmerung, Herring), the Cleveland Orchestra (Salome), Schwinghammer has collaborated with many and Suzuki/Madama Butterfly. She made her and Ravinia (, The Magic major conductors, among them Barenboim, house debut at La Scala as Charlotte/Die Flute, Idomeneo). Rosel returns to Lyric later Marriner, Minkowski, Nelsons, and Rattle. Soldaten and has also appeared in leading this season as Monostatos/The Magic Flute roles with Oper Frankfurt, Deutsche Oper before debuting at Seattle Opera in the same TOBIAS KEHRER Berlin, and Berlin State Opera. From 2006 role, and also returns to Los Angeles Opera (Fafner) to 2010 she was a member of the ensemble as First Jew/Salome and Spalanzani/Les contes Lyric debut at the Hanover State Opera and appeared d’Hoffmann. He has received awards from the in the Bayreuth Festival’s 2013 and 2014 Palm Beach Opera Vocal Competition, the The German bass appears Ring cycles as Flosshilde and First Norn. Lotte Lenya Vocal Competition, and the José later this season in the Ring The Hamburg native, who debuted with the Iturbi International Music Competition. cycle at his home theater, Chicago Symphony Orchestra under Riccardo the Deutsche Oper Berlin, Muti earlier this year (Bruckner’s Te Deum), where he has earned acclaim as a leading artist has also been heard with the Hong Kong since the 2012-13 season. His vast stylistic Philharmonic (Grimgerde/Die Walküre), the

October 1 - 22, 2016 | 29 PROFILES | LYRIC OPERA OF CHICAGO

LAURA WILDE soprano Christine Brewer and mezzo-soprano first place in the 2012 Licia Albanese, George (Freia) Annie Rosen in the Harris Theater’s “Beyond London, and Liederkranz Competitions as well Previously at Lyric: the Aria” series. Donner holds a master’s degree as the 2011 Opera Index Vocal Competition. Five roles since 2013- from the University of Michigan (where he 14, most recently was heard as both Bacchus/Ariadne auf Naxos DIANA NEWMAN Marianne Leitmetzerin/ and the title role/Viktor Ullmann’s Der Kaiser (Woglinde) Der Rosenkavalier, Anna/ von Atlantis) and a bachelor’s degree from Iowa Previously at Lyric: Nabucco, Peasant Girl/ State University. In 2015 he won the coveted Milliner/Der Rosenkavalier, The Marriage of Figaro (all 2015-16). Luminarts Fellowship for Men’s Classical Beatriz/Bel Canto (world Voice and was awarded the Grand Prize in the premiere), Clorinda/ A native of Watertown, South Dakota, Bel Canto competition. Formerly, he received Cinderella (all 2015-16). the Ryan Opera Center alumna made her the 2014 George Shirley Award for Opera international debut in June 2016 at London’s Performance and a special encouragement A second-year Ryan Opera Center member, in the title role/ award from the 2014 Metropolitan Opera the American soprano will be heard at Lyric Janáček’s Jenůfa. Wilde was a Marion Roose National Council Regional Auditions. Other later this season in Don Quichotte, Carmen, Pullin Artist in Residence with Arizona Opera performing credits include his debut with and The Magic Flute. She began the season for two seasons (Romeo and Juliet, Lucia di Opera in the Ozarks as Pinkerton/Madama by appearing with Maria Schneider at the Lammermoor, Faust, ). She Butterfly, as well as concert appearances with Lucerne Festival. Newman is an alumna of the will return to the company later this season for the Grant Park Orchestra, Civic Orchestra University of Southern California (title role/ its first world premiere, singing the central role of Chicago, the Toledo Symphony, Adrian L’incoronazione di Poppea, Pamina/The Magic of Jane Withersteen/Craig Bohmler’s Riders Symphony, and University of Michigan Flute, Miranda/The Tempest, Lauretta/Gianni of the Purple Sage. Wilde has participated in Symphony Orchestra. Jesse Donner is sponsored Schicchi, Belisa/The Love of Don Perlimplin). the young-artist programs of The Santa Fe by Robert C. Marks and Susan M. Miller. She has also been heard as the Page/Rigoletto Opera (King Roger) and Opera Theatre of with the Los Angeles Philharmonic. Extensive Saint Louis (The Death of Klinghoffer, A Little ZACHARY NELSON concert appearances include Bach Cantatas Night Music; she returns to OTSL this season (Donner) 211 and 209 (Whittier Bach Festival), as Mozart’s Vitellia). Concert engagements Lyric debut Mozart’s “Exsultate, jubilate” (USC Alumni include the Adrian Symphony Orchestra, Civic Orchestra), Lukas Foss’s Time Cycle (Aspen Orchestra of Chicago, Phoenix Symphony, The American baritone Music Festival and School), Samuel Barber’s and most recently the Elgin Symphony debuted last season as Knoxville: Summer of 1915 (American Youth (Mahler’s Symphony No. 4. and Bernstein’s Escamillo/Carmen at San Symphony), Frank Ticheli’s Songs of Love Symphony No. 1 “Jeremiah” last season). A Francisco Opera, and Palm and Life and Angels in the Architecture (both former Metropolitan Opera National Council Beach Opera. He will reprise the role later at University of Texas at Austin), George Auditions semi-finalist, Wilde is the winner of this season at Den Norske Opera (Oslo). Crumb’s Madrigals Book IV (Music Academy a 2016 Sarah Tucker Study Grant from the Nelson has sung both Escamillo and Masetto/ of the West), and Francesco Cilluffo’s The Richard Tucker Foundation, as well as the 2016 Don Giovanni (company debut), at Toronto’s Land to Life Again (world premiere, UCLA Luminarts Women’s Voice Fellowship. The Canadian Opera Company. Last season he Camarades Ensemble). Newman is an alumna soprano is an alumna of Indiana University and returned to Dresden’s renowned of Ravinia’s Steans Music Institute, Music St. Olaf College. as the Figaros of Rossini and Mozart. In 2013- Academy of the West, the Fall Island Vocal 14 Nelson joined that company’s permanent Arts Seminar, and the Aspen Opera Theater JESSE DONNER ensemble, where he has portrayed Paolo/Simon Center. Diana Newman is sponsored by Susan (Froh) Boccanegra, Guglielmo, Belcore, and Marcello. Ipsen and Mrs. J. W. Van Gorkom. Previously at Lyric: His portrayal of Mozart’s Figaro has been Four roles since 2014-15, heard with the Aix-en-Provence Festival on ANNIE ROSEN most recently Waiter/Der tour in Manama, Bahrain; and at The Santa Fe (Wellgunde) Rosenkavalier, Abdallo/ Opera, where he has also sung Malatesta/Don Previously at Lyric: Nabucco (both 2015-16); Pasquale. He returns to Santa Fe this summer Noble Orphan/Der Walther/Tannhäuser as Enrico/Lucia di Lammermoor (role debut). Rosenkavalier, Edith (2014-15). Successes in other roles include appearances Thibault/Bel Canto with the Seiji Ozawa Music Academy Opera (world premiere), Tisbe/ A third-year Ryan Opera Center member and Project in Japan (Falke/) and Cinderella (all 2015-16). native of Des Moines, Iowa, the tenor will Washington Concert Opera (Duke Robert/ return to the Lyric stage later this season as Strauss’s Guntram). The Maryland native, a A second-year Ryan Opera Center member Flavio/Norma and the First Armed Man/The graduate of The Academy of Vocal Arts and and a native of New Haven, Connecticut, Magic Flute. He was featured in May with Catholic University of America, was awarded the mezzo-soprano also appears at Lyric this

30 | October 1 - 22, 2016 PROFILES | LYRIC OPERA OF CHICAGO season in Les Troyens and The Magic Flute. (, Madama Butterfly, Salome). DAVID POUNTNEY She joined the Metropolitan Opera roster Her repertoire of concert works by Handel, (Director) during the 2013-14 season for Die Frau ohne Mendelssohn, Rossini, Verdi, and Mahler has Previously at Lyric: Schatten before returning to the apprentice been heard with the Pittsburgh Symphony, The Passenger(2014-15); program of The Santa Fe Opera. Rosen has Erie Philharmonic, Sioux County Oratorio (2001-02); appeared at the Caramoor Festival and as an and Symphony, and the Indiana University Satyagraha (1987-88). emerging artist with the New York Festival Orchestra. Ammann can be heard on CD in of Song. As the 2012 recipient of the Opera the Met’s Götterdämmerung (Grammy winner). Chief executive and artistic Foundation’s American Berlin Scholarship, director of since 2011, she performed 12 roles at the Deutsche Oper SIR ANDREW DAVIS the internationally celebrated British director Berlin (among them Second Lady/The Magic (Conductor) in recent seasons has created productions of Flute, Mercédès/Carmen, Flora and Annina/ Previously at Lyric: such formidable works as Jenůfa (Vienna), La traviata, Frantik/The Cunning Little Vixen, 52 operas since 1987, Lulu (Bolzano), Guillaume Tell and The and Sméraldine/The Love of Three Oranges). most recently Bel Canto Haunted Manor (both in Warsaw), and the She also sang Giannetta/L’elisir d’amore at world premiere, The Merry world premieres of Rolf Wallin’s Elysium Turin’s Teatro Regio. A highlight of her non- Widow, Wozzeck (all (Oslo), Elena Langer’s Figaro Gets a Divorce operatic appearances is a fully staged New York 2015-16). and Iain Bell’s In Parenthesis (both in Cardiff). City production of György Kurtág’s Kafka Revivals of Pountney productions will be seen Fragments. A Yale University and Mannes Lyric’s internationally renowned music this season in Warsaw, Hamburg, and Zurich. College graduate, Rosen holds awards from director, who was on the podium for the In addition, his production of Tchaikovsky’s the Gerda Lissner Foundation, The Santa Fe company’s previous Ring cycle (2004-05), will The Enchantress in Naples will mark that Opera, Central City Opera, the Connecticut also lead this season’s productions of Les Troyens work’s Italian premiere. Pountney’s historic Opera Guild, and the Shoshana Foundation. and Don Quichotte. The British conductor’s production of Mieczyslaw Weinberg’s The Annie Rosen is sponsored by Friends of Oliver busy schedule also includes recordings and Passenger was first seen at the Bregenz Festival Dragon. concerts with the Bergen Philharmonic, as (world stage premiere), where Pountney was well as his return to the Melbourne Symphony Intendant from 2003 to 2014. In addition LINDSAY AMMANN Orchestra (where he is chief conductor) and to Lyric, it has been remounted at London’s (Flosshilde) the major orchestras of Cleveland, Berlin, English National Opera, New York’s Lincoln Lyric debut and Liverpool. Highlights earlier this year Center Festival, and the major companies of included performances with the MSO and Warsaw, Houston (U.S. premiere), Miami, The American mezzo- the Detroit, Frankfurt Radio, and Toronto and Detroit. Former director of production at soprano has made impor- symphony orchestras. Maestro Davis is former English National Opera and Scottish Opera, tant company debuts in the music director of Glyndebourne Festival Pountney holds the Janáček Medal, the Ring – at the Metropolitan Opera and currently conductor laureate of Martinů Medal, and two Olivier Awards. He is Opera (Rossweisse/Die Walküre, DVD) both the BBC Symphony Orchestra and the both a CBE and a Chevalier des Arts et Lettres, and Washington National Opera (Erda/ Toronto Symphony Orchestra. His operatic has the Cavalier’s Cross of the Order of Merit Das Rheingold and Siegfried, Schwertleite/ successes include productions at such major of the Republic of Poland, and was awarded Die Walküre, First Norn/Götterdämmerung). international companies as the Metropolitan the Ehrenkreuz des Bundes Österreich in She has also sung Schwertleite at Toronto’s Opera, Covent Garden, and La Scala; the 2014. (See Director’s Note, page 38.) Canadian Opera Company, and returns there Bayreuth and Edinburgh festivals; and the this season as the First Norn. Ammann’s leading houses of San Francisco, Munich, JOHAN ENGELS European appearances include Third Lady/The and Santa Fe. Sir Andrew has appeared with (Original Scenery Designer) Magic Flute (Geneva’s Grand Théâtre), Ježibaba/ virtually every internationally prominent Previously at Lyric: Rusalka (new production, Aalto-Musiktheater orchestra, including those of Chicago, New The Passenger(2014-15); Essen) and many featured roles as a member York, Berlin, Amsterdam, , and Parsifal (2013-14). of the Stuttgart State Opera ensemble. She London. A vast discography documents has also been heard as Brangäne/Tristan und Maestro Davis’s artistry, with recent releases The eminent South African Isolde (Casals Festival), Beatrice/Le donne curiose including a greatly acclaimed performance designer (1952-2014) was (Wolf Trap Opera), and the Beggar Woman/ of one of his longtime specialties, Elgar’s The renowned internationally for his work in Sweeney Todd (National Symphony Orchestra). Dream of Gerontius, as well as individual discs opera, theater, and ballet. His designs for The Ammann is an alumna of the Resident Artist devoted to the works of Berlioz, Strauss, and Passenger have been integral to the success Program at Pittsburgh Opera (Lucia di Sir Arnold Bax. Sir Andrew Davis is the John of Mieczyslaw Weinberg’s opera – first in its Lammermoor, Rinaldo, Eugene Onegin, Falstaff, D. and Alexandra C. Nichols Music Director world stage premiere at the 2010 Bregenz The Rape of Lucretia) and the Gerdine Young Endowed Chair. Festival and subsequently in London, Warsaw, Artist Program at Opera Theatre of Saint Louis Houston (American premiere), New York,

October 1 - 22, 2016 | 31 PROFILES | LYRIC OPERA OF CHICAGO

Chicago, Detroit, and Miami. In addition Alois Zimmermann (Die Soldaten for the FABRICE KEBOUR to his Bregenz productions, highlights of Ruhr Triennale, which won Germany’s highly (Lighting Designer) Engels’s operatic career included productions prestigious Opernwelt Award). This season Previously at Lyric: for London’s Royal Opera House, Covent his designs for L’elisir d’amore will be seen at The Passenger (2014-15). Garden (Arne’s Artaxerxes), the Zurich . The designer’s theater Opera House (highlighted by such rarities as credits include productions in London’s West The French designer’s Johan Strauss II’s Simplicius, Montemezzi’s End for for the Royal Shakespeare Company, lighting has been essential L’amore dei tre re, and Chabrier’s L’étoile), the Old Vic, Nottingham Playhouse, Bristol to the success of more the Opéra de Marseille (Ring cycle), Los Old Vic, Theatre Royal Bath, and the than 200 productions since 1987. Earlier Angeles Opera (L’elisir d’amore, also seen in Chichester Festival (King Lear, also seen at the this year he designed for Paris’s Théâtre du Madrid, Geneva, and ), the Salzburg Brooklyn Academy of Music). Châtelet (Carmencita Jones, a bilingual version Festival (Turandot), Welsh National Opera of the Bizet/Hammerstein Carmen Jones), the (, Lulu, Don Carlos, the latter MARIE-JEANNE Opéra National de Montpellier (Offenbach’s coproduced with Houston Grand Opera), the LECCA Geneviève de Brabant), and Göteborgs Operan Deutsche Oper Berlin, the Opéra National (Costume Designer) (Madama Butterfly). This season Kebour de Paris, , and Finnish National Previously at Lyric: reprises the Offenbach work in Nancy (along Opera, among many other companies. In The Passenger (2014-15). with Ariadne auf Naxos) and will design Simon British theater the designer was associated Boccanegra for Opera Vlaanderen. Among with the Donmar Warehouse (including The Romanian-born, other major productions are The Italian Straw David Leveaux’s production of Sophocles’s London-based designer’s Hat and The House of Bernarda Alba (Comédie Electra, which transferred to Broadway), Royal operatic work has seen internationally Française), Macbeth and Turandot (La Scala), in many productions directed by David Shakespeare Company, Almeida Theatre, and La forza del destino (Vienna State Opera), Faust Pountney, most recently Jenůfa (Vienna), Chichester Festival. In Vienna he designed for (Opéra National de Paris), and The Magic Lulu (Bolzano), and Moniuszko’s The Haunted the Volksoper, State Opera, and the Theater Manor (Warsaw). Their production of Un Flute (Bregenz Festival). From 1991 to 1995 an der Wien. ballo in maschera will return to Zurich later Kebour worked internationally as associate this season. Since the world stage premiere of lighting designer for Cameron Mackintosh’s ROBERT INNES Weinberg’s The Passenger (Bregenz Festival, productions of Les Misérables and Miss Saigon. HOPKINS 2010), Lecca’s costumes for that work have His work beyond theatrical projects includes (Scenery Designer) been seen in London, Warsaw, Houston (U.S. designing the 2006 opening and closing Previously at Lyric: premiere), Chicago, New York, and Detroit. ceremonies of the 15th Asian Games in Doha. In addition to more than 40 productions Rigoletto (2012-13, Five years later he was selected for the Prague with Pountney, Lecca has collaborated with 2005-06). Quadrennial of Performance Design and many celebrated directors, among them Keith Warner and Francesca Zambello. Lecca’s Space exhibit “Light Speaks,” a retrospective The renowned British designs encompass repertoire of staggering of world-renowned lighting designers. Kebour designer has earned equal acclaim in opera variety, including Mozart (The Magic Flute, received a nomination for best lighting design and theater. He collaborates frequently with Bregenz); Rossini (Guillaume Tell, Geneva, at the Wales Theatre Awards (2015) and the director David Pountney, including Prince Warsaw; Mosè in Egitto, Cardiff); Wagner Molière Awards (2005, 2009, 2011). Igor at the Zurich Opera House, Carmen at the (Rienzi, Vienna; Tristan und Isolde, Cologne; Bolshoi Theatre in Moscow, the world premiere Ring cycle, Covent Garden); Puccini (Il DENNI SAYERS trittico, Lyon; Turandot, Salzburg); French of Peter Maxwell Davies’s Kommilitonen! at (Choreographer) works (Carmen, Moscow, Houston, Seattle; the in London, Previously at Lyric: Salammbô, Paris; La juive, Zürich; Pelléas and most recently the world premiere of Iain et Mélisande, Cardiff); 20th-century German Five productions since Bell’s In Parenthesis (Welsh National Opera) repertoire (Die Frau ohne Schatten, Zurich; 2000-01, most recently and Carl Nielsen’s Saul and David (Royal Moses und Aron, Munich; Wozzeck, Covent Porgy and Bess (2014-15, Danish Opera). Among the designer’s most Garden; Die Soldaten, Ruhrtriennale, New 2008-09); A Midsummer important achievements in opera are also York); Slavic works (Prince Igor, Zurich; King Night’s Dream (2010-11). works of Verdi (Rigoletto, WNO), Wagner Roger, Bregenz); American opera (Thérèse (The Flying Dutchman, WNO; Lohengrin, San Raquin, Dallas); and American musical theater The British choreographer and director will (Pacific Overtures, London; West Side Story, Francisco; Tristan und Isolde, Venice), Janáček return later this season to Lyric (The Magic Bregenz). Lecca received the Martinu Medal (The Cunning Little Vixen, San Francisco), Flute) and Glyndebourne (Hamlet). Other for Julietta (Opera North) and The Greek Britten (Peter Grimes, Billy Budd, both in future projects include The Cunning Little Vixen Passion (Covent Garden). Santa Fe), Puccini (Madama Butterfly, Den at La Monnaie (Brussels) and directing The Jyske Opera in Aarhus, Denmark), and Bernd Pearl Fishers at Tulsa Opera. In addition to

32 | October 1 - 22, 2016 PROFILES | LYRIC OPERA OF CHICAGO numerous productions at Covent Garden (most ROB KEARLEY passing, Rees has overseen the realization of recently Manon Lescaut), Sayers has recently (Associate Director) recent designs for The Great Gatsby at Dresden’s collaborated with directors Francesca Zambello Previously at Lyric: Semperoper and Twelfth Night in Tokyo. Rees (Ring cycle/Washington); the late Nikolaus The Passenger (associate continues to make architectural models for Lehnhoff (Turandot/La Scala‚ Elektra/Salzburg‚ director, 2014-15). 3DCreate, while also serving as assistant to set Parsifal/English National Opera‚ The Flying designer Paul Brown and production designer Dutchman/Los Angeles, / The British director, who Misty Buckley. Paris, Salome/Baden-Baden); Neil Armfield returns to the U. S. later (Ariadne auf Naxos/Toronto, Peter Grimes/ this season for his San Francisco Opera debut CHUCK COYL Sydney, Houston, Toronto); Jonathan Kent (Rigoletto), has worked with companies across (Fight Director) (Don Giovanni/Glyndebourne‚ Ibsen’s Emperor Europe and North America including English Previously at Lyric: and Galilean/Royal National Theatre, Sweeney National Opera, Canadian Opera Company, Five productions since Todd/Chichester Festival, London’s Adelphi Opera North, Opéra de Lyon, Prague State 2006-07, most recently Theatre – Olivier Award winner, The Flying Opera, Prague National Theatre, Teatro Tosca (2014-15); Porgy Dutchman/ENO, Private Lives/Chichester, Comunale Bolzano, and the Bregenz Festival. and Bess (2014-15, 2008- London); John Caird (Don Carlos/Houston); He has collaborated with numerous renowned 09); The Damnation of David Freeman (Sweeney Todd/Royal Festival directors, among them David Pountney, Faust (2009-10). Hall); and Adrian Noble/Hansel and Gretel Christopher Alden, Tim Albery, Robert Carsen, (Vienna State Opera). Sayers was revival director Cen Shi-Zheng, and Yoshi Oida, among oth- A professional fight director for more than of Zambello’s ROH production of Carmen, and ers. Recent engagements include Portraits de 30 years, Coyl is vice president of the Society has also directed revivals of Of Mice and Men Manon at the Wexford Festival; revivals of The of American Fight Directors. Recent credits (Washington), and Ariadne auf Naxos (Boston); Passenger for Florida Grand Opera, Michigan include the Broadway production and national new productions of Tosca (Toronto) and West Opera Theater, and Houston Grand Opera; tour of August: Osage County, The Crucible Side Story (Tel Aviv); and Rachel Portman’s directing at the 2012 Europa Cantat Festival and Superior Donuts at Steppenwolf Theatre The Water Diviner’s Tale and two Doctor Who in Turin; Judith Weir’s Miss Fortune at the Company, Magnolia at the Goodman Theatre, concerts (all for the BBC Proms). Her work has Royal Opera, Covent Garden; working with the and Private Lives at Chicago Shakespeare also been seen at the Bregenz Festival and the Opéra Comique in Paris; a new production of Theatre. Other notable productions in Chicago leading opera houses of Sydney, Amsterdam, Faust and a production of Death in Venice for include the world premieres of Killer Joe (Next Berlin, and San Francisco. Opera North; The Magic Flute for Bregenzer Lab Theatre), Bug (Red Orchid Theatre), and Festspiele; and Peter Grimes for Opéra de Lyon. The Point of Honor(Single Action Theatre SARAH HATTEN Company). Coyl is a founding member of (Wigmaster and Makeup MATT REES the Single Action Theatre Company, and is Designer) (Assistant Scenery Designer) on the faculty of the Actor’s Gymnasium and Previously at Lyric: Roosevelt University in Chicago. Lyric’s wigmaster and Parsifal (2013-14). makeup designer has worked in a wide repertoire After studying at the at Lyric and at Des Moines prestigious Surrey Institute Metro Opera and Michigan Opera Theatre, as of Art and Design, the Supernumeraries well as Columbus Opera, Toledo Opera, the British designer went on to pursue a career (Das Rheingold) Cabrillo Music Festival, and the University of in architectural model-making. He worked in Cincinnati College-Conservatory of Music. She London for a number of years, predominantly Bill Dubois has also worked at the Glimmerglass Festival for Richard Rogers Partnership, after which he Royce Jade and the major opera companies of Los Angeles, moved near Bath to set up his own company, Doc Syverson Omaha, Cleveland, Sarasota, and Central City, 3DCreate. He started working with set designer as well as Wisconsin’s American Players Theatre Johan Engels in 2009, assisting him for five and, in Los Angeles, the Pantages Theatre and years until his death in 2014. Rees worked with the Geffen Playhouse. Hatten earned a B.A. Engels on productions such as The Magic Flute in music at Simpson College. Sarah Hatten is at the Bregenz Festival, Mathis der Maler at the Marlys Beider Wigmaster and Makeup Vienna’s Theater an der Wien, and Faust at the Designer Endowed Chair. Opéra National de Paris (Bastille). Since Engels’s

October 1 - 22, 2016 | 33 RICHARD P. KIPHART August 30, 1941 – September 10, 2016

Chairman of Lyric Opera, 2011-2016 President and CEO of Lyric Opera, 2006-2011, 2015 Member of the Lyric Opera Board of Directors since 1998

We are deeply saddened by the news of Dick’s passing. He was a beloved member of the Lyric family, having been our board president and CEO, and most recently serving as our chairman. Dick touched so many lives in Chicago and around the world.

Everyone at Lyric extends our deepest condolences to Susie, Dick’s widow, and to their family.

Dick and Susie’s leadership at Lyric has had incalculable value and importance. We are immensely grateful to them both. Lyric will benefit from Dick’s passion and commitment for many years to come.

Lyric dedicates, with our love and gratitude, this production of Das Rheingold to the memory of Dick Kiphart.

David T.Ormesher Anthony Freud President & CEO General Director

34 | October 1 - 22, 2016 OPERA NOTES | LYRIC OPERA OF CHICAGO

A Vote for Das Rheingold By Richard Rothschild

rom the sustained E-flat chord that opens the work in the depths of the Rhine to the final grand entrance of Fthe gods into Valhalla, Das Rheingold is filled with musical glories. There is nonstop action, a rarity in Wagner operas, as the composer keeps the pedal to the metal. Rheingold’s brevity (about two and a half hours without intermission) yields a musical and dramatic urgency separating it from the later Ring operas. The momentum is con- stant – there’s no looking back as in Wotan’s lengthy monologue in Die Walküre, the Q & A session between Wotan and Siegfried in Siegfried, or the Norns’ prolonged narrative that opens Götterdämmerung. David Pountney, director of Lyric Opera of Chicago’s new Ring cycle, has commented that Rheingold brings “wit, color and a vivid sense of storytelling...probably the best story of the four operas...It has a very good, fast- Emil Fischer as the Metropolitan Opera’s Wotan in Lyric’s new production of moving narrative structure.” Indeed, with its first Wotan, 1889. Das Rheingold, costume design by gods and giants, dwarves, and the aquatic sis- Marie-Jeanne Lecca. ters – as well as its brevity – Rheingold actually Wagner’s Ring often has drawn com- Hunding’s kinsmen. And Erda’s music that provides an inviting introduction to Wagner parisons to J.R.R. Tolkein’s The Lord of Rings warns of the gods’ ultimate doom returns at for youngsters, whose aural sensitivities may trilogy with Rheingold playing the role of The the very end of the tetralogy as Valhalla burns. not be ready for the extended challenges of the Hobbit, Tolkein’s brief introduction to his ThroughoutDas Rheingold the music feels later Ring operas, to say nothing of Tristan und epic saga. But Rheingold has far more meat on new and fresh. Indeed, in the very first words Isolde or Parsifal. its bones than The Hobbit, which offers little of the opera, with the River Rhine flowing as Although Das Rheingold – what Wagner more than an appetizer for the main course if at the beginning of time, the Rhinemaiden described as a “Vorspiel” (prelude) to the yet to come – despite director Peter Jackson’s Woglinde speaks of early childhood: “Surge, Ring – doesn’t include the cycle’s best-loved attempt to turn a short book into a three- wave, make our cradle rock.” In effect, we are and most recognizable melodies, it’s a popular movie extravaganza. present at the creation. work in its own right and has continued to In Das Rheingold, Wagner establishes a Dramatically, this is an endlessly fas- build audiences worldwide. There have been musical vocabulary for the remainder of the cinating work as well. Unlike the subse- more than 100 performances of the opera Ring cycle, particularly the leitmotifs (signa- quent Ring operas, most of the characters in in nearly 30 cities since the start of 2014 ture themes) associated with characters, situ- Rheingold understand the high stakes, par- alone. This includes major houses in Bayreuth, ations, and even particular objects through all ticularly once Alberich steals the gold from the Munich, Vienna, and Amsterdam but also four operas. Rheingold’s music hints at events Rhinemaidens and forges it into the all-pow- lesser-known theaters in Bulgaria, Norway, yet to come – for example, Loge’s Scene Two erful ring. And they know one another’s back South Korea, and Kazakhstan. Rheingold has narrative foreshadows the “Forest Murmurs” stories. The giant Fasolt, for example, says of ranked among the top 40 of the most-per- of Act Two in Siegfried. The thunderous music Alberich, “The Nibelung has done [the giants] formed operas internationally for nearly all that accompanies Donner’s calling to the mists much harm.” Fricka dismisses the flirtatious of the past decade, second only to The Flying in Scene Four reappears almost immediately in Rhinemaidens, noting, “Let me hear nothing Dutchman among Wagner’s works and often Die Walküre’s opening measures as Siegmund about that watery brood…many a lovesick ahead of such operatic staples as Norma, Der dashes through a violent storm to escape man have they lured into the flood.” Rosenkavalier, Fidelio, Faust, and Salome.

October 1 - 22, 2016 | 35 OPERA NOTES | LYRIC OPERA OF CHICAGO

Alberich with the Rhinemaidens, as drawn by Arthur Rackham for his famous series of illustrations of the Ring operas.

Caesar Willich’s portrait of Richard Wagner at the time of Das Rheingold.

fog, allowing the gods a full view of Valhalla in its true splendor – certainly one of the most exciting passages in all Wagner. The opera’s three main characters, the chief god Wotan, the demigod of fire Loge, and the dwarf Alberich, take turns providing Rheingold with its twists and turns. Wotan is a conflicted god who often acts more like a wheeler-dealer politician than a divine being. “He is a great figure, but, at the same time, he’s flawed,” Pountney has noted. “Wotan is a very tormented and challenged person – politically, emotionally, sexually, and domestically.” And, for sure, Wotan will The gods, about to cross the rainbow bridge into Valhalla. They are depicted in one of make some disastrous decisions throughout numerous sketches commissioned by Wagner from Viennese landscape artist Josef Hoffmann, and used as the basis for the designs of the first Bayreuth production in 1876. the Ring. When John Updike wrote his famous In contrast, although audiences later in that her three daughters, the Norns (an oper- essay in The New Yorker about Ted Williams’s the cycle can applaud the brave innocence of atic precursor of the three precogs in Steven final game in 1960, he said of Williams’s Siegmund, Sieglinde, and their son Siegfried, Spielberg's 2002 filmMinority Report) weave refusal to tip his cap to Red Sox fans at Fenway these characters know next to nothing about the threat of destiny. Erda then adds ominous- Park after hitting a home run in his last at-bat, their places in the larger drama. Even worse are ly a “doom-laden day is dawning for the gods.” “Gods do not answer letters.” Wotan gives the Götterdämmerung’s clueless Gibichung siblings, Although her music somewhat resembles that impression that not only does he answer let- Gunther and Gutrune, maneuvered like pup- of the surging Rhine that opens the opera, this ters – he probably reads the other gods’ mail pets by Hagen, their villainous half-brother. time it’s in a minor key and far slower. Carolyn as well. He’s not a bad fellow per se but his There are no small roles in Rheingold. Abate and Roger Parker, in their authoritative actions, particularly his dismissive treatment Secondary characters such as Erda, Donner, survey A History of Opera, write, “It’s as if the of his wife Fricka and his double-dealing with and even the giants Fasolt and Fafner have water has turned glacial.” the giants regarding payment for the construc- moments of beauty, power, and eloquence. Another supporting character, Donner, tion of Valhalla, often fail to position him in Erda, the primordial Earth goddess who seems the god of thunder, can make a monumental the best light. to come from a long-ago epoch that geologists effect as well. Later in Scene Four he delivers his Loge blends wit, intelligence, and cyni- call Deep Time, warns Wotan in Scene Four to call to the mists. With a mighty hammer blow cism. He likes to view himself as the smart- “flee the curse of the ring.” She lets him know the god of thunder clears away the clouds and est guy in the room or the brightest god on

36 | October 1 - 22, 2016 OPERA NOTES | LYRIC OPERA OF CHICAGO DAN REST DAVID H. FISHMAN,

Loge (Bonaventura Bottone, seated) is questioned by Donner (James Rutherford, left) The giants, Fasolt (Bengt Rundgren) and Froh (Mark Baker, right). Observing are Fafner (Raymond Aceto, back left) and and Fafner (Hans Sotin) in Lyric’s Fasolt (Andrea Silvestrelli, back right): Das Rheingold at Lyric, 2004-05 season. first production of Das Rheingold, 1971. the mountaintop. Generously, he has been Das Rheingold sits fifth among Wagner’s The latter three operas of the Ring cycle described as Wotan’s secretary of state, the mature operas, following by six years the comple- will find the gods less powerful and far less gods’ ambassador to the world at large. But tion of Lohengrin. Wagner composed the music able to control events. Alberich’s dire warning Loge is also a political fixer who spends much to Das Rheingold in late 1853 through mid-1854, will carry through the years: “Keep the ring. of his time cleaning up his boss’s mess. His but it took another 15 years for the opera to Guard it well. You shall not escape my curse.” quicksilver music helps separate Loge from the receive its world premiere, September 22, 1869, This menacing dwarf will haunt Wotan and his other gods, who, other than Wotan, treat him in Munich. Two of Germany’s most important offspring for the rest of the saga. with suspicion and regard him as an outsider. artists of the time were heard in key roles – bass- Never again will we see Donner, the And yet this shape-shifter also has music of baritone August Kindermann (Wotan) and tenor rainbow god Froh, or the goddess of beauty substantial beauty. His Scene-Two description Heinrich Vogl (Loge). Freia. Fricka appears for one scene in Act of wandering the Earth to find a substitute for Under the guidance of an accomplished Two of Die Walküre and that’s it. Erda love sounds, in parts, like a Schubert song. conductor with top-flight singers and imagina- emerges only briefly at the start of Act Alberich travels the longest journey. At tive set designs, Das Rheingold’s 150 minutes Three in Siegfried. Even Wotan is gone by the start of Das Rheingold, he’s a playful albeit can pass quickly. And as the curtain prepares Götterdämmerung. Loge becomes the Ring’s somewhat grubby dwarf who longs to frolic to lower, all appears well. With Wagner apply- silent partner. His fire – and music – sur- in the waves with the Rhinemaidens, telling ing the full force of the orchestra, the gods round Brünnhilde’s rock in the final three them, “Ha, ha, you nymphs, how graceful you cross the rainbow bridge into their new home operas but his voice is stilled. are.” By opera’s end he has become a breeder of Valhalla, blissfully ignoring the pleas far The Twilight of the Gods has begun long of evil and danger. After being dispossessed of below from the Rhinemaidens who seek the before Götterdämmerung. the ring by Wotan he produces his awful curse: return of their gold. For the present, however, it's not bad to be “Now [the ring’s] magic shall breed death for A happy ending? Not really. an immortal in Valhalla. As Das Rheingold ends him who wears it.” The crafty Loge notes, “[The gods] are in apparent triumph, why not follow the words He despoils nature. When Alberich for- hastening to their doom. I am almost ashamed to of Loge (sarcastic though they may be), who swears loves and makes off with the magic have any share in their doings.” Pountney suggests advises the Rhinemaidens: “If you no longer gold at the end of Scene One the once- Wagner is being ironic and that the music that bask in the light of the gold, instead you can buoyant music of the Rhine turns dark as if many listeners regard as majestic also could be bask in the new-found radiance of the gods.” the life-giving waters have receded, leaving a interpreted as “bombastic” or even “a lot of BS.” barren riverbed in its wake. Later in the opera, Yes, Valhalla provides a prestigious new Richard Rothschild of Oak Park has written the subterranean kingdom of Nibelheim also address but the gods are ruling on borrowed about opera for more than 30 years, including during a 21-year stint at the Chicago Tribune. suffers hard times under Alberich’s lash. His time. Golden ages, be it the Age of Pericles, One of the first operas he heard, at the age of brother Mime moans, “We used to laugh mer- the summit of the British Empire, or what nine, was Wagner’s The Flying Dutchman rily as we worked.” There are no laughs with historians call The American High of 1946-64, at the original Metropolitan Opera House in Alberich calling the shots. rarely last long. New York.

October 1 - 22, 2016 | 37 DIRECTOR’S NOTE | LYRIC OPERA OF CHICAGO

DIRECTOR’S NOTE MICHAEL BROSILOW Wagner’s Ring cycle is based on adaptations of the High German “Nibelungenlied” (The Lay of the Nibelung) and the Norse sagas. These were originally aural texts, created for narration rather than reading. That gave us our first and most important clue: our Ring would primarily be an act of narration. This is, you might say, in clear contrast to many contemporary ver- sions of the Ring which are acts of interpretation. Of course it is not possible to tell a story without simultaneously giving it some element of interpretation – we all like to pretend we are objective, but we are not. But the emphasis in our case will be to tell the story, rather than to tell you what the story means. That is your job to decide. A narrator does two essential things: he tells you the story, and through the atmosphere, color, and passion of his story-telling, he encour- ages his listeners to suspend their disbelief, to become part of the story. Nonetheless, as you do suspend your disbelief, you are always in some Onstage at a Rheingold technical rehearsal, July 2016. corner of your mind aware that this is a story, and this is the storyteller. So we set out with our designs to create a theatrical framework for the stage, which continually allows us to revert to its pristine, virginal condi- tion: the empty stage. And on that empty stage we continually re-create the illusion in which you will believe, even though we will continually reveal to you, show you, demonstrate even, how the illusion is created. This is the magical pact between the storyteller and his audience, and who will deny that the story of The Ring of the Nibelung is one of the greatest stories ever told. “Are you sitting comfortably? Then I’ll begin: Once upon a time….” The interesting thing is that opera always has two narrators – the music and the stage, and this is the dichotomy that lies at the heart of all intelligent discussion about the authenticity, or otherwise, of pro- ductions. Our “naked” narration onstage is, you might think, at odds with the music, which is immersive, overwhelming, transporting, and richly, richly clothed. Wagner seeks through the heady, seductive hal- lucinatory power of his music to carry you through his story in a state of narcotic submission. But no staging can successfully copy, or double, Technical rehearsal with, left to right, technical coordinator Stephen that power. And two narrators working with the same high-octane fuel Snyder, choreographer Denni Sayers, production design director Scott Marr, would be destructive, so our quieter, more playful, innocent, even naive stage manager John W. Coleman, costume designer Marie-Jeanne Lecca, narrative will fully allow the music its power and the story its purpose. director David Pountney, and set designer Robert Innes Hopkins. Within that framework, we were also aware that the entire Ring was a work which developed over a quarter of a century, and that as the text was written backwards, continually justifying current actions by histori- emotional encounters. The incestuous lovers, Siegmund and Sieglinde, cal motives, and the music was written forwards, we have in Rheingold Wotan and his wife, Wotan and his daughter – an opera in themselves the most radical dramaturgy – a fast-moving political cartoon – and the – Siegfried and his wicked “stepmother” Mime, Wotan and his sur- most (relatively!) conventional music (especially harmonically), whereas rogate hero, Siegfried, Siegfried and Brünnhilde – a fully operatic duet in the final work the dramaturgy is that of a 19th-centuryGrand Opéra – Brünnhilde and her Valkyrie sister Waltraute, and on it goes. TheRing while the music is that of a radical new music drama. Imagine a Verdi is partly a cycle of two-handed playlets! cycle that started with Nabucco and ended with Falstaff! This means that We will also seem to be moving inexorably forward through time, as each work, although part of a clearly structured cycle, has its own unique befits a saga conceived on such a grand scale.Rheingold deals with histori- qualities, and although our simple theatre framework remains constant, cal time when the gods were nomads but intent on walling themselves up the styles with which we populate that empty stage change quite signifi- in a pompous castle worthy of the Habsburgs, dressed to match, Alberich cantly over the four works. is turning from a clumsy, mocked seducer into an early industrialist, and After the “political cartoon” of Rheingold, Walküre is an Ibsenesque Wotan is dreaming of Imperialist hegemony. In Walküre’s bourgeois drama, much of which happens in domestic spaces, Siegfried is an ebul- dwellings and palace corridors, the compromises of power come home to lient and magical child’s view of the world, and Götterdämmerung is a roost, whilst Siegfried romps through a childish landscape of innocence. grand opera of love, betrayal and revenge. Innocence is well and truly drowned in Götterdämmerung, in which Everyone of course emphasises the extraordinary dimensions of the we advance into a malevolent and dyspeptic view of the future. Does Ring across time, space, orchestral, scenic, and vocal resources. So it is Brünnhilde’s final sacrifice burn evil to ashes and wash the world clean? worth remembering that our sometimes-empty stage gives focus to an We must fervently hope so! all important aspect: the huge sequence of deeply intimate, personal, — David Pountney

38 | October 1 - 22, 2016

LYRIC OPERA OF CHICAGO Das Rheingold: After the Curtain Falls

When the performance is over, try discussing it with your companions and any other opera lovers you know! You can continue your pleasure in Das Rheingold for hours – even days – by exchanging ideas about it. Here are some topics we can suggest:

• What elements of the production, and what episodes in the music and drama, delighted you the most?

• In this opera, love seems to be everyone’s ultimate goal – until they get a glimpse of power. What is Wagner saying by making these two things mutually exclusive?

• Compare Wotan to other powerful figures in today’s world. How do their ruling-styles compare and differ?

• How did you experience the motion of the Rhine when you listened to Wagner’s prelude?

• Alberich is driven by passion and not intellect. How does that come across in the characterization? How does it affect his outcome?

• When looking at the end of the opera – the Rhinemaidens mourning the loss of their gold juxtaposed with gods’ enjoyment of it, a new home, and all of the power – what statement do you think Wagner could have been making? Costume designer Marie-Jeanne Lecca’s sketches for Fricka (top) and Freia in Lyric’s new production of Das Rheingold.

To continue enjoying Das Rheingold, Lyric dramaturg Roger Pines suggests the following performances:

• CD – George London, Gustav Neidlinger, Set Svanholm; • DVD – Donald McIntyre, Hermann Becht, ; Vienna Philharmonic, cond. Sir (Decca) Bayreuth Festival, cond. , dir. Patrice Chéreau • CD – Michael Volle, Tomasz Konieczny, Burkhard Ulrich; (Deutsche Grammophon) Bavarian Radio Orchestra, cond. Sir Simon Rattle • DVD – Terje Stensvold, Jochen Schmeckenbecher, (BR Klassik) Kurt Streit; Frankfurt Opera, cond. Sebastian Weigle, dir. • CD – Dietrich Fischer-Dieskau, Zoltan Kelemen, Vera Nemirova (Arthaus Musik) ; Berlin Philharmonic, cond. Herbert von • DVD – Sir John Tomlinson, Linda Finnie, Günter von Karajan (Deutsche Grammophon) Kannen; Bayreuth Festival, cond. , dir. Harry Kupfer (Unitel)

40 | October 1 - 22, 2016 LYRIC OPERA OF CHICAGO

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October 1 - 22, 2016 | 41 LYRIC OPERA OF CHICAGO

Music Staff Teresa Kay Fream Dionne Jackson, Horn Extra Musicians Peter Labella Assistant Principal Jonathan Boen, Principal Injoo Choi, Violin II William C. Billingham Ann Palen Alyce Johnson Fritz Foss, Assistant Principal/ Michael Shelton, Violin II Susan Miller Hult Irene Radetzky Piccolo Utility Horn Rika Seko, Violin II Matthew Piatt John D. Robinson Alyce Johnson Robert E. Johnson, Third Horn Benton Wedge, Viola Noah Lindquist David Volfe Samuel Hamzem Aurelien Pederzoli, Viola Jerad Mosbey Albert Wang Oboe Neil Kimel Paula Kosower, Cello Eric Weimer Judith Kulb, Principal Jeremy Attanaseo, Bass Keun-A Lee Viola Robert E. Morgan, Trumpet Rachel Blumenthal, Flute Grant Loehnig Carol Cook, Principal Assistant Principal William Denton, Principal Anne Bach, Oboe Mario Antonio Marra Terri Van Valkinburgh, Judith Zunamon Lewis Matthew Comerford, Sergey Gutorov, Clarinet Francesco Milioto Assistant Principal Co-Assistant Principal Matthew Oliphant, Steven Mosteller Frank W. Babbitt English Horn Channing Philbrick, Horn/Wagner Tuba Robert Tweten Patrick Brennan Robert E. Morgan Co-Assistant Principal Gabby Webster Mulcahy, Karl Davies Horn/Wagner Tuba Orchestra Amy Hess Clarinet Trombone Stephanie Blaha, Melissa Trier Kirk Charlene Zimmerman, Jeremy Moeller, Principal Horn/Wagner Tuba Violin I Di Shi Principal Mark Fisher, Assistant Principal Marc Zyla, Horn Robert Hanford, Concertmaster Linda A. Baker , David R. Becker** Doug Rosenthal, Bass Trumpet Mrs. R. Robert Funderburg Cello Co-Assistant Principal John Schwalm* Alison Attar, Harp Concertmaster Endowed Chair Calum Cook, Principal Susan Warner, Cathy Litaker, Harp Sharon Polifrone, Mark Brandfonbrener Co-Assistant Principal Bass Trombone Emily Granger, Harp Assistant Concertmaster William H. Cernota David R. Becker** Alexander Belavsky Laura Deming Bass Clarinet John Schwalm* Stageband Musicians Kathleen Brauer Barbara Haffner Linda A. Baker Joel Cohen, Percussion Laura Park Chen** Walter Preucil Tuba Rich Janicki, Percussion Pauli Ewing Bassoon Andrew Smith, Principal Michael Kozakis, Percussion Bing Y. Grant Bass James T. Berkenstock, Joseph LaPalomento, David Hildner Michael Geller, Principal Principal* Harp Percussion Ellen Hildner Brian Ferguson, Lewis Kirk, Marguerite Lynn Williams, Laura Miller Assistant Principal* Acting Principal Principal Librarian Liba Shacht Andrew L. W. Anderson Preman Tilson John Rosenkrans, Principal Heather Wittels Ian Hallas Acting Assistant Principal Timpani Gregory Sarchet John Gaudette** Edward Harrison, Principal Personnel Manager and Violin II Timothy Shaffer** Stageband Contractor Yin Shen, Principal Collins R. Trier Contrabassoon Percussion Christine Janicki John Macfarlane, Lewis Kirk Michael Green, Principal Assistant Principal Flute Douglas Waddell, Marie Tachouet, Principal Assistant Principal *On leave, 2016-17 season Bonita Di Bello **Season substitute Diane Duraffourg-Robinson Eric Millstein

Chorus Master Colleen Lovinello Robert Morrissey Bass Tenor Michael Black Lynn Lundgren Kenneth Nichols Claude Cassion Curtis Bannister Howard A. Stotler Chorus Yvette Smith Steven Pierce Christopher Filipowicz Matthew Daniel Master Endowed Chair Marie Sokolova Robert J. Prindle Nicolai Janitzky Joseph Diehl Maia Surace Thomas Sillitti Klaus Georg Regular Chorus Laurie Seely Vassalli Craig Springer Supplementary Chorus Tyler Samuel Lee Pamela Williams Jeffrey W. Taylor Brett J. Potts Soprano Corinne Wallace-Crane Ronald Watkins Soprano Peder Reiff Elisa Billey Becker Nikolas Wenzel Elena Batman Chase Taylor Jillian Bonczek Tenor Katy Compton Patricia A. Cook-Nicholson Geoffrey Agpalo Core Supplementary Joelle Lamarre Bass Cathleen Dunn Jason Balla Chorus Katelyn Lee Michael Cavalieri Janet Marie Farr Timothy Bradley Rosalind Lee Carl Frank Sharon Garvey Cohen Hoss Brock Soprano Susan Nelson Kirk Greiner Desirée Hassler William M. Combs Jill Dewsnup Brooklyn Snow John E. Orduña Rachael Holzhausen John J. Concepcion Carla Janzen Christine Steyer Wilbur Pauley Laureen Janeczek-Wysocki Kenneth Donovan Suzanne M. Kszatowski Kelsea Webb Douglas Peters Kimberly McCord Joseph A. Fosselman Kaileen Erin Miller Martin Lowen Poock Heidi Spoor Lawrence Montgomery Mezzo Dan Richardson Stephani Springer Mark Nienow Mezzo Katie Ruth Bieber Vincent P. Wallace, Jr. Elizabeth Anne Taylor James Odom Sarah Ponder Robin Bradley Sherry Watkins Thomas L. Potter Michelle K. Wrighte Amy Anderson de Jong Walton Westlake Hillary Grobe Mezzo Tenor Adrienne Price Claudia A. Kerski-Nienow Bass Jared V. Esguerra Emily Price Marianna Kulikova Matthew Carroll Joe Shadday Amanda Runge David DuBois Dane Thomas Carolyn J. Stein

42 | October 1 - 22, 2016 LYRIC OPERA OF CHICAGO BACKSTAGE LIFE: Up close and personal at Lyric April Busch

What is your role here at Lyric, and page. It’s challenging, but we make it how long have you held the position? work! Communicating with designers I’ve been the production manager that are based in different time zones here at Lyric for four years. I (like Australia) is tough, too. negotiate contracts for the designers of our productions and help plan What keeps you committed to the their schedules. I also handle work you do? communication within the company if I love it because my job is hectic, and there are any special events occurring because it’s never the same. I believe in the building, like board meetings or in the product, in opera, as an escape photo shoots. Anytime someone needs and as a therapy. It allows you to to have the crew (stage crew, wigs, forget about your mortgage or world makeup, wardrobe, props, carpenters, problems for a few hours and just sound, and electricians) involved in listen to beautiful music. something that isn’t onstage, I help facilitate that as well. What’s something about your job that people might not know? What led you to work at Lyric? I handle all the scheduling of the I worked for San Francisco Opera safety trainings for the stage crew. for 14 years, and I was interested in It’s my job to make sure they have getting back to my Midwestern roots. appropriate safety licenses for any I’m originally from southern Indiana. given production, such as CPR and When I was five years old, I came to fire-extinguisher training. I also deal Chicago during a family Christmas with the fire marshal more than most trip and I told myself I would live in people might expect. I have to obtain Chicago one day. I love opera so much that in grad school at the Yale permits any time we use live flame onstage (at least four productions School of Drama, I wrote my thesis on how to plan and produce an from the 2016-17 season will use fire), even if it’s just for a candle. opera season. And now I’m here! A favorite Lyric moment? What’s a typical day like for you? The opening night of Rusalka during our 2013-14 season. It was such Every day is unique. I come in with a planned to-do list, and my day a beautiful, special show. I had never seen it before and it was magical. often takes me in completely different directions. I’m usually fielding The music was gorgeous, and it made me proud to work here. requests, answering calls, or trying to find the answers to questions. I’m an information hub. My day can also include scheduling, budgeting, Beyond opera, what are your other passions? writing contracts, and coordinating where the crews need to go. I love to travel. It’s great seeing yourself through other people’s eyes and seeing how people in different places live. It really reaffirms your What’s the most challenging aspect of your job? identity. Egypt was fascinating. Cambodia is on my travel bucket list. Making sure communication between different groups and departments is accurate and up to date. From the technical department to the stage — Kamaria Morris crew to the designers, I ensure that we all start and end on the same Lyric Public Relations Specialist

October 1 - 22, 2016 | 43 LYRIC OPERA OF CHICAGO

Artistic Roster

Sopranos Štefan Margita Enrique Mazzola Projection Designer Eleonora Buratto Dennis Petersen Alejo Pérez Rob Vale Jennifer Check John Pickle Ainars Rubikis Christine Goerke Matthew Polenzani Chorus Master Nicole Haslett Rodell Rosel Directors Michael Black Jeni Houser Michael Spyres Tim Albery Christiane Karg Andrew Staples Neil Armfield Choreographers Kathryn Lewek Russell Thomas Rob Ashford Rob Ashford Ana María Martínez Robert Carsen Serge Bennathan Hlengiwe Mkhwanazi Kevin Newbury Helen Pickett Chelsea Morris Nicola Alaimo Matthew Ozawa Denni Sayers Diana Newman Kyle Albertson David Pountney August Tye Ailyn Pérez Quinn Kelsey Paula Suozzi Sondra Radvanovsky Mariusz Kwiecień Graham Vick Associate Choreographer Albina Shagimuratova Lucas Meachem Chris Bailey Kara Shay Thomson Zachary Nelson Associate Directors Ann Toomey Emmett O’Hanlon Marina Bianchi Assistant Choreographer Melinda Whittington Takaoki Onishi Rob Kearley Sarah O’Gleby Laura Wilde Daniel Sutin Louisa Muller Ballet Mistresses Mezzo-sopranos Bass-baritones Set and Costume Designers Sarah O’Gleby Lindsay Ammann David Govertsen Paul Brown August Tye Jenni Bank Philip Horst Johan Engels Tanja Ariane Baumgartner Daniel Mobbs Dale Ferguson Wigmaster and Makeup Designer Elizabeth DeShong Richard Ollarsaba Ralph Funicello Sarah Hatten Eve Gigliotti Eric Owens Tobias Hoheisel Katharine Goeldner Adam Plachetka Robert Innes Hopkins Fight Choreographers Jill Grove Bradley Smoak Jessica Jahn Chuck Coyl Ekaterina Gubanova Christian Van Horn David Korins Nick Sandys Suzanne Hendrix Samuel Youn Marie-Jeanne Lecca Sophie Koch Michael Levine Translators for English Titles Basses Alisa Kolosova David Rockwell Christopher Bergen Beth Lytwynec Dmitry Belosselskiy Missy West Ian D. Campbell Clémentine Margaine Christof Fischesser Roger Pines Catherine Martin Ferruccio Furlanetto Assistant Set Designer Francis Rizzo Lindsay Metzger Patrick Guetti Matt Rees Colin Ure Anita Rachvelishvili Tobias Kehrer Aleksandra Romano Adrian Sâmpetrean Lighting Designers Annie Rosen Wilhelm Schwinghammer Christine Binder The American Guild of Zanda Švēde Andrea Silvestrelli Damien Cooper Musical Artists, AFL-CIO Okka von der Damerau Dancers David Finn (AGMA), is the union Shannon Alvis Donald Holder that represents the singers, Contralto Jacob Ashley Fabrice Kebour dancers, actors, and staging Lauren Decker Leah Barsky Chris Maravich personnel at Lyric Opera Miranda Borkan Duane Schuler of Chicago. Trebles Liam Burke Asher Alcantara Holly Curran DAN REST Alex Becker Alejandro Fonseca Ian Brown Wotan (James Morris) is unable to calm Randy Herrera Freia (Erin Wall): Das Rheingold Casey Lyons Marissa Lynn Horton Patrick Scribner Jeffery B. Hover, Jr. at Lyric, 2004-05 season. Ethan R. Kirschbaum Weston Krukow Piotr Beczała Demetrius McClendon Corey Bix Hayley Meier Michael Brandenburg Sarah O’Gleby Todd Rhoades Robert Brubaker Abigail Simon Joseph Calleja Malachi Squires Alec Carlson Jacqueline Stewart Charles Castronovo J.P. Tenuta Matthew DiBattista Maleek Washington Plácido Domingo Jessica Wolfrum Jesse Donner Allan Glassman Conductors David Guzman Harry Bicket Keith Jameson Sir Andrew Davis Jonathan Johnson Riccardo Frizza Brandon Jovanovich Eugene Kohn Mingjie Lei Rory Macdonald

44 | October 1 - 22, 2016

Complement your visit to Lyric with a BACKSTAGE TOUR! Wonder at the art-deco beauty of the Ardis Krainik Theatre, enjoy an up-close-and-personal view of the orchestra pit, and see where the magic happens backstage. Visit lyricopera.org/backstagetours for dates throughout the season and to learn more about our many backstage tour options!

OPENING-PERFORMANCE LIVE-BROADCAST DATES AND TIMES Stars of Lyric Opera at Millennium Park DON’T MISS A MOMENT Fri., Sept. 9 at 7:15pm Das Rheingold | Wagner OF THE SEASON. Sat., Oct. 1 at 5:45pm Lucia di Lammermoor | Donizetti Did you know that every performance from this Lyric Sat., Oct. 15 at 7:15pm season is heard twice on and ? 98.7 WFMT wfmt.com Les Troyens | Berlioz You can listen to live opening performances for every Tues., Nov. 1 5 at 7:15 p.m.* (taped from 11/13) main stage production and hear them again in the spring. Don Quichotte | Massenet Join Lyric’s dramaturg Roger Pines and WFMT’s midday Sat., Nov. 19 at 7:15pm program host, Lisa Flynn, as they co-anchor this season’s The Magic Flute | Mozart broadcasts. Tune in for opera live from Lyric, plus Sat., Dec.10 at 7:15pm commentary and special features. Listeners will have Norma | Bellini access to line-by-line translations in real time online Sat., Jan. 28 at 7:15pm at lyricoperalive.org. Carmen | Bizet Sat., Feb. 11 at 7:15pm The Lyric Opera of Chicago Broadcasts are generously sponsored by the Caerus Foundation, Inc., with matching funding provided by The Matthew and Kay Bucksbaum Family, The John and Jacolyn Eugene Onegin | Tchaikovsky Bucksbaum Foundation, and The Richard P. and Susan Kiphart Family. Sun., Feb. 26 at 1:45pm Daniel Goldberg is the producer for The Lyric Opera of Chicago Broadcasts. David Polk is the executive producer. *this will be a delayed broadcast of the live opening from 11/13

46 | October 1 - 22, 2016 LYRIC’S  SEASON THRILLING MUSIC AND DAZZLING THEATER

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EXPERIENCE .. | LYRICOPERA.ORG PATRON SALUTE | LYRIC OPERA OF CHICAGO Patricia and Jerry Frank: World Class Opera for a World Class City

For Pat and Jerry Frank, ing right at me. I’m sitting Lyric Opera is the best in the there getting more and more world. “We love this com- nervous because he never pany, and we have watched takes his eyes off me. Of it evolve over the 45 years course Jerry thinks I’m crazy we have been attending. I for thinking he was looking think it is getting better and straight at me, but I can’t better,” Jerry tells me as we break eye contact, so I’m sit- sit down in one of Lyric’s ting there staring at him and backstage dressing rooms trying not to cough.” before a Ryan Opera Center “A few weeks later,” Jerry scenes workshop this sum- says, “there was a big spread mer. “This season, not as far on him in Time magazine in as which operas were being which they asked him how performed necessarily, but in he kept from getting ner- the overall quality of the pro- vous when he performs. Sure ductions, was one of the best enough, he said he picks out we have ever seen. There was Jerry and Pat Frank with Ryan Opera Center tenor Mingjie Lei someone in the audience, usu- also one I remember in the ally a pretty woman, and sings late 80s, but this past year ful voice.” For both of them, attending Lyric right to her the whole time!” was outstanding.” performances were what grew their modest Pat beams, “I can say I have had the pleasure of Add a little hometown pride to their appreciation for the art form into an ardent having Pavarotti sing to me.” affinity for Lyric, and one can see why the passion. Last year, Pat and Jerry amended their Franks would never live anywhere else. “I “Our first opera was Der Rosenkavalier,” estate plan to include a leadership gift to would say that Lyric is one of the things that says Jerry, “and even with what was in my the Breaking New Ground Campaign. keeps us in Chicago year round,” Jerry says, opinion an average cast, it was amazing. And Additionaly, they have become deeply engaged and Pat wholeheartedly agrees. “Chicago is fine then came Turandot with Birgit Nilsson, and patrons of the Ryan Opera Center. Having in the summer, and I like to garden and so we I was hooked. I sat dumbfounded through previously underwritten a masterclass and the want to be here. It’s the wintertime we’d like the entire performance, and I knew at that final year of mezzo-soprano Julie Miller’s to get away, but we can’t because everything moment what this art form is all about.” residency, they now sponsor second-year Ryan we like to do in the city happens in the winter, In 1979, Pavarotti was to give a recital Opera Center tenor Mingjie Lei. “I don’t especially the opera.” at Lyric Opera. The Franks were already plan- think people realize all of the extra experiences One of the first things Pat and Jerry did ning to improve their subscription seats to you are exposed to when you are a donor,” Pat when they were married in 1970 was subscribe the first balcony that year, but they wanted says. “First of all, you are always around people to Lyric Opera. Tickets in the penultimate row a premier location for this once-in-a-lifetime who love opera, and who can talk opera. And of the upper balcony were three dollars each. It concert. Jerry went down to Lyric’s ticket you are involved in other things that the public was another dollar to park, so the Franks were office in person and even made a contribution doesn’t have access to. You may be donating spending $56 for their eight opera series; as in order to secure a spot in the second row. In to a large organization, but it’s a very personal graduate students, this was almost their entire true Chicago fashion, the concert was snowed experience. Especially with the Ryan Opera entertainment budget for the year. Although out and rescheduled for later in the year at a Center, it feels like a big family.” Jerry agrees. neither of them could claim to be avid opera different venue, the Medinah Temple. Fearing “I wish we would have gotten involved earlier. fans at first – Jerry would have chosen the sym- their prime seats would be compromised in I feel like I missed 10 years of fun. phony, but that did not appeal to Pat – they the shuffle, Jerry was on the phone right away, “We love this opera company, and I were interested in sharing an enriching cultural securing two seats in the center of the Temple personally want to see this art form survive. I experience together and committed to making auditorium’s mezzanine, 25 feet from the stage would love for other people, the next genera- the investment. and eye-level with the performers. tion or two, to enjoy what we have enjoyed. Jerry remembers occasionally listening The day of the concert finally arrived, That’s why we put money into our estate plan. to the Met’s Saturday broadcasts with his and Pat felt like she had the flu. She mustered Of course we’re hoping that you don’t get that mother growing up, while Pat first heard the energy to go to the eagerly-anticipated for awhile,” he jokes, “but we want Lyric to be opera when her schoolteacher’s brother, an performance, only to wait in line in the rain around to receive it. Chicago is a world-class amateur opera singer, performed for their class. to get in to the theater. As the lights dimmed city, and it has an absolutely world class opera “We listened to classical music at home,” Pat and Pavarotti mopped his brow and prepared company. There’s no question about it, and says. “My grandfather was a huge Caruso fan. to sing, Pat was trying desperately to stifle a we’re so lucky to be involved.” That wasn’t truly opera, but it was a beauti- cough. “I have to clear my throat but he’s look- —Meaghan Stainback

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COCKTAILS The legendary William B. and Join us for a pre-opera apéritif, special craft cocktail, or intermission retreat away from the crowds. Catherine Graham Room provides an elegant environment for DINNER Seasonal menus are created highlighting fresh pre-opera cocktails and dining with farm-to-table ingredients in an elegant setting. unparalleled service. Set in a refined MATINÉE LUNCHEON Enjoy the same menu features as our dinner atmosphere, the Graham Room companions, or lighten your day with our luncheon menu. experience enhances your opera season ADDITIONAL EXCLUSIVE BENEFITS from start to finish. Included with your Graham Room Membership • Complimentary valet parking for eight operas, with a separate and exclusive valet parking station • Private cloakroom and restrooms • A seasoned maître d’hôtel and exceptional team of sta stand ready to welcome guests and provide excellent service • Guaranteed seating and service for pre-opera and intermission cocktails

Graham Room membership is a bene t for donors at the $7,500 level and above. For more information about Graham Room membership: – Call (312) 827-3557 – Email [email protected] – Contact your Bravo Circle Representative LYRIC OPERA OF CHICAGO ARIA SPOTLIGHT | 2016-2017 SEASON

ABBOTT FUND JAMES N. and LAURIE V. BAY Abbott and the Abbott Fund are leading corporate contributors to Jim and Laurie Bay are passionate supporters of the Lyric Opera of Chicago, with a longstanding tradition of dedicated arts in Chicago and have been members of the Lyric support. Over the last three decades, Abbott has generously Opera family for more than three decades. They have cosponsored 22 Lyric productions, including this season’s Das previously contributed to Lyric’s Wine Auction, 60th Rheingold, The Marriage of Figaro(2015/16) and Don Giovanni Anniversary Concert and Diamond Ball, Stars of Lyric (2014/15). Abbott has championed Lyric’s achievements as a Opera at Millennium Park, the Annual Campaign, and Miles D. White contributor to the Great Opera Fund, the Building on Greatness education programs. They also cosponsored Madama Butterfly (2013/14) and have Capital Campaign, and Wine Auctions, among other efforts, and made a leadership made a leadership gift to the Breaking New Ground Campaign. This season, Jim commitment to the Breaking New Ground Campaign. and Laurie generously cosponsor Lyric’s production of Carmen. Lyric is honored to Lyric is honored to have Abbott’s Chairman and Chief have Jim Bay, a principal of Bays Corporation, serve on its Board of Directors and Executive Officer, Miles D. White, serve on its Board Compensation Committee. of Directors. MARLYS A. BEIDER ADA and WHITNEY ADDINGTON As an aficionada of Lyric for more than 30 years, Marlys has Ada and Whitney Addington are dedicated Lyric contributed to the Annual Campaign and is a Bel Canto subscribers and donors. For many seasons, they have Benefactor of the planned giving Overture Society. Her planned contributed to the Annual Campaign, and have gift commitment created the Marlys Beider Wigmaster and generously supported the Great Opera Fund, the Building Makeup Designer Endowed Chair in memory of her late on Greatness Capital Campaign, the Campaign for husband, Harold Beider. Marlys Beider cosponsored several Excellence, and the Breaking New Ground Campaign. productions including Elektra (2012/13), Parsifal (2013/14) and The Addingtons have also invested in the company’s future through their planned Tosca (2014/15), and cosponsored last season’s Stars of Lyric Opera at Millennium gift to Lyric. Last season they cosponsored Lyric’s world premiere of Bel Canto, and Park concert. Marlys has committed generous leadership gifts to cosponsor Lyric’s have committed a generous leadership gift in support of Lyric’s new Ring cycle, new productions of this season’s Das Rheingold and Götterdämmerung (2019/20), which begins this season with Das Rheingold. Lyric is fortunate to have Dr. Whitney part of Lyric’s new Ring cycle. Addington as a member of its Board of Directors and Executive Committee. RANDY L. and MELVIN R. BERLIN AMERICAN AIRLINES Devoted fans of opera education and the arts, Melvin This season we celebrate 35 years of vital corporate partnership and Randy Berlin are vital members of the Lyric Opera with American Airlines, the Official Airline of Lyric Opera. In family. They have contributed significantly to the Annual recognition of the company’s significant contribution to the Campaign and have made a leadership gift to the Building on Greatness Capital Campaign, the mezzanine level Breaking New Ground Campaign. Melvin and Randy of the Civic Opera House is named the American Airlines have cosponsored several productions including last Mezzanine. American Airlines provides important in-kind season’s new production of The Marriage of Figaro, and generously cosponsor this Franco Tedeschi support for Lyric’s programs and season’s new production of The Magic Flute. Lyric is honored to have Melvin Berlin special events. Franco Tedeschi, Vice President of serve on its Board of Directors. American Airlines, proudly serves on Lyric’s Board of Directors and Lyric Unlimited Committee. BMO HARRIS BANK BMO Harris Bank proudly supports Lyric Opera in the spirit of PAUL M. ANGELL FAMILY FOUNDATION community partnership that has identified the bank for over 125 The Paul M. Angell Family Foundation strives to advance society through the years. As a longstanding corporate contributor to Lyric, BMO performing arts, conservation of the world’s oceans, and alleviation of poverty. The Harris Bank has generously supported Lyric’s Annual Campaign, Foundation’s namesake, Paul M. Angell, founder of Newly Weds Foods, dedicated the Facilities Fund, the Great Opera Fund, the Stars of Lyric the early part of his life to serving his country and performing as a member of John Opera at Millennium Park concert, Fantasy of the Opera, the Alexandra Philip Sousa’s U.S. Navy Band during World War I. He believed in hard work, self Dousmanis-Curtis Renée Fleming Subscriber Appreciation Concert (2010/11), reliance, and optimism, and the Foundation is intended to honor him and his ideals. the Renée Fleming & Susan Graham Subscriber Appreciation At Lyric, the Paul M. Angell Family Foundation has been a generous supporter of Concert (2012/13), Lang Lang in Recital (2013), and last season’s Plácido Domingo Lyric’s Annual Campaign and Lyric Unlimited programming, cosponsoring The and Ana María Martínez Concert. This season, BMO Harris Bank is the Exclusive Magic Victrola (2014/15) and The Family Barber (2013/14). Sponsor of Lyric’s Celebrating Plácido Concert. Lyric is honored to have Alexandra Dousmanis-Curtis, Group Head, U.S. Retail and ANONYMOUS CONTRIBUTORS Business Banking, BMO Harris Bank, serve on its Lyric Opera is extremely grateful for Aria Society support received from five Board of Directors and Investment Committee. anonymous contributors during the 2016/17 season. HENRY M. and GILDA R. BUCHBINDER JULIE and ROGER BASKES Dedicated lovers of the arts, Henry and Gilda Lyric treasures the exemplary leadership and dedication Buchbinder are longstanding members of the Lyric of Julie and Roger Baskes. Subscribers for more than Opera family. Committed to sustaining the exceptional three decades, they have generously supported Lyric’s quality of Lyric’s artistic product, the Buchbinders Ryan Opera Center activities as previous cosponsors of made a leadership gift to Lyric’s Breaking New Ground Rising Stars in Concert, and currently underwrite the Campaign to name the Henry and Gilda Buchbinder Ryan Opera Center Recital Series on 98.7WFMT. They Family Foundation Rehearsal Room. They have also been longtime generous donors have cosponsored numerous productions including, most recently, La Clemenza to the Annual Campaign, including cosponsoring Boris Godunov (2011/12) and this di Tito (2013/14), Il Trovatore (2014/15), Romeo and Juliet (2015/16), and this season’s production of Eugene Onegin. Lyric is honored to have Gilda Buchbinder season’s Norma. They also made a leadership commitment to the Breaking New serve on its Board of Directors and the Production Sponsorship Committee. Ground Campaign to help safeguard the future of Lyric Opera. Lyric is honored to have Julie Baskes serve on its Board of Directors and Executive Committee. Julie is also Chairman of the Production Sponsorship Committee, and is a past President of the Ryan Opera Center Board.

October 1 - 22, 2016 | 51 LYRIC OPERA OF CHICAGO

CAROLYN S. BUCKSBAUM THE ELIZABETH F. CHENEY FOUNDATION Lyric Opera sincerely appreciates the extraordinary leadership and Lyric Opera remains deeply grateful for the longterm generosity of generosity of Kay Bucksbaum. An avid subscriber and longtime The Elizabeth F. Cheney Foundation, one of Chicago’s nonprofit patron of Lyric with her late husband Matthew, the Bucksbaum leaders in arts support. The Cheney Foundation has made an Family’s very generous challenge grant re-established Lyric’s enhanced multi-year commitment to the Ryan Opera Center/Lyric regional and national/international radio broadcasts in 2006. Opera. During the 2016/17 season, The Cheney Foundation is Kay’s incredible continued matching support makes possible The supporting Guest Master Teacher and Artist residencies; the Director Lyric Opera Broadcasts, which draw 16 million listeners annually. “Lyric is a great Elizabeth F. Cheney of Vocal Studies faculty position; access to a behind-the-scenes national institution,” Matthew once said, “and it gives our family great pleasure to view of the Ensemble selection process by opening the Ryan Opera Center’s Final know these broadcasts bring Lyric’s wonderful performances to so many in Chicago Auditions to a greater number of Lyric donors and subscribers for the fourth year; and and around the globe.” singer sponsorship of bass Bradley Smoak. Lyric Opera is honored to have as a major supporter The Elizabeth F. Cheney Foundation, whose directors are committed to THE JOHN and JACOLYN BUCKSBAUM celebrating Ms. Cheney’s legacy through the philanthropic support of the arts. FOUNDATION Passionate philanthropists in the Chicago community, NELSON D. CORNELIUS PRODUCTION John and Jackie Bucksbaum are major supporters of ENDOWMENT FUND the arts. John Bucksbaum is founder and CEO of Nelson Cornelius was a longtime subscriber and supporter of Bucksbaum Retail Properties, LLC, a fully-integrated owner and developer of retail real estate. This season, Lyric Opera and a cherished friend of legendary former Lyric Opera General Director Ardis Krainik, with whom he shared John and Jackie Bucksbaum John and Jackie, with their family, generously provide matching funding for The Lyric Opera Broadcasts, his passion for opera and for making sure that Lyric would keep which air on 98.7WFMT live during each opening night performance. Chicago on the world’s opera map. That passion was also shared by Julius Frankel, and as a trustee of the Julius Frankel Foundation for many years, BULLEY & ANDREWS Mr. Cornelius fulfilled Mr. Frankel’s wishes by directing significant Foundation Founded 1891, Bulley & Andrews is one of the Midwest’s most support to Lyric Opera’s Annual Campaign and production cosponsorship. Mr. trusted and accomplished construction companies. The fourth Cornelius was also personally generous, supporting Lyric’s Annual Campaign. His generation, family-owned firm offers clients a full-range of legacy created the Nelson D. Cornelius Production Endowment Fund, which this construction services including general contracting, construction year cosponsors the Lyric premiere of Les Troyens. Lyric is honored to remember its management, design/build, and masonry and concrete restoration. close friend Nelson Cornelius. Bulley & Andrews has, for many seasons, supported Lyric Unlimited’s Performances for Students Allan E. Bulley, III MR. and MRS. JOHN V. CROWE program and this season serves as cosponsor of Das Rheingold. Lyric Opera is pleased to have Jack and Peggy Crowe are generous and passionate Allan E. Bulley, III as a member of its Board of Directors. members of the Lyric family, evidenced by their production sponsorship of Turandot (2006/07) and Tosca MARION A. CAMERON (2009/10) and major support of the Breaking New Lyric is sincerely honored to have the support and leadership of Ground Campaign and the Renée Fleming Initiative. Marion A. Cameron. A subscriber and donor for over 20 years, Jack and Peggy Crowe’s significant contribution to Lyric Lyric gratefully acknowledges her outstanding generosity through was recognized in naming the Isabelle Cavagnaro Crowe Foyer on the fifth floor her leadership gift to the Breaking New Ground Campaign, her in memory of Jack Crowe’s mother. The Crowes were leading contributors to the cosponsorship of Rusalka (2013/14), and her additional gift in Campaign for Excellence and the Building on Greatness Capital Campaign. Lyric support of Tannhäuser (2014/15). This season she generously is very fortunate to have Jack Crowe as an esteemed member of the Executive cosponsors Lyric’s production of Eugene Onegin. Ms. Cameron is the CEO of Committee of Lyric’s Board of Directors. Sipi Metals Corp., which continues to support the widely popular Stars of Lyric Opera at Millennium Park concert. Marion Cameron is a member of Lyric’s Board THE CROWN FAMILY of Directors, Executive and Finance Committees, and Chair of the Investment Two of Chicago’s leading philanthropists, Renée and Committee. Lester Crown, are devoted patrons of Lyric Opera. The Crown Family is a sponsor of the Renée Fleming DAVID and ORIT CARPENTER Initiative and made a generous commitment to Lyric’s David and Orit Carpenter have been staunch su