Missy Mazzoli's The Listeners March 30 – April 11, 2025 at Lyric Opera of Chicago

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A new "cult" classic: Missy Mazzoli's 

The Listeners 

comes to Lyric Opera, Mar 30th, 2025

Photo: Erik Berg/Norwegian National Opera & Ballet 

Succumb to the hum: Lean in closer and experience The Listeners, the new opera by Missy Mazzoli and Royce Vavrek

Content Advisory: The Listeners includes explicit language and sexual content, along with brief mentions of self-harm and suicide, that may be triggering or uncomfortable to some audience members. This production also includes the occasional use of strobing/flashing lights and theatrical gunfire. Recommended for mature audiences.

Performed in English with projected English titles above the stage.

A total running time of 2 hours and 30 minutes, including one intermission.

Chicago, it’s not just in your head: The Listeners is an unusual and inescapable opera experience, a provocative thriller of unrelenting sound.

Do you hear it? The haunting hum of Missy Mazzoli and Royce Vavrek’s The Listeners will transfix audiences at Lyric Opera of Chicago from March 30 to April 11, 2025. Conducted by Music Director Enrique Mazzola and presented in the world-premiere production of Lileana Blain-Cruz revived by Mikhaela Mahony, The Listeners is a theatrical experience that blends traditional opera with innovative videography and unconventional projection elements. This genre-defying opera’s unsettling narrative forewarns how isolation drives the search for human connection under the guise of an improbable sound.

The Listeners, a brand new work co-commissioned and co-produced by Lyric, Opera Philadelphia, and the Norwegian National Opera and Ballet, had its world premiere in Oslo in 2022 to thunderous critical praise. Now, in its longest run of stateside performances yet, The Listeners takes over Chicago’s largest stage. Let the sound consume you — if you dare.

The seduction of sound. Claire, a school teacher, whose idyllic suburban life is shattered by the arrival of a persistent hum — an unplaceable droning sound that only certain people can hear. A group of other "listeners" quickly forms around stopping the plague of sound: the community begins to take on a cultish nature when the prophet-like Howard attempts to make this group his disciples of the noise for all the wrong reasons. The Listeners is a modern American exploration of relying on community when faced with unrelenting fear. At its core, this opera asks: how much are you willing to sacrifice everything you’ve known, just to feel like you belong?

An impressive cult following. Longtime composer and librettist team Missy Mazzoli and Royce Vavrek have garnered widespread praise for their work on The Listeners, which made a brief American premiere at Opera Philadelphia earlier this season. The production has been hailed as "the unmissable opera of the season" by The New York Times and was listed on their "6 Performances Our Classical Critics Can't Stop Thinking About." The Listeners was derived from a treatment by Jordan Tannahill, who eventually published a novel of the same title, a work that was later adapted into a critically lauded television series, released on the BBC in 2024. But the hum’s menace is most unsettling in its original operatic form.

This isn’t the first time the talents of Mazzoli and Vavrek have created magic together. Previously, they received resounding acclaim for their 2016 collaboration Breaking the Waves, which won the inaugural "Best New Opera" award from the Music Critics Association of North America and was shortlisted for "Best World Premiere" at the International Opera Awards. The powerhouse duo will reunite once again for their upcoming adaptation of the beloved George Saunders novel Lincoln in the Bardo, commissioned by the Metropolitan Opera.

Fall under their masterful command. Lyric’s Music Director Enrique Mazzola leads the Lyric Opera Orchestra in interpreting Mazzoli’s thrilling and melodic score. Mazzola’s extensive experience conducting contemporary works was seen by Lyric audiences in the 2023/24 Season with Terence Blanchard and Michael Cristofer’s Champion, and he previously demonstrated his agility with Mazzoli’s composition These Worlds in Us with the London Philharmonic Orchestra in 2021, providing a solid foundation for his work on The Listeners. Earlier this season at Lyric, he conducted Verdi's Rigoletto and Beethoven's Fidelio and he will also conduct performances of Sondra Radvanovsky in Concert: The Puccini Heroines and Lyric in Concert: A Wondrous Sound. The work of Lileana Blain-Cruz, who directed the opera’s world premiere in Oslo, will be showcased on the Lyric stage for the first time. Currently the resident director at Lincoln Center Theater in New York, she was a Tony nominee for her direction of The Skin of Our Teeth. This spring, she will direct the new play Bust at Chicago’s Goodman Theatre. Her production of The Listeners is revived at Lyric by Mikhaela Mahony.

Devout followers that lead the way. The radiant soprano Nicole Heaston makes her Lyric debut as Claire, a role that was specifically written for her singular dramatic and vocal talents, which she portrayed in this production’s Oslo and Philadelphia performances. Alongside her recent performances in The Listeners, she most recently appeared in the title role of Samuel Barber’s Vanessa presented by the National Symphony Orchestra. Veteran bass-baritone Kyle Ketelsen returns to Lyric for the first time since his 2021/22 Season appearance as Doctor Dulcamara in Donizetti’s The Elixir of Love, as the group leader Howard. He made his Lyric debut in the 2004/05 Season, when he appeared as Masetto in Mozart’s Don Giovanni. Rising-star soprano Jasmine Habersham makes her Lyric debut in the role of Claire’s daughter, Ashley. Her most recent engagement was as Juliet in Minnesota Opera’s production of Gounod’s Romeo and Juliet.

A hypnotic supporting cast. Howard’s cult confidant, Angela, is sung by mezzo-soprano Daniela Mack in her return to Lyric following her debut as the Kitchen Boy in Dvořák’s Rusalka in the 2013/14 Season. She has recently dazzled audiences as Frida Kahlo in Gabriela Lena Frank and Nilo Cruz’s El último sueño de Frida y Diego, co-produced by San Diego Opera and San Francisco Opera. Tenor Jonas Hacker appears as Kyle, a high-school student who becomes tormented by the sound; Hacker starred as Timothy Laughlin in Gregory Spears and Greg Pierce's Fellow Travelers in Lyric’s 2017/18 Season. Paul, Claire’s husband who is overshadowed by her fixation on the hum, is sung by baritone Zachary Nelson. He previously appeared as Marcello in Lyric’s 2018/19 Season production of Puccini’s La Bohème. Nelson recently made an anticipated role debut as Alberich in Atlanta Opera’s new production of Wagner's Das Rheingold, a role he returns to later this season in the composer's Siegfried. Baritone John Moore is Dillon in his Lyric debut; he recently appeared in performances across the United States as Steve Jobs in Mason Bates and Mark Campbell’s The (R)evolution of Steve Jobs.

An ensemble of twisted believers. Baritone Joseph Lim, an alumnus of Lyric’s renowned artist training program, The Patrick G. and Shirley W. Ryan Opera Center, returns to Lyric as Thom, reprising the role he played in the Opera Philadelphia production. The cast of The Listeners also features several current members of the Ryan Opera Center Ensemble: sopranos Adia Evans and Gemma Nha, mezzo-soprano Sophia Maekawa, and baritone Finn Sagal.

Unapologetic creativity at its boldest. The Listeners is an unparalleled visual feat that combines modern technology with its storytelling. Through visual commentary with modern social media and "live" newscasting sequences alongside immersive sets and projections, this production envelops viewers in its cinematic spectacle. Set designer Adam Rigg, who recently designed the sets of Illinoise at Chicago Shakespeare Theater, creates the opera’s key visual environments. Working alongside him are costume designer Kaye Voyce, lighting designer Yi Zhao, and video designer Hannah Wasileski, all in their Lyric debuts. Chorus Director and Head of Music Michael Black leads the Lyric Opera Chorus, and the original choreography of Raja Feather Kelly is recreated at Lyric by revival choreographer Zoe Scofield, both in their Lyric debuts.

Ready for the hum? Featuring a score sung entirely in English (and punctuated with profanity throughout), this work delivers a darkly comedic and thought-provoking experience for contemporary audiences. The Listeners is an immersive opera that will leave Lyric patrons fearing the inescapable spell of the hum — will it consume you, too?

Important to know:

Five chances to experience The Listeners: March 30 matinee; April 2, 5, 8, and 11.

Ticketholders are invited to a free pre-opera talk by noted scholar Dr. Justin Vickers on the opera’s composition history and social context; the talks begin one hour before each performance on the main floor of the theater.

Audio description and a guided touch tour of the set are available at the Sunday, March 30 matinee performance. American Sign Language interpretation and SoundShirts are available at the Wednesday, April 2 evening performance. Braille and large-print programs, high-powered opera glasses, assistive listening devices, and booster seats are available from the main floor coat check at all performances. For more information on these and other accessibility assets, visit lyricopera.org/accessibility.

Co-commissioned and co-produced by Lyric Opera of Chicago, Norwegian National Opera, and Opera Philadelphia.

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

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

Lyric’s 2024/25 Season is sponsored by Erika Gross in loving memory of Dietrich Gross; and Julie & Roger Baskes.

Lyric’s presentation of Missy Mazzoli and Royce Vavrek's The Listeners is generously made possible by the Robert and Penelope Steiner Family Foundation, the Zell Family Foundation, and the National Endowment for the Arts.

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.

Major support for The New Work Fund provided by the Robert and Penelope Steiner Family Foundation and Virginia Tobiason.

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

Puccini's La Bohème Returns to Lyric Opera of Chicago March 15 – April 12, 2025 at Lyric Opera of Chicago

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Puccini's La Bohème 

Returns to Lyric Opera of Chicago, March 1, 2025

Sung in Italian, with easy-to-follow projected English titles above the stage.

A total running time of 2 hours and 20 minutes, including one intermission.

What you need to know about Puccini's La Bohème

The timeless tale of Parisian romance, friendship, and tragedy returns to Lyric in a stunning new-to-Chicago production that immerses audiences in one of opera’s most beloved stories.

March 15 – April 12, 2025 at Lyric Opera of Chicago

Puccini’s masterpiece La Bohème, on stage at Lyric Opera of Chicago from March 15 to April 12, 2025, captures the essence of young love, artistic passion, and the bittersweet nature of life’s fleeting joys. An extraordinary blend of world-class performers — Pene Pati in his Lyric debut and returning favorites Ailyn Pérez, Gabriella Reyes, and Will Liverman — masterfully reenact the triumphs and struggles of bohemian Paris. Conducted by Jordan de Souza and directed by Melanie Bacaling, this poignant and visually stunning production is sure to captivate audiences of all ages with its enduring charm.

Love burns bright in the City of Light. Against the backdrop of 19th-century Paris, a group of scrappy young artists navigate the complicated social landscape of love and loss. At the center of it all is the tender love story of Rodolfo, a poet, and Mimì, a fragile seamstress. As their love blossoms, the realities of poverty and illness loom, weaving a tale of passion, sacrifice, and the enduring power of connection. This vibrant opera is bursting with soaring arias, lush ensembles, and moments of both joyous celebration and heartbreaking tragedy. Reflecting its well-deserved reputation as a classic, Puccini’s score brings the bohemian lifestyle to life like no other. From the camaraderie of Café Momus to the intimacy of Mimì and Rodolfo’s duets, La Bohème is an emotional journey that will leave audiences reaching for their handkerchiefs.

An operatic dream team. La Bohème is a showcase for the unparalleled artistry of some of opera’s most acclaimed voices.

Pene Pati leads the cast as Rodolfo in his Lyric debut. After performing on stages from San Francisco to Paris, this Samoan tenor won the 2022 Reader's Choice Award at the International Opera Awards, and has been hailed as "the most exceptional tenor discovery of the last decade." He recently made his much anticipated Metropolitan Opera debut as the Duke in Verdi’s Rigoletto.

Chicagoland native soprano Ailyn Pérez returns to Lyric to sing her signature role as Mimì. Pérez has made four previous appearances at Lyric, most recently as Adina in Donizetti's The Elixir of Love in the 2021/22 Season, and has performed as Mimì at major opera houses worldwide, including at London’s Royal Ballet and Opera and earlier this season in acclaimed performances at the Met and the Vienna State Opera. Known for her breathtaking artistry, this Richard Tucker Award winner continues to captivate audiences with her memorable portrayals of opera’s most iconic female leads.

Soprano Gabriella Reyes returns to Lyric in the role of Musetta, following her acclaimed debut as Rosalba in Daniel Catán’s Florencia en el Amazonas during the 2021/22 Season. Reyes has moved audiences worldwide with her dynamic artistry. She has previously performed Mimì with the Atlanta Opera and Musetta with the Met and the Philadelphia Orchestra, earning raves for her interpretations of Puccini’s beloved heroines.

Grammy Award-winning baritone Will Liverman also stars as Marcello. An alumnus of Lyric’s renowned artist-development program, The Patrick G. and Shirley W. Ryan Opera Center, Liverman is celebrated for his versatility and artistry, from dramatic and comedic roles to groundbreaking works like The Factotum, the soul-infused opera he co-created and premiered at Lyric in the 2022/23 Season. A recipient of the Met’s Beverly Sills Artist Award, he continues to thrill audiences with his dynamic performances, including recent standout roles in Terence Blanchard and Kasi Lemmons's Fire Shut Up in My Bones and Anthony Davis and Thulani Davis’s X: The Life and Times of Malcolm X.

Powerful supporting talent. Lyric is marshaling forces from around the world to bring La Bohème to life. Renowned bass Peixin Chen, playing Colline, is known for his powerful voice and dramatic range. He was last seen at Lyric as the Monk in Verdi’s Don Carlos in the 2022/23 Season and performs a diverse repertoire from comedic roles in Donizetti and Mozart to the intense characters of Verdi and Wagner. La Bohème features two current members of the Ryan Opera Center Ensemble. Baritone Ian Rucker plays Schaunard, after appearing as the Foreman in Janáček’s Jenůfa and as Man at Bar in Terence Blanchard and Michael Cristofer’s Champion in Lyric’s 2023/24 Season. Fellow Ensemble member and tenor Travon D. Walker takes the stage to perform Parpignol. Winner of the 2024 Best Vocal Artist Award from the American Opera Society, Walker returns to Lyric’s stage after receiving much critical acclaim for his role as the Son in this season's production of Jeanine Tesori and Tazewell Thompson’s Blue. Baritone and Ryan Opera Center alumnus Levi Hernandez returns to Lyric to sing the roles of Benoit and Alcindoro, having performed Schaunard in the 2007/08 Season.

Shaping the story. Conductor Jordan de Souza makes a triumphant return to Lyric after previously leading the Lyric Opera Orchestra in Florencia en el Amazonas in the 2021/22 Season. An accomplished Puccini specialist, he led La Bohème at the Canadian Opera Company during their 2023/24 Season. De Souza was recently appointed General Music Director of Theater Dortmund and Chief Conductor of Dortmund Philharmoniker, with a five-year tenure beginning in August 2025. Alongside de Souza, Melanie Bacaling returns to Chicago to direct La Bohème. She recently worked on the world premiere of The Factotum during Lyric’s 2022/23 Season. In addition to her nation-spanning credits working on productions for the Met, the Detroit Opera, and Santa Fe Opera, she has also recently broken into the film world with her new concert docuseries The Butterfly Process: B (2022). Bacaling and de Souza bring La Bohème to renewed life in a captivating, new-to-Chicago production.

Turning vision into reality. The set design was created by Gerard Howland in his Lyric debut. Costume designer Jeannique Prospere reimagines the costumes originally designed by Peter J. Hall; lighting design is by Duane Schuler, an acclaimed designer of nearly 200 Lyric productions. Chorus Director Michael Black leads the 60-member Lyric Opera Chorus. They will be joined by Uniting Voices Chicago (formerly Chicago Children's Choir) under the direction of Josephine Lee.

A treasured classic back on stage. With its timeless story of affection and adversity, La Bohème continues to enchant audiences with its intense emotion and unparalleled melodies. With its stirring music and unforgettable characters, this production brings the heart of Paris to life and reminds us why La Bohème — the inspiration for the iconic Broadway musical Rent — remains one of the most beloved operas of all time.

Important to know:

Ten chances to see La Bohème: March 15, 19 matinee, 22, 25, 28, and 31 and April 3 matinee, 6 matinee, 9, and 12 matinee.

To complement the performances, Lyric presents the art exhibition La Bohème: An "American" Opera, featuring works by Ryan Opera Center stage director alumnus Luther Lewis, on view to ticketholders in the Grand Foyer. Inspired by 1990s Harlem and Chicago’s Pilsen neighborhood, this vibrant exhibit reimagines Puccini’s timeless opera through a new cultural lens and reminds modern audiences of the struggles and triumphs of being a young artist. The exhibit is also open to the public from March 18 to April 10, on Tuesdays and Thursdays between 12 p.m. and 2 p.m. (excluding March 27 and April 3).

Ticketholders are invited to a free pre-opera talk by noted opera scholar Dr. Harris Saunders on La Bohème’s composition history and social context; the talks begin one hour before each performance on the main floor of the theater.

Audio description, a guided touch tour of the set, and SoundShirts are available at the Sunday, April 6 matinee performance. Braille and large-print programs, high-powered opera glasses, assistive listening devices, and booster seats are available from the main floor coat check at all performances. For more information on these and other accessibility assets, visit lyricopera.org/accessibility.

A production of Los Angeles Opera and Dallas Opera. Production by Herbert Ross.

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

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 Presents Donizetti’s The Daughter of the Regiment November 4 – 25, 2023

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Donizetti’s beloved comic opera 

The Daughter of the Regiment 

marches onto the Lyric Opera of Chicago stage

 for the first time in 50 years 

November 4 – 25, 2023

This mashup of slapstick and romance stars two of the biggest names in all of opera: Lisette Oropesa, one of the most celebrated singers of her generation, in her eagerly anticipated Lyric debut; and returning favorite Lawrence Brownlee, whose role includes the show-stopping "Ah, mes amis," sometimes dubbed the "Mount Everest" of arias. The opera also stars Ronnita Miller and Alessandro Corbelli in the first of his two comic roles this season.

The Daughter of the Regiment heralds the Lyric debut of internationally celebrated conductor Speranza Scappucci, who will soon become the principal guest conductor of London’s Royal Opera House, Covent Garden.

This iconic production by Laurent Pelly — a co-production of the Metropolitan Opera, the Vienna State Opera, and the Royal Opera House, Covent Garden — has received raves around the globe. Filled with dazzling arias and raucous comedy, The Daughter of the Regiment is a must-see for devoted opera lovers and newcomers alike. We hope you can join us for all of the military might and operatic delight.

NEW-TO-CHICAGO PRODUCTION

The Daughter of the Regiment

Gaetano Donizetti

Lyric Opera of Chicago is delighted to bring this production of Donizetti’s The Daughter of the Regiment — bel canto opera’s equivalent of vintage champagne — to the city for the first time. Marie, the lovable, irrepressible spirited heroine — a foundling, raised by soldiers — loves handsome Tonio. Things get complicated when the Marquise carts her off to refine her with a “proper” education. In one exhilarating number after another, Marie throws off coloratura flourishes like shooting stars, while her tenor sweetheart pops out nine high Cs in a single aria! Bel canto superstar Lawrence Brownlee and comedic veteran Alessandro Corbelli partner with the dazzling Lisette Oropesa in her eagerly awaited Lyric debut. The marvelously stylish Speranza Scappucci conducts Laurent Pelly’s quick-witted, uproarious production.

Language: Sung in French with projected English titles

Running Time: 2 hours and 45 minutes, including 1 intermission

Location: Lyric Opera House

For more information and to purchase tickets click HERE.

Lyric’s presentation of Donizetti’s The Daughter of the Regiment is generously made possible by Invenergy, Sonia Florian, and Marion A. Cameron-Gray.

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

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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.

OPENING: Lyric Opera of Chicago Presents Donizetti’s THE ELIXIR OF LOVE September 26 - October 8, 2021

ChiIL Live Shows On Our Radar 

What You Need to Know About Donizetti’s

THE ELIXIR OF LOVE

September 26 - October 8 at Lyric Opera of Chicago

The Elixir of Love is a co-production of Lyric Opera of Chicago and San Francisco Opera, originally created by Opera North, UK.

Opera’s most heartwarming comedy, filled with Donizetti’s delectable music, is sure to bring nonstop smiles. Nemorino, the naive waiter, pines for the flirtatious Adina, the owner of the town’s hotel and Nemorino’s boss. His only hope to win her love is Dr. Dulcamara’s “elixir” — little does he know that it’s just Bordeaux wine! As we root for Nemorino, audiences are sure to laugh, gasp, “ooo” and “ahh”.

 

·       Classic Italian repertoire: While Donizetti and librettist Felice Romani may have hastily adapted a French comic opera to Italian in six weeks, The Elixir of Love has become one of most frequently performed Donizetti operas in the world and a classic of the bel canto repertoire.

 

·       After launching his career as Lyric’s Music Director with Verdi’s Macbeth, Maestro Enrique Mazzola, a true master of the bel canto repertoire, returns to the podium to lead the Lyric Opera Orchestra. The Maestro will have the difficult yet impressive task of performing back-to-back Verdi and Donizetti during these runs, demonstrating his versatility and expertise in the craft.

 

·       Exciting Lyric directorial debut: British director Daniel Slater comes to Lyric with over sixty productions in seventeen countries under his belt, including operas at Glyndebourne, Welsh National Opera, Santa Fe, Houston Grand Opera, and San Francisco. Slater started his career as acting Artistic Director of the Tricycle Theatre and Associate Director of the Nottingham Playhouse.

 

·       Ailyn Pérez in her element: The Chicago soprano steps into the role of Adina, which she has performed to great acclaim at the Bayerische Staatsoper, Deutsche Oper Berlin, Wiener Staatsoper and Washington National Opera. You can also see Pérez in Lyric’s upcoming Pagliacci film.

 

·       Charles Castronovo’s long-awaited Lyric return: After triumphant performances in Lyric’s The Magic Flute(2011/12) and Eugene Onegin (2016/17), the American tenor returns to Lyric as Nemorino — a role he’s known for internationally. Castronovo and Pérez are sure to bring one of the best Elixir love duos to Lyric’s stage.

 

·       Also featuring fellow Lyric favorites: Canadian baritone Joshua Hopkins, most recently seen as Guglielmo in Cosi fan tutte (2017/18), and American bass-baritone Kyle Ketlesen, who can be seen in Lyric’s Celebrating Sir Andrew Davis production, round out the Elixir cast as Belcore and Dulcamara respectively. 

 

·       Only five chances to experience the magic : September 26 (matinee), 29 (matinee) and October 2, 5, 8

 

·       2 hours and 30 minutes, including 1 intermission.

 

·       Sung in Italian with English translations projected above the stage.

 

·       For more information and to order tickets, visit lyricopera.org/elixir or call 312-827-5600.

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

Maestro Enrique Mazzola is generously sponsored by Alice & John Butler, Sylvia Neil & Daniel Fischel, and the Robert & Penelope Steiner Family Foundation

Lyric’s presentation of Donizetti’s The Elixir of Love is generously made possible by Sonia Florian.

Lyric Opera of Chicago thanks its Official Airline, American Airlines. 

Lyric Opera of Chicago is supported in part by a grant from the National Endowment for the Arts in response to the COVID-19 pandemic 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. #Lyric2122 #LongLivePassion

For more information, visit lyricopera.org.

Chicago Opera Theater Presents Freedom Ride With Chicago Sinfonietta at Studebaker Theater Through February 16, 2020

ChiIL Live Shows on our radar

World Premiere

FREEDOM RIDE

Commissioned by Chicago Opera Theater

Music & Libretto by Dan Shore

Conducted by Lidiya Yankovskaya

Directed by Tazewell Thompson

I'm elated to spend Valentines Day reviewing the world premiere of Dan Shore’s Freedom Ride, based on the Civil Rights Movement in New Orleans, at the Studebaker Theater. Developed at Xavier University in collaboration with activists who lived the history, Freedom Ride explores themes with searing social relevance, via a score that draws from Louisiana’s rich musical traditions. A diverse cast of Chicago-based artists and internationally acclaimed talent join the Chicago Sinfonietta to bring this powerful work to life.

When the Congress of Racial Equality comes to New Orleans in the sweltering summer of 1961, Sylvie Davenport is torn. Handed a pamphlet and asked to board a Greyhound bus, Sylvie is forced to choose between her academic future and the future of the nation in a story that highlights how far we’ve come and how far we still have left to go.

Tazewell Thompson (Blue, Jubilee) directs this world premiere new work, developed at Xavier University with the activists who lived the history. Staley Music Director Lidiya Yankovskaya conducts the critically acclaimed Chicago Sinfonietta.



Saturday, February 8, 2020 | 7:30 PM
Friday, February 14, 2020 | 7:30 PM
Sunday, February 16, 2020 | 3:00 PM

Conductor Lidiya Yankovskaya
Director Tazewell Thompson
Scenic Design Donald Eastman
Costume Design Harry Nadal
Projection Design Rasean Davonte Johnson
Lighting Designer Robert Wierzel
Assistant Conductor Kedrick Armstrong
Chorus Master Adrian Dunn

CAST:
Sylvie Davenport Dara Rahming
Leonie Baker Whitney Morrison
Georgia Davenport Zoie Reams
Russell Davenport Tyrone Chambers
Rev. Mitchell Cornelius Johnson
Clayton Thomas Robert Sims
Ruby Kim Jones
Mae, Chorus Samantha Schmid*
Gloria, Chorus, Georgia (Cover) Leah Dexter
Frances, Chorus Morgan Middleton*
Marc, Chorus Blake Friedman
Tommie, Chorus, Clayton (Cover) Vince Wallace
Chorus, Leonie Baker (Cover) Joelle Lamarre
Chorus, Russell (Cover) Cameo Humes
Reverend Mitchell (Cover) Curtis Bannister
Chorus, Mae (Cover) Kristina Bachrach
Chorus, Marc (Cover) William Ottow*
Chorus, Tommie (Cover) Keanon Kyles
Chorus, Gloria (Cover), Francis (Cover) Beena David



COT is thrilled to partner with Chicago Sinfonietta for Freedom Ride.

Since 1987, Chicago Sinfonietta has been a defiantly different kind of orchestra. The orchestra was founded by Maestro Paul Freeman to address the disconnect between the utter lack of diversity in orchestras and the vibrant, nuanced, communities for which they play. For nearly 30 years, we have made it our mission to represent the city of Chicago, reflecting that vibrancy on stage and in our programming, making classical music accessible for anyone.

In everything we do, we are inspired by our founder Paul Freeman (1936-2015). From humble roots in Richmond, Virginia, he grew to become a passionate musician and ultimately a brilliant conductor equally respected for his knowledge of music as he was for his natural leadership and charming sense of humor. He was the first African American conductor on the podium of more than 50 orchestras worldwide and conducted more than 100 orchestras in 28 countries over the course of his career. He served as chief conductor of the Czech National Symphony Orchestra in Prague (1996-2007) and the music director of the Victoria Symphony in Canada (1979-1989). He made more than 200 recordings in his career (on par with mega maestros such as von Karajan and Bernstein) and highlighted prominent, but under-recorded, diverse composers at every turn.

And, so it goes. The accomplishments of Paul Freeman are startling in their magnitude.

The orchestra’s 29 years have been highlighted by six European tours, two Kennedy Center performances, two Millennium Park concerts attended by over 19,000 people, and 15 recordings. For nearly 30 years, diversity, inclusion and bold and dynamic programming has been at the center of what we do. Rarely performed music by composers of color are a Sinfonietta staple and often include almost entirely lost compositions that are carefully pieced together and preserved through recording and/or the production of sheet music. Unusual instruments and musical styles like the bagpipes, steel drums, sitar, Indian Ghazal music, hip hop, and yes, even cell phones have served as centerpieces for Sinfonietta programs – some of the most daring musical collaborations any orchestra is putting on stage.

In 2011, Maestro Mei-Ann Chen began her tenure with the orchestra (as only the second Music Director in the Sinfonietta’s history). In her first season, the Sinfonietta was named by ASCAP as the recipient of the 2011-12 Award for Adventurous Programming and in 2013 was dubbed, “The city’s hippest orchestra” by the Chicago Tribune. From a battle of the bands with Mucca Pazza to collaborations with Young Chicago Authors, FootworKINGZ, and bass virtuoso, Victor Wooten the Sinfonietta has embraced the daring programming that has always been part of its history. In turn, audience response over the last five seasons has been unprecedented.

The legacy passed to Maestro Chen and all of us at the Sinfonietta goes far beyond what you see on stage. Maestro Freeman was, throughout his lifetime, a fierce advocate for early career, diverse musicians. Many of the musicians you see on stage (including our Concert Master since 1993, Paul Zafer) are the direct beneficiaries of this vision and personal investment that Maestro Freeman made in so many people. In 2008, this practice was formalized to create our Project Inclusion Fellowship Program. In the 9 seasons since this program began, Project Inclusion has served 45 fellows – more than all other similar fellowship programs in the country combined according to a 2016 League of American Orchestras study.

Freedom Ride is a part of Chicago Theatre Week!

Theatre week tickets are currently SOLD OUT, but check back for updates.

Special thanks to our sponsors for Freedom Ride:

Season Sponsors | Julie & Roger Baskes
Production Sponsor | Virginia Tobiason
Robert Sims Sponsors | Enriqueta & Ronald Bauer

This program is partially supported by a grant from the Illinois Arts Council Agency.

This project is supported in part by the National Endowment for the Arts.
The More & Genius Operating Reserve Fund provided partial support for this project.

Review of Lyric Opera Concert: “Rising Stars in Concert”

Photo: Todd Rosenberg

Guest Review
By Catherine Hellmann 

The weather outside was frightful (about 5 degrees, ok, so it is finally winter in January in Chicago), but the atmosphere at the Lyric Opera on Sunday afternoon was delightful. The “Rising Stars in Concert” concert is an impressive “Thank you!” to the donors of the Lyric. 

The 2019-20 Ensemble of The Patrick G. and Shirley W. Ryan Opera Center is a very talented group of performers. Selected from over 400 auditions, the elite group consists of 11 singers and one pianist. According to their website, the program “prepares emerging singers and apprentice coaches for careers in opera by providing unique, comprehensive training.” Since 1974, the Ryan Opera Center has been recognized as one of the premier training grounds in the world for emerging talent. Young singers are able to study with powerhouse talents, like Renee Fleming, and perform supporting roles at the Lyric in actual, full-scale productions. What a gift for an aspiring star! 

The singers study foreign languages in their apprenticeship so they are able to sing in French, German, and Italian as well as English. The program on Sunday included arias by Berlioz, Gounod, Richard Strauss, Rossini, Donizetti, as well as Victor Herbert and Ralph Vaughan Williams. So, check all four boxes on languages! 

There were dramatic pieces, like Lauren Decker (in her awesome red shoes!) singing Verdi in her rich contralto. She gave me goosebumps when she sang the words “Be silent,”  in her very low, deep voice. Mario Rojas sang a lovely romantic piece from Gounod’s Romeo et Juliette in his gorgeous tenor voice. I would have climbed down from my balcony to join him! 

Emily Pogorelc was a standout in her princess white gown singing Bellini’s aria from Act Two of La sonnambula. Her voice with its stunning trills and arpeggios was the cream in my coffee (which sounds like Cole Porter, but it’s Ruth Etting, because I looked it up...thanks, Google!) 

There were comical pieces as well. My favorite was a duet by Bass Anthony Reed and Bass-Baitone David Wiegel by Rossini from Il turco in Italia where two men talk about selling a wife. The one gent determines if he can’t buy the other guy’s wife, he will abduct her! My favorite line was: “When marriage isn’t working, the husband becomes a salesman.” The men intend to duke it out, so they stretch and prepare physically with one of them falling comically as he attempts the splits. The other hurts his back while warming up, so both end up lame at the conclusion. 

After intermission, there was a piano quartet playing Gabriel Faure’s Piano Quartet No. 1, Op. 15, Fourth Movement with pianist Madeline Slettedahl. She says in the program: “It’s been a privilege to perform frequently with my talented singing colleagues both here in Chicago and abroad, developing both musically and interpersonally in a field that has so much to say about the human experience.”  

A video played with departing singers being interviewed about their experiences with the Ryan Opera Center. One singer stated that these four years immersed her in everything and allowed her to “be prepared for anything” while growing as an artist and as a person.   

Another singer grew up attending the Lyric Opera since high school, so being in the program was like “coming home.” 

The show ended with Victor Herbert’s finale from Naughty Marietta. When the singers burst into: “Ah! Sweet mystery of life, at last I found you!” there were chuckles in the audience, probably recalling Mel Brooks’ amusing take on this song in Young Frankenstein. “‘For ‘tis love, and love alone, the world is seeking!” 

The world also needs more glorious music, and the Lyric Opera provided us with this balm on a dreary, frosty day. 

Catherine Hellmann has great stories from a year doing singing telegrams, which was not as artistic as the Lyric, but pretty darn enteratining. 


Lyric Opera's “Rising Stars in Concert” is a showcase performance starring Ensemble members of The Patrick G. and Shirley W. Ryan Opera Center with members of the Lyric Opera Orchestra conducted by Ari Pelto Sunday, January 19, 2020.

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

Lead Sponsor: Donna Van Eekeren Foundation

Sponsors: Ann M. Drake, Sue and Melvin Gray, Patricia A. Kenney and Gregory J. O’Leary, Chauncey and Marion D. McCormick Family Foundation, Lauter McDougal Charitable Fund, Frank  B. Modruson and Lynne C. Shigley, and Dr. Scholl Foundation, with additional support from Dentons LLP and Allan Drebin

Rising Stars in Concert was also broadcast on 98.7WFMT and wfmt.com on Sunday, January 26, 2020 at 7:00 p.m.

The radio broadcast of Rising Stars in Concert is generously sponsored by the Donna Van Eekeren Foundation.