Lyric Opera 2018-2019 Issue 11 Ariodante

L Y R I C O P E R A O F C H I C A G O March 2 - 17, 2019 | 33 What is your role here at Lyric, and how long have you held the position? I have been a member of the orchestra since 2004, when Sir Andrew Davis invited me to join the oboe section. Before then, I had performed regularly with Lyric as a substitute and backstage musician. is season, I am playing English Horn and Assistant Principal Oboe, in addition to my regular position, Second Oboe. When needed, I serve on the audition committee, which listens to and votes on potential candidates for vacant positions in the orchestra. We select the best possible musicians to maintain our reputa- tion as one of the premier opera companies in the world. What led you to work at Lyric? While pursuing a degree in music performance at Northwestern University, I discovered La bohème , which enchanted me. During the summer of 1984, I studied opera in Graz, Austria, discovering some of the most beautiful oboe and English horn solos ever written. Back in Chicago, while completing a master’s degree in counseling psychology, I performed Parsifal at Lyric. After doing so, I realized my passion for opera represented my true calling, and fell in love with the idea of joining this amazing company. Becoming a permanent member of the oboe section was a dream come true. I’ll never forget the day Sir Andrew welcomed me into the Lyric family. What’s a typical day like for you? My workday begins long before I arrive at the opera house. Like an athlete, I spend time warming up. Preparation for rehearsals or performances may require studying scores, readying cane for reeds, listening to recordings, and reviewing parts. My instruments are carefully selected, and need to be maintained meticulously and serviced regularly. I arrive about an hour before the downbeat of any rehearsal or performance. On any given day, there may be a single or double rehearsal occupying 3-6 hours, while performances usually run 3-4 hours. What’s the most challenging aspect of your job? e physical demands of our work can be quite rigorous. As musicians, we face great challenges because of space limitations in the pit, particularly for works by Wagner and Strauss, during which extra players are required. Since many of the Wagner operas are 4-5 hours long, we sit in positions that strain muscles for extended periods. It’s common for orchestra members to manage neck, shoulder, back, or wrist ailments associated with hours spent in tight quarters. Several colleagues see acupuncturists and physical therapists regularly. What keeps you committed to the work you do? I remain committed to excellence and strive to be my best in order to honor this institution and to deliver quality performances for our audience. I’m continually inspired by the dedication of my colleagues, the artistry of the world-class singers, the passion of our conductors, the acoustical master- piece that is our opera house, and, not least, the genius of the composers without whom we would have no reason to be here. e Lyric Opera Orchestra is composed of wonderful people and we are fortunate that our orchestra is really like a family. Whenever someone is in need, there is an overwhelming desire to help and support. My colleagues are not only incredibly talented, but really good-hearted people as well. What’s something about your job that people might not know? e most important part of my instrument is the double reed, without which it would not function. Developing a finished reed takes hours. e process is complicated, requiring specialized equipment (gouging machine, shaping tool) and steps (scraping the cane with a razor-sharp knife down to the thickness of a blade of grass). Oboists are concerned with cane crops – like wine growers, we pray for good harvests. Weather fluctuations, or even cold drafts, may adversely affect my reed and my instrument. Caring for an oboe is complex and comprehensive, and must be mastered in order to be a successful musician. Furthermore, the oboe and English horn have entirely different reeds, so I have double the fun keeping them both in order. A favorite Lyric moment? Last season, I was particularly touched when my colleagues supported an endeavor I helped organize to donate musical instruments, strings, double reeds, and much-needed supplies to underprivileged children at a music conservatory in Havana, Cuba. e outpouring of love they showed for this project genuinely overwhelmed me. When my family and I arrived at the school to deliver the materials, the children performed a surprise concert to express their gratitude. at is a moment I cherish and will never forget. rough the generosity of the orchestra members, the beautiful gift of music transcended difficult political boundaries. I am tremendously proud to be a part of this group. Beyond opera, what are your other passions? My husband (world-renowned maker of French Horns) and I have a collection of furniture and decorative objects from the Art Nouveau period. We love to travel, experiencing new cultures and cuisines here and abroad. Future destinations may include Africa, Australia, and the Galapagos Islands. At home, I enjoy baking just about anything and discovering new recipes to share with my family and friends. My greatest love, though, is being with our daughter, a recent Princeton graduate. She and I share similar interests, visiting art fairs, museums, craft exhibits, cooking classes, and high tea together. Copilots on this Lewis family journey, our two adorable Siberian forest cats bring us great joy. BACKSTAGE LIFE : Judith Zunamon Lewis TODD ROSENBERG