A 225+ Artist Carmina Burana at Lyric Opera of Chicago November 14–18, 2025

Chi, IL Live Shows On Our Radar

What you need to know about 

Carmina Burana

More than 225 artists bring Orff’s classic work to the Lyric stage

Running time: Approximately 1 hour and 5 minutes, no intermission.

Lyric Opera of Chicago presents the company premiere of Carl Orff’s Carmina Burana, November 14–18, 2025. For three performances only, Music Director Enrique Mazzola conducts the Lyric Opera Orchestra and Chorus in this 20th-century masterpiece, joined by soprano Jasmine Habersham, tenor David Portillo, baritone Ian Rucker, and the Uniting Voices Chicago children’s choir. From the thunderous opening chorus "O Fortuna" to passages of hushed intimacy, Carmina Burana captures the full sweep of human experience in music that is at once visceral, dramatic, and unforgettable.

Three performances only: Friday, November 14 at 7:00 p.m.; Sunday, November 16 at 2:00 p.m.; and Tuesday, November 18 at 7:00 p.m.

The songs of fate, fortune, and fleeting joy. Orff’s score is based on a set of medieval poems discovered in Bavaria, written by students and clergy between the 11th and 13th centuries. His selections explore love, lust, gambling, drinking, and the transience of life with bold rhythmic drive and theatrical force. The result is music that feels both primal and timeless, a raw spectacle of choral power, lush orchestration, and unforgettable immediacy.

Every note resonates with power and precision. Music Director Enrique Mazzola conducts the Lyric Opera Orchestra with a distinctive blend of clarity, vigor, and stylistic insight. Internationally recognized as a leading interpreter of bel canto, French repertoire, and early Verdi, he has appeared at major houses including La Scala, the Metropolitan Opera, and Deutsche Oper Berlin, as well as festivals from Salzburg to Glyndebourne. At Lyric, he has led productions that showcase his ability to illuminate the majesty and power of large-scale choral writing such as Mozart’s Requiem (2023/24), Verdi’s Aida (2023/24), Beethoven’s Fidelio (2024/25), and the Wondrous Sound celebration of chorus and orchestra (2024/25).

Chorus Director Michael Black directs the 100-member Lyric Opera Chorus, one of the most distinguished ensembles of its kind in the world and a cornerstone of Lyric’s performances. Renowned for the beauty of their sound and stylistic versatility, the Chorus has collaborated with conductors including Enrique Mazzola, Sir Andrew Davis, Jakub Hrůša, Marco Armiliato, Harry Bicket, James Gaffigan, and Emmanuel Villaume. In the 2024/25 Season, the Chorus showcased its versatility to new audiences across the city and surrounding areas in the Great Choral Works community tour, performing operatic favorites alongside spirituals and musical theater selections. For Carmina Burana, the Chorus is joined by 50 treble voices from Uniting Voices Chicago (formerly Chicago Children’s Choir), directed by Josephine Lee, whose artistry and youthful energy provide a brilliant complement to Orff’s massive choral forces.

A dazzling trio of soloists brings these iconic vocal lines to life. Soprano Jasmine Habersham, who made her Lyric debut in the 2024/25 Season as Ashley in Missy Mazzoli and Royce Vavrek’s The Listeners, has quickly become known for her radiant tone and vibrant stage presence. Chicago audiences may also know her from her starring role as Claudette Colvin in Chicago Opera Theater’s world premiere of Jasmine Barnes and Deborah D.E.E.P. Mouton’s She Who Dared last summer. She has starred as Juliette in Gounod’s Roméo et Juliette with Opera San José, Susanna in Mozart’s Le nozze di Figaro with Madison Opera, and Cleopatra in Handel’s Giulio Cesare with Atlanta Opera, and she recently appeared in Barcelona at the Gran Teatre del Liceu as Frasquita in Bizet’s Carmen. Her concert work has taken her to stages with the Baltimore Symphony, Dallas Symphony, and Rochester Philharmonic.

Tenor David Portillo, a distinguished alumnus of Lyric’s Patrick G. and Shirley W. Ryan Opera Center, has performed ten roles with the company since his debut in 2007, including Arbace in Mozart’s Idomeneo, and Andres in Berg’s Wozzeck. A regular at the Metropolitan Opera, he has sung Tamino in Mozart’s The Magic Flute, Count Almaviva in Rossini’s Il barbiere di Siviglia, and the Chevalier de la Force in Poulenc’s Dialogues des Carmélites. His credits span Glyndebourne, Houston Grand Opera, Washington National Opera, and the Salzburg Festival. Portillo was honored with the 2024 Sphinx Medal of Excellence, and his upcoming engagements include Frederic in Gilbert and Sullivan’s The Pirates of Penzance with Seattle Opera and Jupiter in Handel’s Semele at Dutch National Opera.

Baritone Ian Rucker, another proud Ryan Opera Center alumnus, has built a strong presence at Lyric since his debut in the 2022/23 Season. His company appearances have included Raimbaud in Rossini’s Le Comte Ory, Moralès in Bizet’s Carmen, the Foreman in Janáček’s Jenůfa, and Schaunard in Puccini’s La Bohème. He returns in 2025/26 as Guglielmo in Mozart’s Così fan tutte. Beyond Lyric, Rucker has performed Dandini in Rossini’s La Cenerentola with Lyric Opera of Kansas City, Count Almaviva in Mozart’s The Marriage of Figaro with Scottish Opera, and the title role in the world premiere of Oliver Leith’s The Story of Billy Budd at Festival d’Aix-en-Provence. A recent prizewinner at the prestigious Neue Stimmen competition, he has also sung at the Salzburg Festival and with Palm Beach Opera. Originally from Wisconsin, Rucker studied at the University of Wisconsin–Eau Claire and Indiana University’s Jacobs School of Music.

The production team for Carmina Burana includes Lighting Designer Sarah Riffle and Projection Designer Adam Larsen.

A landmark premiere for Lyric. With its sheer sonic power, unforgettable choral writing, and themes that still resonate today, Carmina Burana is one of the most electrifying works in the concert repertoire. This long-awaited Lyric premiere is set to be a highlight of the Chicago cultural season.

IMPORTANT TO KNOW

· Language: Sung in Latin, Middle High German, and Old French, with easy-to-follow English titles projected above the stage.

· Pre-performance talks: Ticketholders are invited to a free 30-minute preview by Dr. Johann Buis one hour before each performance in the Ardis Krainik Theatre. Seating is unreserved; ticket required for entry.

· Accessibility: Braille and large-print programs, high-powered opera glasses, assistive listening devices, and booster seats are available from the Steiner Parquet coat checks at all performances. For more information, visit lyricopera.org/accessibility.

· Location: Lyric Opera House, 20 N. Wacker Drive, Chicago, IL.

For more information and tickets, visit lyricopera.org/carmina or call 312.827.5600.


Lyric’s 2025/26 Season is presented by the Robert and Penelope Steiner Family Foundation.

Lyric’s presentation of Orff’s Carmina Burana is generously made possible by Irene D. Pritzker in honor of Michael Black.

Maestro Enrique Mazzola is generously sponsored by Alice & John Butler, H. Gael Neeson, Sylvia Neil & Daniel Fischel, the Robert and Penelope Steiner Family Foundation, Mary Stowell, and the Zell Family Foundation as members of the Enrique Circle.

Lyric Opera of Chicago thanks its Official Airline, United Airlines, and acknowledges support from the Illinois Arts Council.



About Lyric

Lyric Opera of Chicago is committed to redefining what it means to experience great opera. The company is driven to deliver consistently excellent artistry through innovative, relevant, celebratory programming that engages and energizes new and traditional audiences.

Under the leadership of General Director, President & CEO John Mangum and Music Director Enrique Mazzola, Lyric is dedicated to reflecting, and drawing strength from, the diversity of Chicago. Lyric offers, through innovation, collaboration, and evolving learning opportunities, ever-more exciting, accessible, and thought-provoking audience and community experiences. We also stand committed to training the artists of the future, through The Patrick G. and Shirley W. Ryan Opera Center; and to becoming increasingly diverse across our audiences, staff, programming, and artists — magnifying the welcoming pull of our art form, our company, and our city.

Through the timeless power of voice, the splendor of a great orchestra and chorus, theater, dance, design, and truly magnificent stagecraft, Lyric is devoted to immersing audiences in worlds both familiar and unexpected, creating shared experiences that resonate long after the curtain comes down.

Join us @LyricOpera on Instagram, TikTok, YouTube, Threads and Facebook. #LongLivePassion

For more information, visit lyricopera.org.




Lyric Opera of Chicago
20 N. Wacker Drive
Suite 860
Chicago, IL 60606
United States

Photo: John Shaw/Lyric Opera of Chicago

REVIEW: Lyric Opera's The Flying Dutchman Now Playing Through October 7th, 2023

ChiIL Live Shows On Our Radar

Lyric Opera's The Flying Dutchman 

Review 

By Catherine Hellmann, Guest Critic 

Two and a half hours for an opera by Richard Wagner? One act? I’m out the door by 10:00? Sign me up! (I already have my Ring Cycle Merit badge, thank you very much.) 

Tamara Wilson as Senta and Tomasz Konieczny as The Dutchman.

All Photos: Todd Rosenberg

“The Flying Dutchman,” sung in German with English subtitles, as conducted by the charismatic Music Director Enrique Mazzola, is a delight. Based on an old myth about a ghost ship that must sail the seven seas forever, the doomed captain made a deal with the devil (hello, Faust?) during a storm. Now he must find true love to lift the burden of this curse. Every seven years, he is able to reappear and try to convince a woman to love him and break the spell. (My date commented, ”He’s in search of True Love.” I replied, “He has to find a sucker to stop the spell.” Hmmm…maybe I need to check my cynicism.) 

The overture was suspenseful and set the stage for events to come. There is drama on the high seas where there is no promise of return. The Dutchman may be lost forever, and his dismal crew (lit underneath the stage in red lights) will be adrift for eternity. 

Tomasz Konieczny as The Dutchman.

The set by Allen Moyer, who also designed the costumes, is on a disorienting tilt to portray the rocking waves of the water. The singers do a great job of lilting to the sides to simulate the turbulence of the sea. The opera chorus is always fabulous. The men portray the sailors and crew of the ghost trip while the women’s chorus represent the weavers working spinning wheels and the monotony of textile factories. 

Tomasz Konieczny as the Dutchman was powerful and mesmerizing. (Although the “Kool Ghoul” makeup was spooky but odd.) Local hometown star Tamara Wilson was incredible as Senta, the woman who yearns to save the doomed Dutchman (“sucka,” I’m thinking…Don’t do it, Senta!!). Not every opera singer is also a convincing actor, but they both were wonderful. I wasn’t wowed by the costumes, and Ms. Wilson was clearly visible but should ask the wardrobe crew about the Bozo wig.  

By the end of the show, I glanced at my watch and was amazed two hours had passed. That’s a very positive sign for a lengthy opera. The music is glorious. 

Wonderful start to the new Lyric Season.

Catherine Hellmann spends her life at school, the theater, and out walking in the city. 

Mika Kares as Daland, Tomasz Konieczny as The Dutchman,  and the Company of The Flying Dutchman. What You Need to Know About Wagner’s The Flying Dutchman

The Chicago cultural season begins with Music Director Enrique Mazzola conducting his first Wagner opera at Lyric September 23 – October 7, 2023

Wagnerian opera makes a grand return to Chicago whenThe Flying Dutchman docks at Lyric Opera of Chicago from September 23 to October 7, 2023. Considered to be composer Richard Wagner’s first masterpiece,The Flying Dutchman is legendary for its eerie storyline, complex themes of sacrifice and redemption, and soaring melodies. More than 165 musical and dramatic artists — including some of the world’s most sought-after soloists — bring this riveting odyssey to life on Chicago’s biggest stage. Opera’s most thrilling ghost story sets sail. Not seen at Lyric in more than 20 years, The Flying Dutchman is perhaps Wagner’s most haunting opera. This tempestuous work tells the story of a sailor known as the Dutchman, who is doomed to roam the seas forever. The Dutchman’s only hope to break the curse is (*drumroll please*) true love. Senta, a young Norwegian woman, falls quickly and deeply in love with the Dutchman and, well, the story only sinks from there. Through recurring musical themes (known as leitmotifs) and a rich orchestration, Wagner leaves the audience holding their breath to see what comes next for the love-struck couple.  Enrique Mazzola kicks off a season of historic "firsts." In his third season as Lyric’s Music Director, Enrique Mazzola leads the esteemed Lyric Opera Orchestra through a series of momentous firsts. This season opener, brought to life with a 72-piece orchestra, will mark Mazzola’s first time conducting Wagner at Lyric. In January, Terence Blanchard and Michael Cristofer’s Champion will mark his first contemporary work at Lyric, and he finishes Lyric’s opera season with his first-ever production of Aida, which also marks the 100th opera of his storied career. In a final "first" of the 2023/24 Season, Mazzola will conduct Mozart’s Requiem, his first foray into Mozart at Lyric. This diverse season allows Mazzola to showcase his broad repertoire and the Orchestra to display its mastery of a variety of musical styles.  An opera that lets the Chorus shine. Wagner’s score of The Flying Dutchmanhighlights the exceptional Lyric Opera Chorus, with contrasting men’s and women’s (and even ghosts’) choruses throughout the opera. Led by Michael Black, Lyric’s Chorus Director and Head of Music, the powerful 90-member Chorus has a staggering impact on this haunting story.  A star-studded cast comes aboard. Bass-baritone Tomasz Konieczny and soprano Tamara Wilson give entrancing portrayals of the Dutchman and Senta. Hailed as "The Breakout Star of the Met Opera’s Ring" by The New York Times, Konieczny returns to Lyric following his acclaimed portrayal of the title role inWozzeck in the 2015/16 Season. Wilson, a stand-out Verdian in recent seasons at Lyric — who was also deemed "quite the Wagnerian" by The New York Times — returns following her most recent headlining role as Elvira in Ernani in the 2022/23 Season. With piercing arias, longing duets, and energizing dialogues, this captivating pair and their fiery vocal power make The Flying Dutchman a must-see. Experienced and emerging artists round out the cast. Renowned bass Mika Kares returns to Lyric as Senta’s father Daland. The cast also features tenorRobert Watson as Erik and mezzo-soprano Melody Wilson as Mary, both in their Lyric debuts. Ryan Capozzo, a third-year member of Lyric’s Ryan Opera Center Ensemble, returns to the mainstage as the Steersman. Sets, costumes, and lighting combine for a theatrically spellbinding production. Director Christopher Alden’s production creates the illusion of a haunted galleon battling raging waters; it is bold and modern while retaining the authenticity of the story itself. (Wagnerian spectacle must run in the family — Alden’s twin brother and fellow opera director, David Alden, directed a new production of The Flying Dutchman at Sante Fe Opera this past summer). Allen Moyer’s creative sets and costumes combine to create a spooky atmosphere, andAnne Militello’s shadowy lighting design gives the production its eerie finishing touches, in her Lyric debut.  Wagner returns to Lyric with drama on the high seas. In an intense return to Lyric, Wagner’s first famous opera does what all of Wagner’s operas do: It draws you in with a captivating story, layered musical composition, and soaring vocal lines written for richly drawn characters. (And at just 2 hours and 20 minutes, it does it all in half the usual time for a Wagner opera.) Ryan Capozzo as Steersman, Tomasz Konieczny as The Dutchman,  and the Company of The Flying Dutchman. Important to know ·        Five chances to see The Flying Dutchman: September 23, 27, October 1 matinee, 4 matinee, and 7, 2023. ·        A running time of 2 hours and 20 minutes; performed without intermission. ·        Sung in German, with easy-to-follow English translations projected above the stage. ·        Information and tickets: visit lyricopera.org/dutchman or call 312.827.5600.

Lyric’s presentation of Wagner’s The Flying Dutchman is generously made possible by an Anonymous Donor, Josef & Margot Lakonishok, and Bulley & Andrews. Maestro Enrique Mazzola is generously sponsored by Alice & John Butler, H. Gael Neeson, Sylvia Neil & Daniel Fischel, and the Robert and Penelope Steiner Family Foundation as members of the Enrique Circle. The Enrique Circle is comprised of Lyric's most dedicated supporters who are committed to championing Maestro Enrique Mazzola's exciting artistic vision and legacy. Lyric Opera of Chicago thanks its Official Airline, American Airlines, and acknowledges support from the Illinois Arts Council Agency.

About Lyric Lyric Opera of Chicago is committed to redefining what it means to experience great opera. The company is driven to deliver consistently excellent artistry through innovative, relevant, celebratory programming that engages and energizes new and traditional audiences. Under the leadership of General Director, President & CEO Anthony Freud and Music Director Enrique Mazzola, Lyric is dedicated to reflecting, and drawing strength from, the diversity of Chicago. Lyric offers, through innovation, collaboration, and evolving learning opportunities, ever-more exciting, accessible, and thought-provoking audience and community experiences. We also stand committed to training the artists of the future, through The Patrick G. and Shirley W. Ryan Opera Center; and to becoming increasingly diverse across our audiences, staff, programming, and artists—magnifying the welcoming pull of our art form, our company, and our city. Through the timeless power of voice, the splendor of a great orchestra and chorus, theater, dance, design, and truly magnificent stagecraft, Lyric is devoted to immersing audiences in worlds both familiar and unexpected, creating shared experiences that resonate long after the curtain comes down. Join us @LyricOpera on Twitter, Instagram, TikTok, Youtube, and Facebook. #LongLivePassion For more information, visit lyricopera.org.

REVIEW: Carmen at Lyric Opera On Stage Through April 7, 2023

 ChiIL Live Shows On Our Radar

One of the world’s most beloved operas returns to Chicago 

March 11 – April 7, 2023

Review of Carmen at Lyric Opera

By Catherine Hellmann, Guest Critic 

“If I love you, beware!” declares Carmen in Act I. Well, she warns the gullible soldier Don Jose right from the start, but he welcomes the danger. (shake my head…) 

J’Nai Bridges is a very seductive, beautiful Carmen who is hard to resist. Her Carmen is sexy and captivating. She is playful and confident---I loved when she chugged wine straight from the bottle at the bar. 

In contrast is the very sweet Micaela, a girl from Don Jose’s hometown, who brings a letter from his mother. Golda Schultz was making her Lyric debut as Micaela and has a gorgeous voice. She and Don Jose have a beautiful duet; Jose’s mother urges him to marry Micaela. But bad-girl Carmen is just too alluring for Don Jose. (sung by handsome tenor Charles Castronovo)

Carmen urges Don Jose to abandon the Army. He refuses until his commanding officer Lieutenant Zuniga approaches with hopes of seeing Carmen himself. A jealous Don Jose, in a very poor career move, strikes Zuniga. Don Jose is now like Pee Wee Herman: “a loner…a rebel.” 

The revolutionaries sing “when conniving, it’s good to have women along,” so Carmen is their girl. (ah, those sexist lyrics…the opera was first performed in 1875.) After her fling with Don Jose, Carmen quickly moves on to bullfighter Escamillo. 

A very awkward moment occurs when there is silence between Acts III and IV while sets are changed for new scenes. Some music from the orchestra and that gorgeous, familiar score would have been appreciated. My sis recognized much of the music, from the “Habanera” in Act I to the “Toreador Song” in Act II. Carmen is often the first introduction to opera for many audience members.   

The Lyric Opera Chorus and the Uniting Voices Chicago (UVC, formerly the Chicago Children’s Choir) do an admirable job as always. I’m often reminded of a Cecil B. DeMille movie with its “cast of thousands” since the Lyric productions are so epic. The costumes are gorgeous by Robert Perdziola, especially the ladies’ gowns and the bullfighters’ outfits with lots of sequins. 

By the end, Carmen is dead, having been stabbed by her former lover, Don Jose, when she rejects him. (“Does someone always die in an opera?” questioned my sister. “Usually,” I answered.) Oh, Don Jose…you should have listened to your mother. 

Catherine Hellmann teaches downtown at a cool charter school. She loves theater, Chicago history, museums, reading, walking, and finding new restaurants. (Riding the CTA daily sometimes provides the best live performances in the city!) She needs to get to Hawaii to claim all 50 states visited.  

Opera’s legendary femme fatale returns to Lyric Opera of Chicago with Bizet’s Carmen — March 11 – April 7, 2023 — starring J’Nai Bridges, a leading interpreter of the famous title role and a singer with deep Chicago roots. Audiences are invited to experience one of opera’s greatest hits, featuring iconic music that is instantly recognizable even for those new to the art form.

The diva you know and love. BET has described two-time Grammy Award winner J’Nai Bridges as “the Beyoncé of the opera world.” As Carmen, a signature role she has portrayed around the globe, that description couldn’t be more accurate. An alumna of Lyric’s Patrick G. and Shirley W. Ryan Opera Center training program and a Kennedy Center Next 50 cultural leader, the mezzo-soprano makes her triumphant return to the Lyric stage. Bridges has appeared in more than 15 productions at Lyric and continues to shine as an unparalleled talent in opera.

A star-studded cast. Bridges is joined by Charles Castronovo as Don José. A critically acclaimed tenor, he was last seen at Lyric during the 2021/22 Season as Nemorino in The Elixir of Love. He is joined by South African soprano Golda Schultz as Micaëla in her Lyric debut. Schultz is the 2022 winner of the prestigious Bavarian Culture Prize, with the citation proclaiming that “a fantastic firework of tones fills the stage when Golda Schultz sings.” The first prize winner in the 2019 BBC Cardiff Singer of the World competition, Ukrainian baritone Andrei Kymach sings the role of the charismatic bullfighter Escamillo in his Lyric debut.

An international supporting cast of future stars. This production of Carmen is heightened by members of the Patrick G. and Shirley W. Ryan Opera Center Ensemble. Mexican soprano Denis Vélez is Frasquita and mezzo-soprano and Michigan native Katherine DeYoung is Mercédès. Hailing from New York, tenor Ryan Capozzo is Remendado, while Colombian baritone Laureano Quant is Dancaïre. Bass Wm. Clay Thompson, a Kentucky native, is Zuniga, and baritone Wisconsinite Ian Rucker joins his fellow Ensemble members as Moralès. Rounding out this stellar cast is Mexican tenor Alejandro Luévanos as Lillas Pastia. 

Opera’s biggest blockbuster. The immensely talented Lyric Opera Orchestra will be led by accomplished conductor Henrik Nánási, who is acclaimed for his performances of Carmen in one of opera’s biggest theaters, the Arena di Verona. At Lyric, he was last seen during the 2019/20 Season in Madama Butterfly, and made a memorable debut in the 2015/16 Season leading Le nozze di Figaro. He served as general music director at Komische Oper Berlin from 2012 to 2017. Nánási is joined by talented stage director Marie Lambert-Le Bihan, whose work at Lyric includes La clemenza di Tito in the 2013/14 Season and Die Meistersinger von Nürnberg in the 2012/13 Season.

A proper operatic spectacle, Carmen features the talents of set designer Robin Don, costume design by Robert Perdziola, and lighting design from Chris Maravich. This production also includes a children’s chorus featuring members of Uniting Voices Chicago, led by Josephine Lee. As always, Lyric’s brilliant chorus will be directed by chorus master Michael Black. 

Dance the night away. This spirited production of Carmen features choreography from Stephanie Martinez. An award-winning Chicago-based dance artist and founder of the acclaimed PARA.MAR Dance Theatre, she was awarded Joffrey Ballet’s “Winning Works: Choreographers of Color” commission in 2015. Martinez is assisted by Noelle Kayser alongside ballet instruction courtesy of August Tye.

New to opera? Start with a certified classic. Carmen has cemented itself in popular culture with its iconic music and irresistibly tragic story. Audiences will fall in love with opera’s fiercest heroine, so get ready for the biggest operatic sensation of the season — only at Lyric Opera of Chicago. 

Important to know

· Eight chances to see Carmen: March 11, 15 (matinee), 19 (matinee), 22, 25, 30 (matinee), April 2 (matinee), and 7.

· Sung in French, with projected English titles.

· A total running time of 3 hours and 25 minutes, including two intermissions.

· For updated information about Lyric’s ongoing initiatives regarding health and safety protocols, visit lyricopera.org/safety.

Lyric’s presentation of Bizet’s Carmen is generously made possible by Willkie Farr & Gallagher LLP, Liz Stiffel, and the Lauter McDougal Charitable Fund.

Lyric Opera of Chicago thanks its Official Airline, American Airlines, and acknowledges support from the Illinois Arts Council Agency.

About Lyric

Lyric Opera of Chicago is committed to redefining what it means to experience great opera. The company is driven to deliver consistently excellent artistry through innovative, relevant, celebratory programming that engages and energizes new and traditional audiences.

Under the leadership of General Director, President & CEO Anthony Freud, Music Director Enrique Mazzola, and Special Projects Advisor Renée Fleming, Lyric is dedicated to reflecting, and drawing strength from, the diversity of Chicago. Lyric offers, through innovation, collaboration, and evolving learning opportunities, ever-more exciting, accessible, and thought-provoking audience and community experiences. We also stand committed to training the artists of the future, through The Patrick G. and Shirley W. Ryan Opera Center; and to becoming increasingly diverse across our audiences, staff, programming, and artists—magnifying the welcoming pull of our art form, our company, and our city.

Through the timeless power of voice, the splendor of a great orchestra and chorus, theater, dance, design, and truly magnificent stagecraft, Lyric is devoted to immersing audiences in worlds both familiar and unexpected, creating shared experiences that resonate long after the curtain comes down.

Join us @LyricOpera on Twitter, Instagram, and Facebook. #LongLivePassion

For more information, visit lyricopera.org/newseason.