Lyric Opera of Chicago

Lyric Lately

Conductor Michael Lewanski on THE PROPERTY

Conductor Michael Lewanski shares his insights into The Property, the new klezmer opera with music by Wlad Marhulets and libretto by Stephanie Fleischmann. Don't miss the world premiere performances on February 25-27 in Hyde Park and March 4-5 in Skokie. 

Michael Lewanski is the conductor of The Property, a new  klezmer opera with music by Wlad Marhulets, libretto by Stephanie Fleischmann, and directed by Eric Einhorn (who adapted the original graphic novel by Rutu Modan with Fleischmann).  The ensemble features members of the Maxwell Street Klezmer Band and stars Jill Grove, Anne Slovin, James Maddalena, Nathaniel Olson, Sam Handley, and Julianne Park.

Don't miss the world-premiere performances Feb. 25-27 at the Logan Center for the Arts in Hyde Park and March 4-5 at Skokie's North Shore Center for the Arts.

 

Among so many other things, art is always about itself.  Literature is always somehow about language, its uses, the act of writing ("words, words, words" replies Hamlet—in the midst of a scene full of wordplay - when asked what he's reading). Visual art always thinks about possibilities of seeing and representation—the Mona Lisa stares at you just as cryptically as you stare at her. Music is no less this way. Beethoven's Eroica symphony is equally about the eventual achievement of a stable E-flat major sonority (after its notable falterings) and as much as it is about various sorts of heroisms. Opera, though, seems to thematize music itself in particularly striking, point-forcing ways. To take two examples particularly relevant to Lyric Opera-goers at the moment: Tosca's main character is an opera singer, and this very choice itself makes us hear her music in a peculiarly self-aware way. Moment after moment of Tannhäuser is filled with diagetic music—music heard not only by the audience but by the characters in the work as well. The ubiquitous Pilgrim's Chorus is, indeed, emblematic not only the possibilities of penance, but also of the ability music to express that emotion.

The Property, a so-called "klezmer opera" commissioned by Lyric Unlimited from composer Wlad Marhulets and librettist Stephanie Fleischmann (pictured right), presents a particularly interesting case, fraught to its very edges with questions and assertions about the potential of music to be expressive. (Somehow, works involving the memory of World War II always seem to be that way. Philosopher Theodor Adorno famously said that "to write poetry after Auschwitz is barbaric" precisely because the horrors of World War II were brought upon the world by the same cultural impulses that brought us the great art works of the last 200 hundred years.)

Imbedded in the very concept of a klezmer opera is already something unusual: a striking thing about klezmer as a genre is its highly suggestive mode of expression—as an instrumental form, its conventional gestures are obviously imitative of emotional charged singing, and its obligatory ornamentation similarly invites a mode of listening that is straightforwardly communicative. The term "klezmer" itself initially referred to the musical instruments, to the musicians, and not merely the genre. (The word is derived from the Yiddish for "vessel" and "song.") Thus, to make this the musical language for an opera is already a way of telling us that the opera is "about" the possibility of expression via singing.

Though of course the historical circumstances of a klezmer opera whose plot revolves around a post-World War II world do this work for us even more. Among so many horrifying things about Nazi politics—going hand-in-hand with its more commonly discussed genocidal racism—was its hegemonic cultural attitudes. One way of supposedly showing the superiority of the Aryan race was not only to valorize echt Deutsch works, but to suppress other cultural forms of expression.  Indeed, they even had a term for it—the so-called entartete [degenerate] music was pretty much whatever the Nazis found unsuitable to their ideological ends and was officially and ruthless suppressed. Thus, we find ourselves with a uniquely poignant contradiction, in which a genre of music—klezmer—that has precisely as one of its self-conscious characteristics a highly emotional, uninhibited character as, ironically, being the one of those that is most viciously muffled.

This tension finds its way into the music of the opera itself. We often find ourselves confronted with contrasting singing styles juxtaposed in striking ways. On the one hand, there is conversational music. It is parlando ("speaking") in style, reminiscent of recitative from earlier operatic forms. "Half-spoken," the score often indicates (and indeed, often follows with fully spoken dialogue). Thus, when melodic passages, using characteristic klezmer intervals (the augmented second and the tritone, notably non-Western European in their sound) ensue, the effect is striking.

Following the work's prologue, just such an occurrence happens in the first scene as the main character, Regina (a Jew who escaped Poland just before the war, played by Jill Grove) arrives in her hotel room with her granddaughter Mica (Anne Slovin). (Grove and Slovin pictured left.) It is the present time, and it is Regina's first return to Warsaw since the war ended. After bantering in the aforementioned parlando manner about the shoddiness of the hotel room, the first fully sung moments of the scene occur to the following text: "I don't know. I forget. I don't want to remember." It can be no coincidence that at precisely the moment when Regina begins to think about herself, her subjectivity, her identity, her memory (even if it is couched in terms of a denial), a clearly normative singing creeps in.  

(I have no idea whether Wlad did this intentionally or not. But of course it doesn't matter, because he did set it like this. Let us not forget that music is a fundamentally cultural phenomenon—it is ultimately eludes reducibility, even to those who write it. This perpetual sense of discovery is one of the great joys of art.)

This dialectic, this back-and-forth, between what we might call the "fully sung" and the "sung in place of speech" continues throughout the opera. It also cannot be coincidental that it is only in the final scene of the work that all six cast members sing together, almost like a chorus. I won't tell you what happens with the characters or spoil any plot details; I will simply assert that, on a theoretical level, it seems that underlying the opera is a process of becoming truly sung, all going towards the final word of the libretto: "song."

Since it is an opera that deals at least in part with the legacy of Germany, I cannot help but offer a general comment on the work's form. I was struck immediately, upon receiving the score of the work, by how skillfully Wlad had constructed the melodic fragments associated with certain people and ideas. (Anyone who has seen Star Wars, which is to say pretty much all of us Americans, can get a sense of what I mean by this.) The motifs are memorable, short, but also clear in affect, unmistakable. This made complete sense to me when I thought for a moment about it—Wlad has such depth of experience as a film composer, even for someone so young. He has absorbed the techniques so thoroughly that it only makes sense that this would be apparent even in works for the stage. Upon further reflection, I realized that there was an irony to Wlad's transference of film-scoring formal techniques to an opera, namely this: these techniques, so associated with the American film industry that we forget their origins, are of course a re-working of compositional techniques pioneered by Richard Wagner.  

Let's not be reductive though. Wagner, while notoriously anti-semitic, lived generations before the Nazis did. It is hard to blame him, as such, for the ways in which Hitler co-opted his music for politically and ideologically propagandistic purposes. At the same time, it is impossible not to acknowledge that there is something about Wagner's music that is just asking to be co-opted; it is as terrifying precisely because of its overwhelming characteristics. It is huge in scale, its orchestration out-sized, and its rhetoric grossly exaggerated. Even Wagner's technical language—the language of leitmotif—exerts complete control over his music-dramas' forms. That makes the employment of such techniques as a third-generation copies in The Property all the more meaningful. The very worst of Wagnerian excess is turned on its head, co-opted for purposes that are the opposite of what he may have meant. Whereas Wagnerian compositional techniques, at their worst, have an ethos behind them that that is simpatico to totalitarianism, in The Property they are used in service of a story about the survival of individuals in the wake the political manifestation of this totalitarianism. The thing characteristic of the totalitarian has been reversed and become the means of the resistance thereto.

In the end, the project of The Property is just that—resistance. Seemingly humble, small-scale, and unpretentious, that is precisely why it succeeds grandly. Totalitarianism cannot find those corners; it does not win as long as art somewhere continues its attempts at communication.

Michael Lewanski is a Chicago-based conductor. He seeks to reinvigorate the experiences that musicians and audiences alike have with standard repertoire and with new music.  In addition to guest conducting activities, he conducts the Chicago-based new music collective Ensemble Dal Niente and ensembles at the DePaul University School of Music. 

Photo credits:

  • Michael Lewanski portrait credit Chelsea Ross
  • Wlad Marhulets portrait credit Arthur Moeller
  • Stephanie Fleischmann portrait credit Jessica Fleischmann
  • Jill Grove portrait credit Dario Acosta
  • Anne Slovin portrait credit Jordana Wright

 

Subjects:

Opera 101: Behind the scenes of TANNHÄUSER with August Tye

Wagner's Tannhäuser, which runs through March 6 at Lyric, has been earning rave reviews, especially for its epic opening dance sequence. August Tye, Lyric’s ballet mistress for more than 10 years, takes us through the process from auditions to rehearsals to opening night.

Wagner's Tannhäuser, which runs until March 6 at Lyric has been earning rave reviews, not the least for its epic opening dance sequence, choreographed to the overture and set in the sensual realm of Venusberg. It depicts the kind of libidinous lifestyle that anyone who succumbs to the goddess Venus's charms embraces. The Chicago Sun-Times said, "A high point of the production is the beginning bacchanal, which features a swirling, electrifying dance, smartly choreographed by Jasmin Vardimon" and the Chicago Tribune called it a "sexy and striking coup de theatre."

How does this amazing sequence become reality? August Tye, Lyric's ballet mistress for more than 10 years, takes us through the process from auditions to rehearsals to opening night—and reveals that her work at Lyric is truly a family affair!

Describe your role as ballet mistress. What does that mean and what are your general duties and responsibilities?

As mallet mistress at Lyric, I work closely with the choreographer and dancers to create movement or dance sequences for opera. I record all movement into personal notes and often bits and pieces into the musical score. I give the dancers a warm up class before rehearsals and performances begin. Once the choreographer leaves, often after the opening night, I am in charge of maintaining their work and making sure that the understudies are ready to jump in at any moment. 

What has been your specific role on Tannhäuser as both ballet mistress and movement director?

In Tannhäuser I have worked with the associate choreographer Mafalda Deville to restage earlier production of the Tannhäuser "ballet" choreographed by Jasmin Vardimon. When you see the ballet you notice it is intensely physical. We started working on it in early December in order to give the dancers the strength training and adequate rehearsals they would need to execute the movement. We worked 30 hours a week. We gave the dancers both ballet and pilates classes to prepare them for rehearsal. I spent much of rehearsal time taking notes on the movement and putting landmark movements into the score.

The U.K. Guardian's review of the production called out the "terrifically sexy" choreography. Why should someone come and see it?

From a dancer's perspective you should come see it because it is amazingly athletic, physical and sexy. The dance sequence is 15 minutes long and full of surprises that I am quite sure have not been seen before.


 Scenes from the opening dance of Tannhäuser 

Can you take us through the audition process? What were you specifically looking for in dancers for Tannhäuser? Was it the same as what you do for any other opera or did this opera in particular have special requests/requirements?

Every audition is unique to the work that the dancers have to do within the opera. Due to the physicality of this particular work the audition was two days long and extremely demanding.  We started with over 75 dancers the first day and narrowed it down to about 30 for the second day.  In the end we needed 12 dancers and two understudy dancers.  For the men we were looking for strong partnering skills and complete athleticism. For the women we were looking for very fluid and sensual movement along with excellent stamina. Both Jasmin Vardimon (pictured right) and Mafalda Deville were there to choose the dancers. 

Can you talk about the rehearsal process for Tannhäuser? How long have you been working with the dancers and what have been some of the joys and challenges of this very exhausting and complicated sequence?

We started working with the dancers December 1. We worked for three weeks before the rest of the production team arrived in January. After the holiday break we came back for another 4 weeks of rehearsal. The first three weeks were the most challenging simply because the work is so physically demanding.  It was a bit like dance boot camp getting everyone in shape to execute this movement. We had to work through several injuries during the first three weeks but I am happy to say everyone is healthy and fit to perform. When we resumed in January it went very smoothly because dancers had a chance to rest over the holiday and they knew exactly what they were coming back to do. They were all very excited to meet Ms. Vardimon when she arrived on January 27. At that point the piece was finished and the dancers had built up the stamina to run it two times a day. Ms. Vardimon took a couple days to work with the dancers on clarifying the movement and making a few minor adjustments to dancer placement and spacing.

How do you take the original choreography and translate it into the dancers? Can you describe the collaboration you have with them and with Jasmin Vardimon and Mafalda Deville?

I think there are challenges to re-creating any dance on another group of dancers.  All dancers have their strengths and weaknesses and those are rarely replicated when you move on to another group of dancers. Ms. Deville and Ms. Vardimon were very clear that they wanted our dancers to have their own version and that they should not worry about copying the original. They should feel as though they are part of a new creation for them. If one were to compare the performances they may not notice those subtle differences that made it unique to our Chicago dancers.  It is very much the same choreography as in previous production.  


Athleticism on display in Tannhäuser

Tannhäuser is a long opera, but is it a long night for the dancers?

People equate the name Wagner with long operas, and with Tannhäuser, they're correct; with 2 intermissions, it clocks in at roughly 4.5 hours! But every now and then in opera, there are roles which may occupy only a small length of time, and for the dancers, this is one of them! Our dance happens during the overture, and 30 minutes after the opera begins, our job will be over! Except for opening night (when everyone stays for the company bow at the opera's end), the dancers and I will be headed for home while the opera still has another four hours to go.

How long have you worked at Lyric? And what do you love most about working with the company?

I began working for Lyric when I was a dancer in the 93/94 season.  I danced on and off for several seasons. In 2004, I was asked to assist Pat Birch with the movement for Robert Altman's A Wedding.  I have been here ever since as a ballet mistress, movement director, or choreographer for the past 10 years. I really love working at Lyric because it is a place for me to learn and grow artistically by working with other fantastic artists whether it be choreographers—such as Jasmin Vardimon, Wayne McGregor, Philippe Giraudeau, Lucinda Childs, and Pat Birch—or directors like Robert Altman, Robert Carsen, Sir David McVicar, Francesca Zambello, and Bob Falls. 

Also, the support staff at Lyric is also the best in the business as far as I am concerned; from the administration, assistant directors, music staff to the rehearsal department, they are truly passionate about their work and their support of artists.  It is truly a gift to be so supported; it allows you to really focus on the creative aspects of the work.

What has your favorite experience or production been so far? 

It's really hard to pick a favorite production or experience after so many great ones.  I had the privilege to travel to Madrid in order to learn the movement for a Chicago production of Dialogues of the Carmelites. It was there that I met director Robert Carsen and choreographer Philippe Giraudeau which began a long term professional relationship in which I was trusted to assist and remount Mr. Giraudeau's work in operas in Chicago, San Francisco, Toronto, and London. I was also asked to remount the dance for the Zambello production of Salome at the Saito Kinen Festival in Matsumoto, Japan.  These were very memorable experiences! 

 
Dialogues of the Carmelites at Lyric

I should also mention that I met my husband, Wilbur Pauley, while dancing in Lyric's production of Candide.  We have been married for 17 years and have three children together. Opera has definitely had a profound effect on my life!

 
The Pauley-Tye family at Soldier Field before Wilbur Pauley's performance of the National Anthem at a Bears game in fall 2014.

When you're not at Lyric, what are some of your other professional passions, such as Hyde Park School of Dance?

When I am not at Lyric I am very busy directing the Hyde Park School of Dance which I founded in 1993.  It is a not for profit dance school committed to making sure that dance is accessible to anyone who wants to dance.  I firmly believe that dance can have a profound effect on one's life.   Through the artistry, discipline, sense of self-confidence and teamwork a dancer experiences you gain a foundation for life skills that will stay with you no matter what field you chose as a career. 

Most people may not know that your son was in Madama Butterfly last season. Was that a fun experience for you as a family? Has he gotten the opera bug?

Having our son perform in Madama Butterfly was an amazing experience for him and of course we were very proud of our little guy.  He is always asking when he can work at the opera again.  Everyone treated him like royalty, he had a first floor private dressing room and he was paged to the stage as "Master Pauley." We also rode in a limousine to the opening-night party. Of course he got the opera bug! I'm afraid he will need to work on his singing voice to get that kind of treatment again!  He does like to sing…only time will tell.

 
Tye Oren Pauley as Sorrow, Butterfly's child, in Madama Butterfly with
Mary Ann McCormick (L) and Amanda Echalaz (C)

Photo credits:

  • August Tye portrait courtesy August Tye
  • Tannhäuser production photos credit Todd Rosenberg / Lyric Opera of Chicago
  • Jasmin Vardimon portrait courtesy Jasmin Vardimon
  • Dialogues of the Carmelites production photo credit Robert Kusel / Lyric Opera of Chicago
  • Tye-Pauley family photo courtesy Wilbur Pauley
  • Madama Butterfly production photo credit Dan Rest / Lyric Opera of Chicago

 

An Insider's Guide to THE PASSENGER

The Chicago premiere of Weinberg's The Passenger is on stage at Lyric from February 24 through March 15. Discover this poignant, gripping, and intimate 20th-century masterpiece, which portrays the story of the Holocaust from the perspectives of both victim and perpetrator, through interviews with the cast and creative team, audio previews, and more. 

 

The final opera of Lyric's 60th Anniversary season is the Chicago premiere of Mieczysław Weinberg's The Passenger, on stage from February 24 through March 15. This poignant and gripping 20th-century masterpiece portrays the story of the Holocaust from the perspectives of both victim and perpetrator, and was only recently rediscovered after more than 40 years of suppression.

In the early 1960s, Liese (Daveda Karanas) travels aboard an ocean liner bound for Brazil with her diplomat husband Walter (Brandon Jovanovich) while hiding a terrible secret: she was once an SS officer at Auschwitz. When she thinks she recognizes a fellow passenger as Marta (Amanda Majeski), one of her former inmates, she is forced to confront the truth about her past. The story moves back and forth from the ship to the camp, focusing on key events including Marta's reunion with her lover, Tadeusz (Joshua Hopkins), and Marta's friendships with Katya (Kelly Kaduce) and Bronka (Liuba Sokolova).

The Passenger is conducted by Sir Andrew Davis and directed by David Pountney, with set designs by the late Johan Engels, costumes by Marie-Jeanne Lecca, and lighting by Fabrice Kebour.

To supplement the mainstage performances of The Passenger, Lyric also presents "Memory and Reckoning," a confluence of activities that will add resonance and perspective to the themes and messages in Weinberg's opera through musical performances, a film screening, exploratory discussions, and the world premiere of The Property, a newly commissioned klezmer opera. Click here to learn more about these supplemental events, which run January through March.

Click here to read the plot synopsis, director's note, and more
in the complete program book for The Passenger.
 

Learn more about the world of The Passenger with this opera companion
 

Click here to learn more about The Property in the complete program book. 

Director David Pountney invites you to The Passenger

 

Articles with insights from the cast and creative team:

Pathways to Discovery: Exploring The Passenger and The Property
Lyric's general director Anthony Freud discusses the importance of presenting The Passenger and "Memory and Reckoning" events in this article from Lyric Opera News: "As the son of a Holocaust survivor, Freud notes that he can 'be rather cynical about works of art that have been inspired by the Holocaust. However, The Passenger is different from most. It's not sentimental or simplistic or melodramatic. It's a complex, very moving, very human story.'" READ MORE  

Zofia Posmysz and The Passenger: A Survivor's Story
7566. If you listen to the roll call of prisoners in Act One of The Passenger, you'll hear a series of numbers called over a loudspeaker (in German) by the overseer. 7566 is the number Zofia Posmysz was assigned in Auschwitz. At age 91, she still bears the tattoo on her left arm. In 1942, Posymsz, an 18-year-old student in Krakow, was accused of distributing flyers for the Polish resistance and arrested. She would spend the next three years of her life in Nazi concentration camps, first Auschwitz and later Auschwitz-Birkenau (an extermination camp in the Auschwitz network), where she worked as a bookkeeper in the kitchen. READ MORE   


In the Footsteps of Evil: Daveda Karanas visits Auschwitz
When Daveda Karanas appears in the Lyric premiere of The Passenger, she'll perform with a special perspective on the opera. Her portrayal of Liese&mdsah;a former overseer of inmates at Auschwitz concentration camp during World War II—will be significantly influenced by the American mezzo-soprano's recent visit to Auschwitz itself. READ MORE

Lyric Opera Orchestra Members on Weinberg and The Passenger
This season, Lyric Unlimited has teamed up with a number of cultural institutions for an incredible series of discussions, a film screening, the world premiere of a new klezmer opera, The Property, and chamber music performances featuring members of the Lyric Opera Orchestra. The chamber music concerts feature more of Weinberg's compelling and emotional music. We reached out to the members of the Lyric Opera Orchestra who are participating in these "Memory and Reckoning" concerts to gain insight on their experience with this music. READ MORE

Backstage Look: Creating Hair and Makeup for The Passenger
Lyric's wigmaster Sarah Hatten, now entering her fourth season as the head of this crucial department, takes us inside the process for creating the hair and makeup for Weinberg’s The Passenger. With an opera based on historical events, the challenge is to make every aspect of the production look as realistic as possible. And as surprising as it might seem, recreating real life on stage is usually more difficult than creating whimsical or fantastic wigs and makeup. READ MORE

Behind the Scenes of The Property
Lyric Unlimited has commissioned a new opera, The Property, to be presented in tandem with the Chicago premiere of Mieczsław Weinberg's The Passenger on the Lyric mainstage. A true fusion of opera and klezmer music, The Property brings Israeli author Rutu Modan's graphic novel to life in a captivating story about reclaiming the past, and finding your future. READ MORE

The Passenger Audio Preview

Music director Sir Andrew Davis shares the synopsis and excerpts from Weinberg's The Passenger. Recordings used by permission of EMI Classics and Peermusic Classical.

Subjects:

Opera 101: Q&A with TOSCA Assistant Director Shawna Lucey

It takes a village to put together an opera, and one of the most important roles is the assistant director. Shawna Lucey, who is assistant director for Lyric's production of Puccini's Tosca  (on stage now through March 14) gives a quick overview of her linchpin role as keeper of the "opera playbook."

It takes a village to put together an opera, and one of the most important roles is the assistant director. Shawna Lucey, who is assistant director for Lyric's production of Puccini's Tosca (on stage now through March 14) gives a quick overview of her linchpin role—essentially acting as the translator for the director's desires to the rest of the company and the keeper of the "opera playbook."

Can you give a basic description of what an assistant director does? What is your role in the opera creation process?

An assistant director on an opera has many responsibilities—both assisting the director of the show as well as communicating the desires of the director to many departments of the opera company. The AD creates and maintains the blocking book—this has the entire score as well as pages with diagrams of the set to document the movement and motivation of every character onstage. This book is used as a reference tool when rehearsing understudies or when a production is shown at multiple theaters. It's almost like an NFL playbook!

 
The blocking book and production photo from Act 2 of Tosca with Tatiana Serjan (Tosca) and Evgeny Nikitin (Scarpia)

The AD is responsible for helping the director coordinate the schedule—making sure the correct people are called to rehearsal at the correct times. The AD communicates the director's desires to the chorus as well as to any supernumeraries in the show, making sure that they understand any notes given by the director. The AD also works closely with stage management and the technical staff to execute the necessary technical elements so crucial to the production.

 
The blocking book and production photo for the opening bars of Tosca with
Richard Ollarsaba as Angelotti

How does the assistant director collaborate with the director, in this case John Caird, before and during the rehearsal process?

It's been absolutely wonderful to work with John (pictured right). I think we've both enjoyed the collaboration on this show. John Caird was directing Bohème in San Francisco this fall, where I was assisting on productions of Norma and La Cenerentola, so we went out to dinner and had a great conversation—both about the production and his vision behind it as well as theater, politics, and football (we're both Packers fans). Before and after rehearsals we've discussed major ideas as well as truths about the characters. His patience, kindness, and cleverness have led to a delightful rehearsal process.

What do you find most exciting or thrilling about this production of Tosca?

John's directing is so detailed and so precise; this is a thrilling production of Tosca. He has put his heart and his mind to the text as well as the music, and what's resulted is a Tosca that hits deep in the audience's hearts and minds. I think the design is brilliant as well and welcomes us in. Each act is full of subtlety and excellent storytelling, so that when the opera reaches its tragic conclusion—which most people already know coming into the theater—John's directing creates the tragedy anew, having so delicately built the story to that irreversible point.

 
Scenes from Tosca starring Tatiana Serjan (Tosca), Brian Jagde (Cavaradossi), and Evgeny Nikitin (Scarpia)

What has drawn you to opera more generally? What is your educational background?

I majored in Italian at the University of Texas at Austin. I followed graduation with a post-baccalaureate semester at the Moscow Art Theater. After working in New York theater for two years, I decided to pursue an MFA (Master of Fine Arts). Not satisfied with the choices here in the U.S., I decided to move to Moscow and study there. I had heard that learning a third language is easier than learning your second. I didn't realize that didn't apply if the third language was Russian! While I was completing my MFA in directing at the Boris Schukin Theater Institute of the Vakhtangov Theater, my directing mentor said I should look into directing opera, since languages and music are two of my passions. I went to Santa Fe as a technical apprentice and fell deeply in love with opera. I haven't looked back since! 

Did your fluency in Russian help with this particular production of Tosca, which has several Russian artists? 

Yes—my Russian background did come in handy with this cast. Ms. Serjan speaks Russian & Italian, but not English. I was originally contacted by Lyric to work on this show because they knew they needed an assistant director who spoke Russian. I translated for Tatiana throughout the process. Evgeny Nikitin and Mo. [Dmitri] Jurowski both speak English, but it's been great to have an almost "secret" language that we can joke with each other in.

What's your favorite opera or what opera do you dream of directing one day?

My favorite opera changes all the time! It's so difficult to say because there are so many great operas to choose from.

This is your Lyric debutdo you have any observations about working with the company or being in Chicago so far?

This is my Lyric debut and I'm having a wonderful time. The staging staff, many of whom I knew from other houses, are some of the best in the country. That and the excellent crews here make for a fantastic first experience. The strength of these departments is reflected in the excellence of the productions here at Lyric. It's an honor to be here.

And what about when you're not workinghow do you enjoy Chicago?

I'm really enjoying the city! It seems like a lively place. I saw a puppet show by Blind Summit at Chicago Shakespeare Theater, which was excellent, and I am looking forward to checking out the jazz scene here! 

Photo credits:

  • Shawney Lucey portrait courtesy Shawna Lucey
  • Blocking book photos courtesy Shawna Lucey
  • Production photos from Tosca at Lyric Opera of Chicago credit Michael Brosilow (first photo) and Todd Rosenberg (remaining photos)
  • John Caird portrait courtesy John Caird

 

Select an image to pin

    << March 2015 >>
    Sun Mon Tue Wed Thu Fri Sat
    1 2 3 4 5 6 7
    8 9 10 11 12 13 14
    15 16 17 18 19 20 21
    22 23 24 25 26 27 28
    29 30 31        

    Subjects

    Tags