Lyric Opera 2018-2019 Issue 6 Il Travatore

L Y R I C O P E R A O F C H I C A G O 6 | December 1, 2018 - January 20, 2019 Charm is a quality in short supply in our society these days. When we encounter it, invariably it strikes us as a breath of fresh air. at’s one of the many reasons that I’m so delighted by the long-awaited Lyric premiere of Jules Massenet’s Cendrillon . is irresistible work exudes charm while making us smile, dazzling our eyes and ears, and enriching our hearts. e opera was written by a true man of the theater who knew exactly how to please audiences. Given the intensity and sheer grandeur of so many of his operas, it surprised everyone when he turned to a classic fairytale. But Massenet knew precisely what he was about – his music turned out to fit the Cinderella story like a glass slipper. During the international resurgence of interest in Massenet several decades ago, many of his more unfamiliar operas were rediscovered, only to quickly disappear again. at, fortunately, wasn’t the case with Cendrillon . It has been hailed in countless major houses for the ravishing music Massenet gave the heroine, her Prince Charming, and her Fairy Godmother; the riotously funny scenes involving Cendrillon’s bossy stepmother, Mme. de la Haltière; the immensely touching dialogues between Cendrillon and her gentle, put-upon father, Pandolfe; and the delicious court scenes, which feature some exhilarating orchestral showpieces. All of us at Lyric are thrilled to introduce Cendrillon – the first of four Lyric premieres this season – in a particularly memorable production. Inspired by the wonderful tale by Charles Perrault, Laurent Pelly has brought to this unique cocktail of wit and romance every bit of the theatrical wizardry that has made him one of today’s great geniuses of French opera. Laurent’s direction, his own costume designs, Barbara de Limburg’s inventive sets, and Laura Scozzi’s witty choreography are perfectly integrated in presenting a marvelous fantasy world. Lyric’s music director, Sir Andrew Davis, is a great champion of Massenet’s operas and a superb Massenet interpreter. His success leading aïs in Chicago during the 2003/04 season initiated an intense interest in this repertoire, confirmed by Andrew’s subsequent performances of aïs internationally, as well as Werther and Don Quichotte at Lyric. Having fallen in love with Cendrillon when he conducted the Pelly production in Barcelona in 2014, he was eager to have us schedule the Lyric premiere. I was delighted about this, since it’s a work I’ve admired myself for several decades. Andrew and I are both thrilled with our cast. Excepting longtime Lyric favorite Alice Coote, whose Prince Charming is one of her most admired portrayals (recently applauded in the Met’s company premiere of Cendrillon ), the other principals are all making their company debuts. e outstanding young Australian lyric soprano Siobhan Stagg, who is making her American debut at Lyric after rapidly established herself all over Europe, is starring in the title role, with the scintillating French-Canadian coloratura soprano Marie-Eve Munger as the Fairy Godmother, the formidable American mezzo-soprano Elizabeth Bishop as Mme. de la Haltière, and the rich-voiced Australian bass-baritone Derek Welton as Pandolfe. e eagerly awaited arrival of Cendrillon at Lyric is a very special moment for our company, and we’re delighted that you’re here to share it with us. Anthony Freud General Director, President & CEO e Women’s Board Endowed Chair From the General Director STEVE LEONARD