Lyric Opera 2018-2019 Issue 9 La Traviata

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 February 16 - March 22, 2019 | 27 ings: New York and Dublin,” organized by BlueLeaf Gallery, Dublin, and Contaminate NYC. O’Connor holds an M. F. A. degree from the Department of Design for Stage and Film at New York University. Cait O’Connor is supported by the Richard P. and Susan Kiphart Costume Designer Endowed Chair. MARCUS DOSHI (Lighting Designer) Previously at Lyric: La traviata (2013/14). e Connecticut-born light- ing and set designer is a fre- quent collaborator with New York’s eatre for a New Audience, where his work has been seen in 11 plays, including Othello (2009 – Lucille Lortel Award) and Hamlet (2011 – Drama Desk Award). Other New York credits include pro- ductions for Juilliard Opera ( Les mamelles de Tirésias, Der Kaiser von Atlantis, La Calisto ), Lincoln Center eatre, the Public eater, the Vineyard eatre, and New York eatre Workshop. His work has been seen at virtually every important regional theater nation- wide, including in Chicago at Steppenwolf ( Linda Vista and Mary Page Marlowe in their premieres, also BLKS, You Got Older, Visiting Edna, Familiar, and Pass Over ), the Goodman eatre, Chicago Shakespeare Theater, and Court Theatre. Internationally he has designed for Paris’s Comédie Française (the first American to do so), the Festival d’Aix-en-Provence, Les éâtres de la Ville de Luxembourg, La Monnaie in Brussels, the Royal Opera House Linbury Studio, the National eater of Sarajevo, the Sydney Festival, and the festivals of Edinburgh, Venice, Cairo, and Amsterdam, among many other venues. He has also designed exhibition lighting for many major American museums. Doshi is a tenured associate professor of theater at Northwestern University. Marcus Doshi is supported by the Mary- Louise and James S. Aagard Lighting Director Endowed Chair. CHRISTOPHER ASH (Projection Designer) Previously at Lyric: La traviata (2013/14). e American projection designer’s work was seen on Broadway last year in Saint Joan . He has been associate projection designer for sev- eral other Broadway productions, including Prince of Broadway, e Crucible, An Act of God, and most recently Network . e latter two productions were directed by Ivo van Hove, for whom Ash was also associate projection designer for productions at London’s Barbican Centre, King’s Cross eatre, and National eatre. He worked in the same capacity on omas Adès’s e Exterminating Angel (Salzburg world premiere, Covent Garden, Metropolitan Opera). Among the many other productions he worked on in 2018 alone were In the Heights (Engerman eater), A Walk on the Moon (American Conservatory eater), An Octoroon (Chautauqua eater Company), e Little Mermaid (Kimmel Center), and Mission Hamlet (Public eater). is summer he will be projection designer for Ivo van Hove’s Don Giovanni production at the Opéra National de Paris. He has been Riccardo Hernandez’s associate scenic designer for numerous productions, including the world premieres of A Coffin in Egypt (Houston Grand Opera) and Charlie Parker’s Yardbird (Opera Philadelphia), as well as plays pro- duced at LaMaMa, the Public eater, George Street Playhouse, and Westport Playhouse, among other companies. His work has been seen in many Chicago theaters, and he received Chicago’s After Dark Award for Sweet Smell of Success (Circle eater). MICHAEL BLACK (Chorus Master) Chorus master since 2013/14; interim chorus master, 2011/12. Chorus master from to 2001 to 2013 at Opera Australia in Sydney, Black prepared the OA chorus for more than 90 operas and many concert works. He has served in this capacity for such distinguished 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 in Australia with Sir Andrew Davis at the Melbourne Symphony Orchestra. 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 seasons. 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 alumnus. Black holds a master’s degree in musicol- ogy from the University of New South Wales. Michael Black is the Howard A. Stotler Chorus Master Endowed Chair. AUSTIN McCORMICK (Choreographer) Previously at Lyric: La traviata (2013/14). e American choreogra- pher’s work on La traviata has also been seen at both Houston Grand Opera and the Canadian Opera Company in Toronto. In 2006 McCormick created COMPANY XIV, which has made an indelible impression on critics and audiences with a unique blend of circus, Baroque dance, ballet, opera, live music. and lavish design. Recent credits also include choreography for the Metropolitan Opera’s new pro- ductions of Rusalka and Samson et Dalila , as well as Orphée et Eurydice at Opera Columbus, Cavalli’s Eliogabalo at Gotham Chamber Opera, and produc- tions for e Juilliard School, Guggenheim Works in Process, the Carnegie Hall La Serenissima Festival, and the Kennedy Center. McCormick has received nomi- nations for aDramaDesk Award for Best Choreography ( Rococo Rouge , 2015) and Unique eatrical Experience ( Nutcracker Rouge , 2014); a Bessie Award for Best Lighting, Set, and Costume Design ( Snow White , 2011); and the Grand Jury Prize for Dance on Camera Lincoln Center (2007). He received a 2011 Robert L. B. Tobin Director-Designer Grant from OPERA America and the 2009 Innovative eater Award for Outstanding Choreography/Movement. McCormick received a Bachelor of Fine Arts degree from e Juilliard School and also trained at the Conservatory of Baroque Dance. AUGUST TYE (Ballet Mistress) Previously at Lyric: 38 productions since 1993/94 as dancer, choreographer, or ballet mistress, most recently Cendrillon (2018/19); e Pearl Fishers , Orphée et Eurydice (both 2017/18). e American dancer choreographer’s operatic credits include remounting the choreography of Lyric’s Iphig è nie en Tauride at San Francisco Opera and the Royal Opera House Covent Garden. She has present- ed 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 gradu- ate 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 invita- tions 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) Wigmaster and makeup designer since 2011/12. Lyric’s wigmaster and make- up designer has worked in a wide repertoire at Des Moines Metro Opera and Michigan Opera eatre, as well as Opera Columbus, 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.