Lyric Opera 2018-2019 Issue 6 Il Travatore

P R O F I L E S | L Y R I C O P E R A O F C H I C A G O December 1, 2018 - January 20, 2019 | 27 tion with Brussels, Bordeaux, and Nikkikai Opera Foundation Tokyo). Other titles together include Béatrice et Bénédict (Glyndebourne), Le Coq d’Or (Brussels, Madrid, Nancy), L’enfant et les sortilèges (Glyndebourne, Saito Kinen Matsumoto, La Scala), Rise and Fall of the City of Mahagonny (Toulouse), Don Quichotte (Brussels), e Cunning Little Vixen (Saito Kinen Matsumoto, Maggio Musicale Fiorentino), Hansel and Gretel (Glyndebourne, Lyon, Madrid, Seattle) and La finta semplice (Vienna). Work with other directors includes La traviata (Nantes), Hansel and Gretel (Nantes, Nancy), Idomeneo (Strasbourg), and Benvenuto Cellini and Il viaggio a Reims (Nuremberg). eatrical work includes Sous la ceinture for éâtre Varia, Brussels, and éâtre National de Bordeaux (Delphine Salkin); and several titles with Agathe Mélinand, most recently Vers Santeuil , a work based on Marcel Proust’s Jean Santeuil . DUANE SCHULER (Lighting Designer) Previously at Lyric: More than 130 productions since 1977, most recently Faust (2017/18); Norma (2016/17); Der Rosenkavalier (2015/16). Former resident lighting designer for Lyric, the Wisconsin native has earned acclaim for Cendrillon in Santa Fe, London, Brussels, Lille, and at the Metropolitan Opera. He began 2018/19 with Lucia di Lammermoor (Opera Philadelphia) and Mefistofele (Met). Highlights later in the season include Pelléas et Mélisande (Met), Don Pasquale (Brussels), and Jenůfa (Santa Fe). Schuler has created lighting for many other major opera compa- nies, from San Francisco Opera to La Scala, Covent Garden, and the Opéra National de Lyon. He has designed more than 25 productions at the Met, ranging stylistically from Otello and Boris Godunov to La rondine and e Great Gatsby. Further opera credits include such prestigious venues as Glyndebourne ( Béatrice et Bénédic t), the Salzburg Festival ( Benvenuto Cellini, Elektra ), Dutch National Opera ( Tannhauser, Die Bassariden, Turandot ), and the major houses of Barcelona ( Parsifal ), Paris ( La fanciulla del West ), Berlin ( Manon, Der Rosenkavalier ), Dresden ( Dead Man Walking ), Santa Fe ( Candide, Katya Kabanova, e Letter, Don Pasquale ), Seattle ( Don Giovanni, Porgy and Bes s), and Japan’s Saito Kinen Festival ( Falstaff ). Schuler has also designed lighting for Broadway, New York’s American Ballet eatre, and earlier this season Ragtime at Seattle’s 5th Avenue eatre. He is a founding partner of Schuler Shook, a theatre planning and architectural lighting design firm. Duane Schuler is supported by the Mary-Louise and James S. Aargard Lighting Director Endowed Chair. MICHAEL BLACK (Chorus Master) Previously at Lyric: Chorus master since 2013/14; interim chorus master, 2011/12. Chorus master from to 2001 to 2013 at Opera Australia in Sydney, Black pre- pared the OA chorus for more than 90 operas and many con- cert works. He has served in this capacity for such distin- guished organizations as the Edinburgh International Festival, Opera Holland Park (London), and, in Australia, the Sydney Symphony Orchestra (including Rachmaninoff’s e Bells , led by Vladimir Ashkenazy), the Philharmonia Choir, Motet Choir, and Cantillation chamber choir. Black has also worked with the Melbourne Symphony Orchestra in Australia with Sir Andrew Davis. His recent activities include preparing the Damnation of Faust chorus, continuing his association with the Grant Park Music Festival, where he has worked for two sea- sons. As one of Australia’s most prominent vocal accompanists, Black has regularly performed for broadcasts and recordings (he has been heard numerous times in Australian Broadcast Corporation programs). He has served as chorus master on four continents, and his work has been recorded and/or aired on ABC, BBC, PBS, and for many HD productions in movie theaters as well as on television. He has also been a lecturer at the Sydney Conservatorium of Music, of which he is an alum- nus. Black holds a master’s degree in musicology from the University of New South Wales. Michael Black is the Howard A. Stotler Chorus Master Endowed Chair. LAURA SCOZZI (Choreographer) Lyric debut e choreographer, who lives in France, studied in Rome and Paris before founding her company, Opinioni in Movimento, in 1994. As a guest chore- ographer, she created e Seven Deadly Sins for the ballet of the Opéra de Paris and My Relationships With Men Were Never Very Clear for the Junior Ballet de Cannes. In 1999, she started using Hip-Hop style in Étant donné la conjoncture actuelle and continued in 2000 in Boris Vian’s musical A chacun son serpent . Other creations include Sol à sol avec poids, Quelque part par là and her latest creation, Barbe Neige et les 7 petits cochons au bois dormant, currently enjoying a great public and critical success on tour. Scozzi collaborates regularly with Laurent Pelly and has worked with many other major directors in opera, theater, and film, among them Jean- Louis Grinda, Emmanuelle Bastet, Coline Serreau, Jean-Michel Ribes, Matthieu Poirot-Delpech. In 2008, Scozzi directed her first opera, Benvenuto Cellini (Nürnberg). e following year she directed e Magic Flute (Nürnberg, Bordeaux) and in 2011 Il viaggio a Reims (Nürnberg). Other productions include Orpheus in the Underworld (Bern, Bordeaux, Nürnberg, Marseille), Les Indes Galantes (Toulouse, Bordeaux, Nürnberg) L'italiana in Algeri (Toulouse, Nürnberg), and Akhnaten (Bonn). KARINE GIRARD (Revival Choreographer) Lyric debut After completing her dance education at the Sorbonne, the French choreogra- pher performed for several European dance companies and has also collabo- rated on several premieres with the Balafori and L4-L5 dance-theater companies. In 2003 she danced for the company directed by Laura Scozzi, Opinioni in Movimento, in the show F.E.I.R : desir-degout . She is Scozzi’s artistic assistant in theater, movies, special events, and opera, in particular for Laurent Pelly’s productions of La Périchole (Marseille, 2005 and on tour), La fille du régiment (San Francisco, Paris, Madrid, Barcelona, Seville), and Cendrillon (London, Brussels, Lille, Barcelona, New York). She has also collaborated with directors Jean-Louis Grinda ( Die Fledermaus , Toulouse and on tour) and Emmanuelle Bastet ( L'etoile , Nancy). Since 2009, she has danced for such companies as COD, collaborating with director/choreographer Olivier Dubois. She has choreographed for shows directed by Guy Freixe ( Apres la pluie ), Laurence Sendrowicz ( Que d'espoir ), and Agathe Melinand ( Eric Satie-Memoires d'un amnésique ). In 2016, she choreographed Christophe Gayral’s production of Idomeneo for the Opéra National du Rhin, and staged and choreographed with Sandra Savin the show Storm for the stu- dents of ENACR (France’s National School of Circus Arts). In 2019, she will perform with choreographer Taoufiq Izeddiou in Botero en Orient (ptemiere in Paris). AUGUST TYE (Ballet Mistress) Previously at Lyric: 37 productions since 1993/94 as dancer, choreographer, or ballet mistress, most recently e Pearl Fishers, Orphée et Eurydice (both 2017/18); Les Troyens (2016/17). e American dancer-choreographer’s operatic credits include remounting the choreography of Lyric’s Iphigénie en Tauride at San Francisco Opera and the Royal Opera House Covent Garden. She has presented a 20-year retrospective of her work at Chicago’s Vittum eater and Ruth Page Dance Center, as well as in her hometown, Kalamazoo, Michigan. A graduate of Western Michigan University, Tye performed with e Kalamazoo Ballet, dancing leading roles in Sleeping Beauty , Cinderella , and e Nutcracker . She is a past recipient of Regional Dance America’s Best Young Choreographer Award (at age 15) and a two-time recipient of the Monticello Young Choreographer’s Award: the latter garnered her invitations to choreograph throughout America. In addition to Lyric and Joel Hall Dancers, she has performed in Chicago with Salt Creek Ballet, Second City Ballet, and Chicago Folks Operetta. Tye is artistic director at the Hyde Park School of Dance, which she founded in 1993. Four years later she founded Tyego Dance Project, which has performed at Steppenwolf, the Athenaeum, and throughout America in a revival of Spike Jones’s Nutcracker . SARAH HATTEN (Wigmaster and Makeup Designer) Previously at Lyric: Wigmaster and makeup designer since 2011/12. Lyric’s wigmaster and makeup designer has worked in a wide repertoire at Des Moines Metro Opera and Michigan Opera eatre, as well as Columbus Opera, Toledo Opera, the Cabrillo Music Festival, and the University of Cincinnati College-Conservatory of Music. She has also worked at the Glimmerglass Festival and the major opera companies of Los Angeles, Omaha, Cleveland, Sarasota, and Central City, as well as Wisconsin’s American Players eatre and, in Los Angeles, the Pantages eatre and the Geffen Playhouse. Hatten earned a B.A. in music at Simpson College. Sarah Hatten is the Marlys Beider Wigmaster and Makeup Designer Endowed Chair . BENOÎT DE LEERSNYDER (Associate Director) Lyric debut e Belgian director, who began his professional career as a baritone, has created several productions for the Flanders Opera Studio’s International Opera Academy: Bizet’s Mélodies, Winterrreise , e Magic Flute , Grido d’Amore! (music by both Bononcini and Handel), and Entbehren sollst du , sollst entbehren (Hugo Wolf’s songs). Other projects include co-adapting Dukas’s Sorcerer’s Apprentice and John Williams’s score of Harry Potter and the Sorcerer’s Stone for L'Orchestre à la Portée des Enfants and directing Hänsel und Gretel for Junge Kammeroper Köln, British composer Howard Moody’s Brussels Requiem (world premiere) at the éâtre Royal de la la Monnaie, Così fan tutte for Bang-up! Opera (Ghent), and e Merry Widow in Hua Hin, ailand. For Flanders Opera, Leersnyder created the libretto for two operas, Heart 2 Get! and Babel . He has assisted numerous directors, among them Laurent Pelly, Michael Hanneke, Ivo Van Hove, and Guy Cassiers, for pro- ductions including Pelly’s Cendrillon (Lille, Brussels) and Le Coq d'or (Madrid). Future projects include Howard Moody’s PUSH at La Monnaie; Britten’s Albert Herring for the conser- vatory of Artesis Hogeschool (Antwerp); and his Opéra National du Rhin debut directing La Princesse arabe , based on music by Juan Crisóstomo de Arriaga.