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 4 | March 2 - 17, 2019 Lyric’s record of achievement in the operas of George Frideric Handel is one of the more unlikely success stories in any American opera company. ese operas were written for theaters probably a third the size of the Lyric Opera House, and yet we’ve repeatedly demonstrated that Handel can make a terrific impact on our stage. Prior to this season, we’d produced eight Handel works, to which we can now add one of the greatest of them all. Ariodante is unquestionably a masterpiece, in which Handel was able to distill his extraordinary genius for both melodic invention and psychological precision. It’s an astonishingly powerful story, in which virtue and villainy confront each other in a riveting way. Noble Ariodante, lovesick Ginevra, dastardly Polinesso, and all the other characters are enormously engaging and intriguing figures, involved in predicaments and relationships that we can connect with as an audience. e music calls for not only truly exceptional technique, but also the stylistic freedom to ornament the arias appropriately. At the same time, the expressive demands are immense, particularly for the title role. We’re lucky to have with us a favorite of Lyric audiences, English mezzo-soprano Alice Coote, one of today’s most celebrated interpreters of the Handel heroes in general and Ariodante in particular. In this role, Alice has an extraordinary ability to break our hearts in the magnificently moving monologue “Scherza infida,” but also to exhilarate us in the virtuosity of two of Handel’s most thrilling bravura arias, “Con l’ali di costanza” and “Dopo notte.” Opposite Alice is American soprano Brenda Rae, who has rapidly risen to international prominence. Having been based in Europe for much of her career, she has lately also been earning great praise at home. Her Lyric debut will exhibit her gifts as a true singing actress, and I’ve no doubt that she’ll have a wonderful success as Ariodante’s beloved Ginevra. Returning to Lyric are the dazzling English countertenor Iestyn Davies (recently acclaimed on Broadway in Farinelli and the King ) as Polinesso; the vocally commanding, marvelously versatile bass-baritone Kyle Ketelsen as the King; and the delightful Heidi Stober, whose scintillating voice will charm everyone as Dalinda. It's always a joy when Harry Bicket conducts here, especially in Baroque repertoire, which has brought him huge acclaim worldwide. It’s exciting to witness the transformation that Harry is able to achieve when working with players of modern instruments. Invariably the sound he brings forth is as close to the bracing freshness and incisiveness of an original-instrument orchestra as even the most exacting Handelian could desire. is production of Ariodante , which opened at the Aix-en-Provence Festival and then was remounted by the Dutch National Opera in Amsterdam and the Canadian Opera Company in Toronto, was created by Richard Jones, whose production of La bohème opened the current Lyric season so memorably. Richard gets under the skin of every piece he directs, working at a level of precision and perception that is very rare. With remarkable imagination he has transplanted the story of the opera – originally set in the Scotland of medieval times – to Scotland in the mid-20th century. e result is an exceedingly powerful, highly emotional drama that brings Ariodante thrillingly to life for a contemporary audience. Anthony Freud General Director, President & CEO e Women’s Board Endowed Chair From the General Director STEVE LEONARD