Lyric Opera 2019-2020 Issue 2 The Barber of Seville

Lyric Opera of Chicago | 22 La Bohème at Opera Idaho in 2020 and has recently collaborated at Central City Opera ( Madama Butterfly , Billy Budd ), Michigan Opera Theater ( Hansel and Gretel ) and Opera Maine ( The Marriage of Figaro ). He has also conducted and collaborated with symphonic and operatic institutions such as Boise Philharmonic Orchestra, Atlanta Symphony Youth Orchestra, National Repertory Orchestra (Colorado), Orchestra Sinfonica di Sanremo (Italy), Den Jyske Opera (Denmark), Opéra National de Lorraine (France), Atlanta Opera, and Sarasota Opera. Sarzani is a recipient of Career Assistance Awards in 2016, 2018, and 2019 from the Solti Foundation U.S., which also selected him for the Elizabeth Buccheri Opera Residency Programs at both Lyric and Michigan Opera Theater. He is a graduate of Indiana University and Conservatorio G. Rossini (Pesaro). ROB ASHFORD | ORIGINAL DIRECTOR Previously at Lyric: Carmen (2016/17); Carousel (2014/15); The Barber of Seville (2013/14). The American director-choreographer, who debuted in opera with this production, subsequently directed and choreographed Carmen (Houston). Among Ashford’s most important directing achievements are Anna Christie (London’s Donmar Warehouse—Olivier Award) and, on Broadway, Cat on a Hot Tin Roof , Thoroughly Modern Millie (Tony Award), How to Succeed in Business Without Really Trying , Promises , Promises , and currently Frozen . In London, he recently directed Sir Kenneth Branagh in The Entertainer . His choreography has been seen at City Center Encores!; in Candide (Paris, London, Milan); in NBC’s live productions of The Sound of Music and Peter Pan (both of which he directed); on the Tony Awards, Oscars (2009 Emmy Award) and Kennedy Center Honors telecasts. He is directing the film version of the musical Sunset Boulevard . TARA FAIRCLOTH | REVIVAL DIRECTOR Lyric directorial debut The American director’s work has been seen widely across North America. In recent seasons, Faircloth has created new productions of The Little Prince (Utah Opera), Ariadne auf Naxos (Wolf Trap Opera), Il re pastore (Merola Opera), Agrippina (Ars Lyrica Houston), and L’incoronazione di Poppea (Boston Baroque). She is currently working on two major new productions: Emmeline (Tulsa Opera) and Monkey (White Snake Projects). Faircloth has directed two world premieres for Houston Grand Opera’s East+West series and has a thriving career in regional houses such as Utah Opera, Arizona Opera, Wolf Trap Opera, and Boston Baroque. The Baroque repertoire is of special interest to Faircloth, who made her directorial debut with Ars Lyrica Houston’s production of Cain: Il primo omicidio in 2003 and has since designed and directed numerous productions for that company. She is the drama instructor for the Houston Grand Opera Studio, and regularly coaches singers at Rice University. SCOTT PASK | SET DESIGNER Previously at Lyric: The Barber of Seville (2013/14). Among the American designer’s many Broadway credits are dramas ( The Pillowman – Tony Award, The Father, The Little Foxes, Blackbird, An Act of God, A Steady Rain, The Coast of Utopia – Tony Award, Speed-the-Plow, Take Me Out ); musicals ( The Book of Mormon – Tony Award, The Band’s Visit, Mean Girls, Waitress, Nine, Pippin, Urinetown, Promises Promises, Pal Joey ); and comedies ( It’s Only a Play, Oh, Hello!, I’ll Eat You Last ). Among Pask’s achievements in London theater are productions at the National Theatre, Donmar Warehouse, Old Vic, and throughout the West End. His work has also been seen at the Chichester Festival Theatre, Opera North, and Edinburgh’s Lyceum Theatre. Pask has received multiple Drama Desk, Lucille Lortel, Outer Critics Circle, Bessie, and Henry Hewes Awards. Additional productions include Peter Grimes (Metropolitan Opera) and Cirque du Soleil’s Amaluna . CATHERINE ZUBER | COSTUME DESIGNER Previously at Lyric: Romeo and Juliet (2015/16); The Barber of Seville (2013/14). The British-born designer’s operatic work includes six Metropolitan Opera productions, as well as La forza del destino (Washington), Carmen (London), Romeo and Juliet (Salzburg), Faust (Baden-Baden), and the Ring cycle (Washington, San Francisco). She has been equally successful on Broadway in musicals ( Frozen , War Paint , Fiddler on the Roof , Gigi , The King and I , The Bridges of Madison County , The Sound of Music , most recently Moulin Rouge ), comedy ( Born Yesterday , The Royal Family , Dinner at Eight , Twelfth Night ), and drama ( The Father , Oslo , Joe Turner’s Come and Gone , Oleanna , A Man for All Seasons , Mauritius , Doubt , Little Women , Dracula , Ivanov ). She also designed the live NBC/Universal broadcast of The Sound of Music . Zuber has won six Tony Awards, most recently for My Fair Lady (2018). In addition, she has received the Olivier, Lucille Lortel, Henry Hewes, Ovation, and Obie awards. Catherine Zuber is supported by the Richard P. and Susan Kiphart Costume Designer Endowed Chair . HOWARD HARRISON | LIGHTING DESIGNER Previously at Lyric: The Barber of Seville (2013/14). The British lighting designer’s operatic work has been seen at the Metropolitan Opera and the major companies of London, Cardiff, Sydney, and Madrid. Among his credits in London’s West End are Mamma Mia! (also Broadway and worldwide), The Pajama Game, Guys and Dolls, Dirty Rotten Scoundrels , Mary Poppins (also Broadway), The Importance of Being Earnest , Butley , Macbeth (also Broadway), and Glengarry Glen Ross . Harrison’s work has been seen in City of Angels , Anna Christie , Creditors , and Tales from Hollywood (London’s Donmar Warehouse); Romeo and