Mezzo-Soprano J'Nai Bridges Gives Her Great Big Story To CNN

"J’Nai Bridges knows that most people perceive opera as being an artform for the elite. Because opera was traditionally catered towards nobility, many today still don’t feel welcome. Bridges wants to change that. The mezzo-soprano is a rising star in the opera world, with starring roles on stages around the world, including the Metropolitan Opera House and the San Francisco Opera. When she’s not belting out arias, she’s going to local schools to give students a chance to experience an opera, or teaching masterclasses at colleges. As a Black, female artist, Bridges knows the importance of showing children—especially BIPOC children—that classical music is possible. As Bridges says, when she walks into a room or onto a stage, her goal is to 'change minds, heal hearts, and make music.'" Watch the video after the jump. 

Broadway's Allison Semmes Aspired To Be The Next Kathleen Battle

Lyric Aspiration: Semmes the opera singer
turned Broadway star. (Photo: Dana Scruggs)

"It’s not difficult to find songstress/actress Allison Semmes these days. Just follow the hot national touring trail of Broadway’s Motown The Musical and catch Semmes’ riveting portrayal of iconic singer Diana Ross. The stage production, which stars Semmes, musically and artistically chronicles the epic rise of Motown Records from its humble 1959 beginnings in Detroit, to how it became the world’s most storied record label. The musical comes to life with captivating portrayals of the label’s legendary singers and musicians that helped put Motown on the map, all told through the vision of the master architect, Berry Gordy, Jr....Growing up in Hyde Park on Chicago’s Southside, a young Semmes’ love for singing took many directions, inclusive of with the Chicago Children’s Choir. Semmes, who performed with the choir from the age of six to 18, developed a strong voice and love for classical music. With the choir, she performed with the Chicago Symphony Orchestra, Lyric Opera of Chicago, and performed abroad. Singing in her church choir was also beneficial to Semmes’ development as a vocalist, and thanks to her parents’ vast collections of albums in jazz, blues, R&B, and heavy doses of the Motown Sound, she was able to listen to the vocal stylings and music of many artists. Yet, heading off to college, classical music charted the way for her to

Broadway Baby: Kathleen Battle performed as alternate to the
 title role in Scott Joplin's Treemonisha on Broadway 
from October - December 1975. [Source]

earn a bachelor of music degree in classical voice from the University of Illinois at Urbana-Champaign. She subsequently earned a master’s degree in music with a concentration in musical theater from New York University (NYU)-Steinhardt. 'I wanted to be an opera singer. I wanted to be the next Kathleen Battle,' Semmes said, with a laugh. 'The color to her voice is so expressive and so graceful.' After college, however, Semmes headed to New York, where she began her professional stage career with Dreamgirls. Other musicals have included Bubbling Brown Sugar, The Wiz, and The Color Purple (national tour). In addition to Motown The Musical, her other Broadway credit is The Book of Mormon. Semmes is humbled by her national starring role in Motown The Musical." [Source] Watch performances of the Allison Semmes, after the jump.

Renée Fleming Sings For Bill Clinton And Rahm Emanuel In Chicago

Soprano Renée Fleming, whose lucrative Creative Consultant position at the Lyric Opera of Chicago was recently renewed to 2017, performed this morning for the inauguration of Mayor Rahm Emanuel. She sang "America the Beautiful." Also in attendance was President Bill Clinton. More photos, and a video, after the jump.

How Partying In Paris And Singing R. Kelly Helped Lucas Meachem

Click here to watch an amusing anecdote from Lucas Meachem about how hanging out with Paul Groves and Susan Graham at Karaoke really paid off at the Lyric Opera of Chicago. The story begins at the 5:36 marker of the video. See photos of the infamous Iphigénie en Tauride production from 2006 by clicking here. And feel free to click on the above photo to enlarge it and get lost in the blue eyes of the star baritone. Watch Lucas Meachem perform "Soliloquy" from Carousel after the jump.

Kenneth Pigott, Lyric Opera Of Chicago President And CEO, Has Died

Kenneth G. Pigott is seen in the upper right with 
singers Renée Fleming and Anna Netrebko, as well
 as Anthony Freud and Sir Andrew Davis of the LOC 
(Photo: Todd Rosenberg)

"Kenneth G. Pigott, Lyric Opera of Chicago's president and CEO, died Friday afternoon, according to a statement from Lyric opera. A cause of death and other details were not immediately available. Pigott was a member of the Lyric Opera's board of directors for 13 years before becoming president and CEO in 2011, according to the statement. 'We are shocked and deeply saddened to learn and to share the news of the death of Ken Pigott, president and CEO of Lyric Opera. In the few hours since his passing, we have only begun to grasp the depth and breadth of this unimaginable loss,' Anthony Freud, Lyric Opera's general director, said in the statement. 'Ken was a truly unique man. He was a visionary whose wisdom and passion transformed the lives of everyone at Lyric, and at the many organizations with which he was associated. He is irreplaceable.' The statement said Pigott was 'instrumental' in discussions leading to Renee Fleming's appointment as the company's creative consultant in 2010 and led the search for the company's general director in 2011." [Source] Watch a recent video of the Lyric Opera of Chicago that gives an insider view of the tight community, and Renée Fleming invites you to the new season, after the jump.

Sondra Radvanovsky & Jamie Barton: Opera Rivalry And Friendship

Donizetti Darlings: Jamie Barton (left) and Sondra Radvanovsky take on historical figures at the Lyric Opera of Chicago starting December 6, 2014. (Photo: Zbigniew Bzdak/Chicago Tribune)

"On a recent afternoon backstage at Lyric Opera, Sondra Radvanovsky and Jamie Barton were behaving like the gal pals they are, hugging each other and singing each other's praises. Quite the contrast to the emotional sparring partners the singers are playing in Lyric's new production of Gaetano Donizetti's Anna Bolena — the castoff consort Anne Boleyn and Jane Seymour, Anne's lady-in-waiting and rival for the affections of the cruel King Henry VIII. Indeed, in conversation, neither the Berwyn-born soprano nor the Georgia-native mezzo-soprano came across as your standard-issue diva, however imperious they behave in the long-awaited Lyric return of Donizetti's bel canto masterpiece, which opens Saturday night at the Civic Opera House. 'It's fun

Sondra Radvanovsky as Anna Bolena
(Photo: Todd Rosenberg/Lyric Opera of Chicago)

and exciting when we put our voices together,' said Radvanovsky, who's familiar to Lyric audiences for her portrayals of the big Verdi soprano roles, and who's lately been enhancing her star status in the bel canto repertory as well. 'Yes, it's fascinating how well our voices blend,' agreed Barton, a singer whose stellar promise Lyric has nurtured in various supporting roles since her company debut in 2011. The sublime beauty of classically trained voices intertwining in soaring melodic arcs is one of the hallmarks of bel canto opera, of which Anna Bolena (1830), Donizetti's first big international success, is a shining example." Read the full interview and see lots of rehearsal photos by clicking here. Lyric Opera's production of Donizetti's Anna Bolena opens at 7:30 p.m. Saturday and continues through Jan. 16 at the Civic Opera House, 20 N. Wacker Drive; $34-$244; $20-$40 children; 312-827-5600, lyricopera.org. [Source] One more production photo after the jump.

Aprile Millo Photographed By Herb Ritts At Elizabeth Taylor Wedding

Ms. Millo can be seen on the left of the Herb Ritts
 photo behind hair-dresser José Eber.

In 1991, Aprile Millo sang for the wedding of Elizabeth Taylor and Larry Fortensky. The soprano had just made her debut in Boito's Mefistofele at the Lyric Opera of Chicago. She sang "Ave Maria" at the Neverand Ranch as helicopters swirled overhead during the ceremony. "It was the eighth – and final – trip she would ever make down the aisle. And now, for the first time, the Elizabeth Taylor AIDS Foundation has released photos of Elizabeth Taylor and Larry Fortensky's lavish 1991 wedding at Michael Jackson's Neverland Ranch exclusively to People. This inside look commemorates People's Oct. 21, 1991, cover story on the biggest and most media-saturated wedding in Hollywood history. (Remember, this was in the days before weddings like George and Amal Clooney's and Brad Pitt and Angelina Jolie's.) In the photos, the blushing, bronzed bride is dressed in a pale yellow $25,000 Valentino gown (a gift from the designer). She is seen with her groom – her seventh (she married Richard Burton twice) – and with her close friend, Jackson, who hosted the wedding for 160 high profile guests on his 2,700-acre Santa Ynez Valley, California, estate." [Source]

Lyric Opera Of Chicago Gets The High Fashion Treatment

"Opulence and glamour aren't just for the stage. These gorgeous photos were taken at the Civic Opera House and hark back to styles of the 1950's-1970's (which just so happen to be Lyric's first three decades). High fashion and opera: a perfect pairing." Chicago magazine created a portfolio of stunning images that highlight the fashion of Gucci, Valentino, Ralph Lauren, Givenchy, Bottega Veneta, Prada, Dior, and more, in the art deco setting of the opera house. The feature, put together by Heiji Choy Black, highlights the artistry of photographer Yossi Michaeli. A few more images after the jump. You can see the full article by clicking here. [Source]

The Dallas Opera Appoints Ian Derrer As Artistic Administrator

"In the wake of Jonathan Pell’s decision to step down after thirty years of distinguished service to The Dallas Opera, General Director & CEO Keith Cerny is delighted to announce the appointment of a new Artistic Administrator, Ian Derrer....Mr. Derrer grew up in North Carolina and, in 1996, completed a Bachelor of Music degree in Voice Performance from the Meadows School of the Arts at SMU. He then worked as a freelance Assistant Director and Stage Manager for Santa Fe Opera, The Atlanta Opera, Opera Carolina, Opera Pacific, and Washington Opera. From 1999-2005 he completed Masters Degrees in Opera Production, Voice, and Performing Arts Management from Northwestern University and Brooklyn College. During the summers of 2001-2003 he was also the Scheduling Coordinator for the International Institute of Vocal Arts in Chiari, Italy. Afterwards, he served as Rehearsal & Music Coordinator for the New York City Opera (2004-2006). Mr. Derrer also has invaluable experience in the field of orchestra and artist management. Immediately prior to joining the Dallas Opera, Ian held multiple positions at the Lyric Opera of Chicago (2006-2014), including Head of the Rehearsal Department, Rehearsal Administrator, and Director of Production, while, also, making time to serve as Rehearsal Director for Santa Fe Opera during the summer of 2012." [Source]

Lyric Opera Of Chicago Gets Acoustic Makeover On Stage

The proposed backdrop that could add recital capabilities to the cavernous opera house. 

"In the latest collaboration between the renowned Chicago architect Jeanne Gang and a Chicago-area arts institution, Gang and her firm, Studio Gang Architects, have designed a new acoustical shell for Lyric Opera the company will use for its concert performances at the Civic Opera House beginning in the fall, Lyric announced Wednesday. The dynamic, modular stage enclosure, to be unveiled at Lyric's 60th anniversary concert on Nov. 1, will be the first concert shell to be created by the architectural firm, although Gang and her partners have dealt with similar acoustical design issues in previous projects, she said. 'This is a unique project for us,' she said of the new concert shell, which Lyric plans to use for performances distinct from the operatic productions that constitute its main stage season. Lyric Opera officials have not disclosed the cost or funding sources for the project. Construction of the shell is scheduled to begin next week, followed by acoustical tests of the completed enclosure later in the summer. Their intention, officials said, is to replace Lyric's existing stage shell with a more efficient, more visually appealing enclosure that will improve the projection of acoustical sound in the cavernous, 3,500-seat Ardis Krainik Theater and relate, in a design sense, to the Art Deco style of the stage proscenium, with its receding perspective. 'We thought it would be far more interesting if there was something connected to the space, so it wouldn't look like it simply dropped in from outer space,' Gang said." [Source]

Lyric Opera Of Chicago's William Mason Steps Into San Diego Role

"The former general director of the Lyric Opera of Chicago, one of the premiere opera companies in the country, will serve as a temporary artistic adviser at San Diego Opera for the next six months. William Mason came out of a well-earned retirement — he spent more than 50 years in the opera business — to guide the troubled opera company towards stability. 'I’ve had such a wonderful career in opera, it was a chance to give something back,' Mason said. Mason says he was interested in the gig because it was not just about helping on the artistic side, despite the title. He says he realized the company needed someone with general director experience as well. In addition to helping flesh out the 2015 season, the opera’s 50th anniversary, and offer direction on the operas already booked for 2016, Mason will advise the board on how to govern the newly organized company and weigh in on financials and fundraising until a new general director is appointed. That person, says Mason, needs to have a fresh outlook. 'They need somebody new,' Mason explained. 'I’m 72 years old. I have no new ideas, and I’m not trying to formulate any.' His old ideas worked well for the Lyric, which remained in the black throughout Mason’s tenure, without sacrificing quality, says Marc Scorca, president of Opera America, a national umbrella organization. Scorca says Mason’s vast experience and popularity in the opera world will send a message internally and to the outside world that the ship has been righted. 'I think Bill will not only provide continuity in many ways but he’ll also provide a different leadership style that will win new friends for San Diego Opera,' said Scorca." [Source]

Christine Brewer Talks About Doing Musical Theater For The First Time

The soprano leads a chorus of nuns in The Sound of Music. (Photo: Todd Rosenberg/BWW)

"Christine Brewer usually goes several days between performances. As a dramatic soprano who specializes in the taxing roles of Richard Strauss and Richard Wagner, rest is important to conserve her voice and her strength. Not this time. This time, as the Abbess in Rodgers and Hammerstein’s The Sound of Music at Lyric Opera of Chicago, she’s on a musical theater schedule of eight performances a week, including just one day off and two days with two shows, a matinee and an evening performance. 'This is an unusual schedule for me,' the Lebanon, Illinois-based singer said in a telephone interview last week. 'I’ve never done a musical theater piece before. I don’t sing that much (in the show), but when I do, it’s big guns. I'm eating a lot of chicken soup and taking my vitamins.'....Brewer worked on her dialogue in St. Louis with her voice teacher, Christine Armistead, and with director Mark Bruni, 'and then it was Jenn [Gambatese]. She'd say, 'Let’s just run the lines.' We’ve developed a really nice relationship on and off stage. Words are so important in singing, and this is really giving me a chance to bring that to my mind in a different way.' She's connected with others in the cast, too. 'When you’re in an intimate, very emotional preparation and performance, it’s like family,' Brewer said. 'I knew (soprano) Elizabeth (Futral, who plays Elsa), and some of the women from the chorus, and that was it. The first days were a little tense; the musical theater people had never worked in an opera house, with such a big space to rehearse in, such a big stage, and a full orchestra.' They had some trouble adjusting to the idea that singers regularly fill that giant auditorium with sound with no amplification....In her free time, Brewer is working on her music for Dialogues of the Carmelites at Opera Theatre of St. Louis. 'I'm feeling holy,' she joked, with back-to-back nun roles." [Source] A picture of Elizabeth Futral, as Elsa, is after the jump.

Susanna Phillips Brings All the Boys to the Yard in Streetcar

(Photo: Todd Rosenberg/Lyric Opera of Chicago)

The reviews are in for Streetcar Named Desire at the Lyric Opera of Chicago. Find out more about the production here and see more photos here.

Lyric Opera of Chicago Young Artists Leave Crowd Wanting More

Joseph Lim, Tracy Cantin and Kiri Deonarine in Act 2
from Mozart's Le Nozze di Figaro" (Photo: Todd Rosenberg)

"There can be no higher praise for a concert performance of an isolated opera scene than that it leaves you disappointed not to be hearing the remaining two acts. Such was the case Monday night at Symphony Center, when the Civic Orchestra collaborated with Lyric Opera music director Sir Andrew Davis and singers from the Lyric’s Patrick G. and Shirley W. Ryan Opera Center in a pair of Mozart and Puccini scenes. And while the final act of La boheme had its moments, it was Act 2 of Le nozze di Figaro that was the clear highlight of the evening, and left one wanting more. Indeed, it’s no exaggeration to say that so stellar was the vocalism and spirited portrayals of the principals that any regional American opera house would be lucky to field this group of gifted young singers for their next Figaro production." [Source]

Renée Fleming and Yo-Yo Ma Perform at the Mall in Chicago

More photos of the musical outreach day can be found here. 

(Photos by Alex Garcia/Chicago Tribune)

LOC "Rinaldo" Reviews Are In and Better Than Ever

Read the reviews here, here and here.

Luca Pisaroni Interviews David Daniels in Chicago

LOC Will Feature Hovering Harpsichord in "Rinaldo" This Month

David Daniels in the tile role of Rinaldo
(Photo: Terrence Antonio James/ Chicago Tribune)

"An opera that released a flock of sparrows over the heads of astonished London theatergoers 300 years ago is about to have its first full staging at Lyric Opera of Chicago. There won't be any live birds set loose in the Ardis Krainik Theatre, but there will be songbirds of another sort, amid a roster of mostly newcomers, with David Daniels, today's foremost countertenor, as the eponymous hero of Handel's Rinaldo. The new production that opens Wednesday night at the Civic Opera House marks a Chicago reunion for Daniels, conductor Harry Bicket and stage director Francisco Negrin, all of whom made their Lyric debuts in another Handel opera, Partenope, in 2003. Last season here, Daniels and Bicket collaborated in a successful new production of Handel's Hercules. An Italian opera by a German composer written for an English audience, Rinaldo was the young Handel's first work written specifically for the London stage, and his first operatic triumph, receiving more performances during his lifetime than any of his 42 operas. Much of that success had to do with the high level of singing (the cast included

Renée Fleming Talks About the Germination of Her LOC Role

Lyric Opera of Chicago Stage Manager, Caroline Moores, Profiled

Moores backstage throwing cues to keep the opera running smoothly. (Photo: J. Geil/Oakpark)

"At 5-foot-1, Oak Park's Caroline Moores is a towering force of verve, creativity and efficiency as the longtime production stage manager at Lyric Opera of Chicago. She's the one backstage with the British accent, calling all the cues that help create the pageantry that is opera, and when she speaks, people listen. At the piano run-through of Richard Strauss' Ariadne auf Naxos, which closed Dec. 11, Moores was poised stage right, ready to hold court. With her headset on, she makes sure everything and everybody is in the right place at the right time. At her beck and call are several assistant stage managers who await her signal to verbally call the actors to stage. Everywhere else, scores of people responsible for running the electronics, makeup, wardrobe and props, including techs on the rail who fly scenery in and out, are paying close attention to Moores, waiting for the cue to carry on. In Ariadne auf Naxos, for example, she cues a cloud machine to travel across the stage, and tells stage hands when to fetch, deliver and pull away the boat platform and wagons. In this house, she rules, but not with an iron fist. Rather, Moores says, she facilitates the work at hand, always standing at her oversized console, never sitting. 'It's about being focused, and I need to stand to think,' Moores says." Read the full article here.