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L Y R I C O P E R A O F C H I C A G O
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November 19 - December 7, 2016
JEREMY
MOELLER,
Principal
Trombone
I find the chamber-
ensemble aspect
of performing
operatic repertoire
most satisfying.
It’s different
from playing
in a symphony
orchestra, in that the communication
between the stage and the orchestra pit is
the most important part of what we do.
We work best when we play like a large
chamber ensemble, working with the
singing and acting onstage. We’re all a
part of something bigger than ourselves.
ANN PALEN,
Violin
One of the most
satisfying elements
of playing opera
occurs when
everyone in
the orchestra is
listening intently
to the stage, so that
when we need to
adjust to the singer, the entire orchestra
of 80-plus musicians catches the singer
perfectly. I’ve been in the orchestra for
25 years and that still amazes me.
FRANK
BABBITT,
Viola
I’ve always found
the rehearsal
process, especially
the period when
the singers join
the orchestra,
to be satisfying
in a different
way from actual
performances. I’ll never forget watching
Natalie Dessay during the
Sitzprobe
[the
singers’ first rehearsal with the orchestra]
for
Alcina
, practically dancing during
her arias, moving, conducting herself
as we played together for the first time.
Seeing the great singers at close range,
going about their work, has always been
inspiring and rewarding to me.
TERRI VAN VALKINBURGH,
Assistant Principal Viola
I like being a part of a large ensemble
(meaning orchestra, chorus, solo voices,
sometimes backstage musicians, stage
crew, et al.) creating a story that, when
done well, takes the audience to a
whole new place
and time, all
while physically
remaining in
the middle
of downtown
Chicago. Also, the
characters usually
make such horrible
life choices that
I feel a bit better
about myself by the end of the evening.
MELISSA TRIER
KIRK,
Viola
As a string player,
I have learned
so much from
listening to and
accompanying the
magnificent singers
we work with at
Lyric. My first two
seasons included
performances by Jon Vickers, Plácido
Domingo, Mirella Freni, Luciano Pavarotti,
and Alfredo Kraus. I was relatively new to
opera at the time and quickly fell in love
with the beauty and magic of the repertoire
and the operatic voice.
Operatic repertoire is satisfying in many ways but, to me, there are three standout
elements: emotion, the combined efforts of many artists, and the sharing of what is best
in mankind.
To be able to add to what happens onstage with nuance and color is the orchestra’s
mission. The understanding by the audience of what each scene means is enhanced by
what the orchestra plays. This gives a deeper meaning to the plot and helps the listener
know the story and the characters better.
Opera combines the efforts of many people and many different skills: acting,
singing, orchestra, chorus, costumes, lighting, conducting, stagehands, stage manager,
dressers, dance, wigs, make-up, props, etc. All of these elements are in concert with one
another during each performance, and that is an awesome experience for everyone who
attends or anyone who participates in the show.
Opera is one art form that shows the best of what mankind can offer. Opera can mimic all human
experiences and uplifts those who partake in it. What more could you ask for?
CHARLENE ZIMMERMAN,
Principal Clarinet
DEL HALL
DEVON CASS
ANDREW HESSE
DEVON CASS