Lyric Opera 2023-2024 Issue 1 - The Flying Dutchman

Lyric Opera of Chicago | 72 What led you to Lyric? Both of my degrees are in vocal performance; I’ve had a small career of my own. When I decided to stop singing, I knew I wanted to go into artistic administration in some way. In 2020, I was appointed General and Artistic Director at Fort Worth Opera, and that opened up a door to this industry; I was then asked to serve on the board of OPERA America, and that (along with being a General Director during the pandemic) connected me with Anthony Freud, general director, president & CEO at Lyric, an institution that I have always aspired to be a part of. When I decided to leave Fort Worth Opera, I was going to start my own consulting rm, but then I saw this opportunity at Lyric, and the rest is history. How does your performance background inform your role here at Lyric? I sympathize and empathize with our musicians when it comes to rehearsals, challenges, and how people are feeling. That brings a special perspective to the work that I do as an administrator because it breaks down the archaic, “transactional” part of the business. What is the most challenging aspect of your job? The Artistic department’s budget is one of the (if not the) largest department budgets at the institution. In collaboration with Chief Artistic Administration Of cer Matthew Ozawa, we manage hundreds of constituents who are union members. Because of the magnitude of our department, we in Artistic have to be good nancial stewards of the institution. Ensuring world-class art is being produced on stage, while managing a multi-million dollar expense budget. That’s a massive undertaking. What is the most exciting part of your job? De nitely the rehearsal and production and performance part of it. I love being able to run downstairs and pop into a rehearsal, turn on my of ce TV and see what’s happening in the theater, or go sit in a box and watch the action on stage. Being a part of the art, and in such close proximity to the artists, is a dream for me. What invigorates you about working in the arts world? The thing that keeps me going when my alarm goes off is knowing that our industry, and this art form that we are all so passionate about, is evolving and changing for the better. It is becoming an inclusive art form, representative of lived experiences from everyone; we are changing the way that people perceive opera, and we are bringing in new voices. That has been a signi cant shift in our industry since I’ve been a part of it. Today there is a catalog of new works that are being commissioned and written by artists who represent the voices and lived experiences of members from marginalized or underrepresented communities. I don’t believe the rhetoric that opera is dying. It’s dying if you want it to be, or if you let it. But when we give it the room and the space it needs to breathe, it’s recreating itself, and it is just getting started. People of Lyric A behind-the-scenes conversation First opera that you saw live? La traviata at Fort Worth Opera Favorite opera? My favorite opera to see performed is undoubtedly Turandot . My favorite opera that I’ve ever sung a role in is Dialogue of the Carmelites . Favorite character? Aida is my favorite character. Her nobility, humbleness, vulnerability—she is deeply complex. My favorite character that I’ve ever performed would be Lady Billows in Albert Herring because she’s just so extra. Favorite performer? Beyoncé, of course! Afton Battle Vice President, Lyric Unlimited and Artistic Operations Kyle Flubacker