Lyric Opera 2018-2019 Issue 11 La Traviata II

L Y R I C O P E R A O F C H I C A G O February 16 - March 22, 2019 | 39 What is your role here at Lyric, and how long have you held the position? I am a tenor in the regular chorus. I’ve been in that position since 1993 and I’m currently in my 26th season with Lyric. I sing all the chorus music in any opera that requires chorus, and I’ve also done some small roles as understudy, and chorus bit roles. What led you to work at Lyric? at’s a great story! I’d just finished my master’s degree in vocal performance at University of North Carolina-Greensboro and I heard on an auditions hotline that Lyric was looking for ushers for opening night. So I found myself in the upper balcony on opening night of the 1991/92 season. It was the spectacular Robert Carsen production of Mefistofele , with Sam Ramey in the title role and Aprile Millo making her house debut. It was also the first season for [chorus master] Donald Palumbo. Hearing the heavenly chorus at the end – I remember being so emotional about it – the sound was so spectacular, I wanted to be part of it. What’s a typical day like for you? at depends on where we are in the season. During the first month (August) we have daily music rehearsals. A few weeks prior to opening night, we start staging the first two operas. During the opera season, it’s not uncommon for us to be performing two operas while rehearsing a third. On a performance day we may also rehearse up to three hours, and on non-performance days we may rehearse up to six hours. In room rehearsals we outline the blocking and establish character relationships. When we move to the stage, we adjust everything according to the size of the set. Costumes aren’t added till the PRT [piano run-through] rehearsal, after which we have stage-orchestra rehearsals – the chorus is not in costume, but the principals are. For dress rehearsal we’re all in full costumes, wigs, and makeup. Before we get ready for an evening show, there might be an 11am-2pm or 2-5pm rehearsal, and sometimes we even have music or staging rehearsals after matinee performances. What’s the most challenging aspect of your job? e chorus sings everything, from Handel and Mozart to Verdi, Puccini, and Wagner – and occasionally, Berg. Because of that, it’s really important to stay on top of your vocal technique. For me, that means having regular lessons with my voice teacher, Karen Brunssen. During the season I see her monthly; during the off-season I see her weekly. Memorizing multiple languages and various musical styles simultaneously is also challenging. And just staying healthy! What keeps you committed to the work you do? It’s all about the music and bringing to life what the composer intended. e music rehearsal process is my favorite part of the job. Singing in a world-class opera chorus requires great attention to detail and precision. I find working that into our voices and our bodies very fulfilling. I’ve got some pretty amazing colleagues, and to work as a group on an art form that we’re all so passionate about is very exciting and rewarding. What’s something about your job that people might not know? Some people might not know what a sitzprobe rehearsal is, which is my very favorite. It’s the rehearsal where the entire cast and orchestra perform the score for the first time together. It usually happens when staging rehearsals finish, but before we start tech rehearsals onstage. ere are no lights, sets, costumes, or staging – just the music. It’s absolutely magical. e music comes to life for the first time. We sit onstage with scores and stands. e opera house is empty and we’re creating this music. It gets me every time. A favorite Lyric moment? Over 26 years there are so many! Some of my favorite productions: the 1994 Graham Vick Rake’s Progress , because of the detailed staging of that magnificent production; the 1997 John Copley production of Peter Grimes ; and the 2008 [David] McVicar production of Manon . What it felt like performing those shows every night – that was very special. Vocal moments – I’ll never forget Renée Fleming’s debut in Susannah . Most of the chorus stood in the wings when she sang “ e Trees on the Mountain.” Also, I remember the sitzprobe of Aida with Aprile Millo and Dolora Zajick – that was some of the greatest singing I’d heard. In 1997/98, Mirella Freni singing her final performances of Mimì – I’d grown up listening to her recording with Pavarotti. I stayed until the end of every performance to hear her sing, even though the chorus was already done. More recently, facing upstage ten feet away from Sondra Radvanovsky singing “Casta diva” in Norma . I love any time we get to sing Turandot – having Amber Wagner come back to sing that iconic role, I’ll carry that with me forever. Beyond opera, what are your other passions? As most of my colleagues know, I love to bake – especially large, special- occasion cakes! One of the first was a Carmen cake for Denyce Graves’s birthday. I’ve done several for Ana María Martínez’s birthdays, most recent- ly a three-tiered Baroque-frame cake during Così fan tutte . I always try to learn something new when I’m creating a cake. I recreated the opera house for Bill Mason’s retirement [as general director], and for [chorus master] Michael Black’s 50th birthday I did a multitiered cake with the Sydney Opera House on the bottom and Lyric on top! — Magda Krance BACKSTAGE LIFE : Ken Donovan