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L Y R I C O P E R A O F C H I C A G O
18
|
February 11 - March 25, 2017
CARLA JANZEN
The voices in our group are pretty
incredible. Any of the singers in the Lyric
Chorus could have had solo careers, and
many did, but we’ve chosen to be choristers
because it’s the right path for us.
LAUREEN JANECZEK WYSOCKI
We truly are among the best at what we do
and we take great pride in that.
KIMBERLY McCORD
We get excited when conductors actively
engage with us to perfect our contribution
to the production.
SHERRY WATKINS
I love when principal artists interact with
us directly, look us in the eye, and engage
with us personally. Directors should know
we’re a pretty good dancing chorus, in
general, and we shine when we’re given
specific and individual attention, vs. being
addressed as a group. I’m amazed at the
focus and acting abilities of my colleagues,
especially in shows that demand more of
us emotionally, such as
Bel Canto
and
The
Passenger
.
KEN DONOVAN
We are very much like a family. I’ve made
some of my closest friends here, friendships
that will last a lifetime. We’re proud of
our rich history and reputation for great
opera-making, and are always striving to
be better. It’s exciting to work with new
conductors, directors, and singers, and see
them return after successful collaborations.
Many of us are extremely passionate about
our work at Lyric and it’s a huge part of
how we identify ourselves.
What should the audience know
about who you are and what you
contribute to their experience?
CARLA JANZEN
Our audience is the inspiration for
everything we do. Attention is paid to
even the most mundane details to create a
meaningful experience for them. When we
feel the audience give energy back to us,
it creates a feedback loop magnifying the
experience for everyone, onstage and off.
That’s the magic of live theater and why we
all pursue it!
SHERRY WATKINS
The energy of the chorus heightens the
excitement of a show and amplifies the
emotion of a scene. When we’re all engaged
in the action, it’s a powerful experience
for those onstage as well
as in the audience and
we feed off each others’
energy.
JAMES ODOM
Our goal is to give the
audience moments of
sublime elation, great
catharsis, subtle humor,
and great belly laughs.
To have them share in
the sublime.
VINCE WALLACE
We’re regular people
just like them. The only
difference is our jobs are
playing pretend. It’s a
job like any other; we have similar issues to
deal with but the product is entertainment.
SHARON GARVEY COHEN
We’re all educated professionals who
trained as soloists and found our
niche in this professional chorus. The
competition for this job is very high. We
love performing for you whether we are
background “instruments” as in
Lucia
or
Traviata
, or are a main “character” as
in
Peter Grimes
or
Turandot.
Many of
us perform as soloists in smaller opera
companies and professional church choirs.
I love to introduce new choristers to the
opera house. Someone did this for me my
first year and I try to repeat the tradition.
The look on a new chorister’s face walking
out onto that stage for the first time is
priceless! I love my job.
The men proclaim their devotion to Hanna (Renée Fleming) in
The Merry Widow
(2015-16);
and the women admire Nemorino (Giuseppe Filianoti) in
L’elisir d’amore
(2009-10).
Chorus master Michael Black (front row, second from left)
with chorus members at the 2015 end-of-season party.
TODD ROSENBERG
DAN REST
TODD ROSENBERG