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L Y R I C O P E R A O F C H I C A G O
November 19 - December 7, 2016
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What elements of playing operatic repertoire
are most satisfying to you?
LEWIS KIRK,
Assistant Principal
Bassoon/Contrabassoon
Telling a story through music.
PREMAN TILSON,
Bassoon
I’ve always had
a special love for
accompanying
other musicians.
There’s something
deeply satisfying,
both musically and
emotionally, about
supporting someone
who’s giving a
great performance.
It entails a sense of community and of
letting go of the ego to be submerged in
something much larger. This, of course.
happens in purely orchestral playing as
well, but it’s an even larger experience
with opera.
Something about the pit is also part
of this: down there in the dark, we’re not
the center of attention; we’re not under
hot lights and the audience’s gaze, so it’s
easier to relax and give in to the flow of
the music and the performance.
It’s also a little more “human” in
the pit than onstage, because we have the
freedom to smile at a colleague, share a
quiet joke, wriggle in our chairs, scratch
an itch, etc. Playing great opera with a
great orchestra, in a wonderful house,
and with thrilling, world-class singers –
it’s about as good as it gets!
TERESA FREAM,
Violin
The emotional content of operatic music
is unlike any other – I especially love the
through-composed works in that respect.
It’s like a long, uninterrupted ride
through the whole range of the human
experience.
T
hroughout each Lyric season, every performance is immeasurably
enhanced and enriched by the contribution of all members of the
company’s orchestra. Year after year, in one formidable work after
another, they combine authoritative style with impressive technical prowess
and emotional commitment. Here are some of their voices, giving us a first-
hand look at life in the orchestra pit.
ALL PHOTOS: TODD ROSENBERG
Das Rheingold
bows
ANDREW HESSE
ANDREW HESSE