April 22, 2019
An Interview with Chorus Member Pamela Williams
Are you originally from Chicago?
I grew up in Atlanta, rather, Snellville, Georgia. I attended Georgia State University where I obtained my Bachelor’s of Music, and began my Master’s of Music at the University of Missouri Columbia. My teacher at MU, Costanza Cuccaro, left and began teaching at Indiana University Jacobs School of Music, so I completed my Master’s degree at IU. After graduate school came a round of auditions in Europe, as well as stateside. Ultimately, I landed in Chicago for my career, and I prefer Chicago to New York. For me, it’s a better fit. More livable, clean, and beautiful!
How long have you been singing, and what inspired you to pursue a career as a musician?
I’ve been a singer my whole life. I was a part of both the band and the chorus in high school, and the band at my school was far superior to the chorus…I played the euphonium! I grew up singing in church, and then when I was in college, I discovered classical music and opera, and found it worked better for my voice than the contemporary Christian music I had been pursuing both in style preference and the ease of production. My first time singing with a professional opera chorus was with Atlanta Opera, where I performed two shows before attending graduate school. After graduate school, and completing Young Artist Programs at Tulsa Opera, Opera Memphis, the Natchez Opera Festival, Opera for the Young, and Opera in the Neighborhoods at Lyric Opera of Chicago, I had the opportunity to join the chorus.
When did you join the Lyric Opera of Chicago Chorus? What inspired you to join the Lyric Opera of Chicago chorus?
I first joined the Lyric Opera of Chicago Chorus in the 1999/2000 season. I took an audition with Lyric Opera of Chicago and ended up getting placed as a full-season substitute. I then completed several years as a supplemental member, before becoming a regular member of our chorus. I just finished my 19th season with Lyric Opera of Chicago!
Prior to my time at Lyric Opera of Chicago, I did the young artist program circuit, which was hit or miss – I’d sing in a program, work three jobs, continue auditions, take voice lessons, etc. After I auditioned for Lyric’s chorus and got the job, I realized it was a godsend. It wasn’t until I joined our chorus that I knew it was exactly what I wanted to do – I get to have a house, live in one place, establish my life here and sing with wonderful colleagues. God knew what I needed better than I did, it was absolutely “divine intervention”.
What was the first opera you’ve ever seen? First opera you performed?
The first opera I ever saw was Barber of Seville and the first opera I was in was Lucia di Lammermoor, both at Atlanta Opera. The first opera I performed at Lyric Opera of Chicago during the 1999/2000 season was Falstaff, but the most memorable opera that season was Alcina. I was dressed as a man, and we played rocks on the stage, laying on the floor. I’ll never forget hearing Natalie Dessay portraying Morgana, walking around all of us as rocks on the floor singing a glorious aria. It was an amazing cast including Renée Fleming and Jennifer Larmore, and the experience is what made it special, whether we were singing or disguised as rocks.
Do you have a favorite opera or composer?
All of them. I love all operas, well..., almost all. When we performed Rusalka in 2014 with Ana María Martínez, it became my favorite opera. It was a completely breathtaking performance in that beautiful production. That was my favorite opera until this year…now my favorite opera is Cendrillon. I absolutely fell in love with this show, the production, the magic. I guess you can say, Rusalka is my favorite sad opera, and Cendrillon is my favorite happy opera!
What are your favorite memories performing at Lyric Opera of Chicago?
Cendrillon and Rusalka will always stand out as favorites. Cendrillon was magically fun, and part of that was our director and choreographer. Everyone was given very specific notes and characterization, and you felt wholly part of the production. I was also understudy for one of the spirits, and I got to go on for one show, which was very fun. Another favorite memory at Lyric is performing Leoš Janáček’s The Cunning Little Vixen – it was one of the most creative and fun, crazy-good-time shows. I played a chicken and squirrel, and part of the fun, besides dancing and acting like a forest creature, was moving scenery on and off stage as these animals. This production was just so creative and active, and it stands out as a great experience I was a part of.
You mentioned you understudied for Cendrillon. Have you understudied at Lyric before this season? What is that schedule like layered with your chorus rehearsals?
Yes, I’ve covered roles quite a bit, as many of our chorus members have, in addition to playing small roles on-stage. Most memorably is probably being an understudy in Katya Kabanova, by Janáček in 2009. I was covering the role of Fekluša, portrayed by Amber Wagner. Amber fell ill for one performance and I got to go on, which was bittersweet but exciting. The understudy schedule varies a bit, sometimes it’s a morning cover rehearsal, sometimes it’s evening, and then our chorus rehearsals usually fall somewhere in between. If you’re a chorus member and an understudy, the days can be quite long, but we love the opportunity to learn new roles and go a little deeper into the operas or musicals.
Are there events or work you do when Lyric Opera isn’t in season?
I perform lots of solo engagements in the off season. Last year, I traveled to Brazil and sang Flora in La traviata, and I also performed in the premier of a new oratorio, Abraham, by Ryan Malone. I perform recitals frequently as well, including a recent duet recital with my friend from the chorus, Desiree Hassler, in South Carolina. I’m entering my 13th year in Door County, Wisconsin performing, and I sing regularly with Opera Up Close, a series with Governors State University, started by fellow Lyric Opera of Chicago chorus member John Concepcion.
I am also the co-chair of Lyric Opera Stage Artist Outreach Committee. We do lots of community outreach, concerts in nursing homes and senior living, all completely voluntarily. We’ve combined forces with our friends from the orchestra to serve with the Greater Chicago Food Depository, Grace Place homeless ministry, we serve meals, and we’ve begun partnering with Lyric at events, most recently the Signature Luncheon on February 28th. It’s great to be reaching our community and our seniors and bringing opera to them, with no cost to the facility. Most recently, we served breakfast at Grace Place on April 6th and performed on April 12th at Wesley Place. At Chicago Methodist Senior Living, we typically perform an hour long concert of opera, musical theater and art song. We will also be performing at the other 2 facilities of CMSS and The Merion this spring and summer, and additionally, we will also be serving once again at Grace Place on May 25th.
What are you most looking forward to in Lyric’s 2019/20 season?
Definitely Dead Man Walking and Luisa Miller, as I’ve never performed either of them before. I’m excited about Don Giovanni – it’s a great show and I’m excited for that to come back.
Favorite Operatic Roles?
Hansel, from Hansel and Gretel…if I wasn’t 52 I’d pursue the role at every chance I could! I’ve never performed the full role, but Composer from Ariadne auf Naxos is also a favorite.
What makes the alto section at Lyric the best?
Our Lyric Opera of Chicago altos are the coolest and most fun people, and raucous!
First answer that comes to mind:
Deep dish or thin-crust? Deep dish
Puccini or Verdi? Verdi
Cubs or White Sox? Cubs
German, French, or Italian music? French
Favorite famous Opera Chorus? “Patria opressa” (from Macbeth, by Verdi)