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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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MARK BRANDFONBRENER,
Cello
I’ve always found
the collaborative
elements most
exciting in working
in the opera world.
In addition to the
large orchestra,
we regularly come
in contact with
conductors and
their assistants,
singers, dancers, stage managers,
costumers, stagehands, designers,
choreographers, and the many support
staff that manage the company and raise
the money to keep it all going. I also
enjoy the many languages we hear in the
operas and around the opera house.
WILLIAM CERNOTA,
Cello
Handing off and receiving melodies from
the pit to the stage and stage to the pit
is most satisfying to me. The feeling is
one of connection and mutual support
– a visceral reaction with a palpable
sense of energy-transfer at its strongest.
This leaves a lasting impression even for
performing outside of the pit. The vocal
resonance of a fine bass, baritone, or
tenor is directly related to the resonance
from a cello. Movement throughout the
vocal range is a natural correspondence
to movement throughout the range of
the cello. Vocal articulations correspond
to the attack of the bow on the string.
PAULI EWING,
Violin
Preparing for a
Ring
cycle is a
little different than
for most operas.
It takes tons of
practice for the
massive amount
of very difficult
music balanced
with careful calculation to conserve and
have enough energy for performances.
For me it’s a bit like going into training.
Stretching, meditation, practicing,
swimming, eating well and preparing
food to take to performances.
How do you prepare
an opera you’re doing
for the first time?
DIONNE JACKSON,
Assistant Principal Flute
I always go to
the library to
get a score and a
video if possible,
because knowing
the story line helps
me to prepare
the music and it
gives me a better
understanding of
how the music
serves the story line.
AMY HESS,
Viola
When I’m
preparing a new
opera (which is
essentially all of
them for me), I
start by watching a
video and following
along in my part. If
there aren’t English
subtitles, I’m also
juggling a libretto!
This gives me a good overview of the story
and how the violas fit into the storytelling.
I’ll continue to reference a recording
or video throughout my practice to
make sure I have correct tempi, and for
How do you prepare for an
opera you’ve done before?
CHANNING P. PHILBRICK,
Co-Assistant Principal Trumpet
The amazing music librarians at Lyric
provide each orchestra member with
practice parts for each opera. I keep my
practice parts for future reference. When
the opera comes up the second time for
me, I refer to my practice part in which
I’ve made tempo, dynamic, mute choices,
and other indications that are very helpful.
ALYCE
JOHNSON,
Flute/
Piccolo
I really enjoy going
to the piano run-
throughs at Lyric.
In our orchestra,
the piccolo player
typically sits in the
middle, just below
the stage, so I’m
not able to see anything onstage during
the opera. The way we interpret our
music is directly affected by the actions
onstage. Seeing each opera’s piano run-
through helps me to understand which
style and emotion would be appropriate
at any given time in the production.
LEWIS KIRK,
Assistant Principal
Bassoon/Contrabassoon
Having the music to be able to
practice the hard bits. If you’ve done
it before, you have a pretty good idea
what is needed in terms of reeds (I’m
a woodwind player).
Eugene Onegin
requires a different sound than, say,
The
Magic Flute,
and the reed you use has a
lot to do with that.
TODD ROSENBERG
ANDREW HESSE
VILMA JOVAISA
DEVON CASS