Chicago – operahus
Chicago Opera Group grundades 1910 och präglades i nästan tjugo år framåt av Mary Gurden som sjöng sina mest kända partier, Mélisande och Thais och även var chef för kompaniet 1921-22, den säsong man uruppförde Prokofievs Kärleken till de tre apelsinerna.
Kompaniet omorganiserades under namnet Chicago Civic Opera och flyttade 1929 in i den nyuppförda operabyggnadeen (3 953 platser), men redan 1932 upplöstes ensemblen till följd av finanskrisen i USA.
1933-46 spelade olika ensembler, som delvis utgjordes av sångare från Metropolitan Opera i New York, och först 1954 bildades Chicago Lyric Theatre som 1956 ändrade namn till The Lyric Opera of Chicago. Säsongen är kort och har huvudsakligen baserats på stjärnsångare från Europa som Jussi Björling, Maria Callas, Renata Tebaldi, Birgit Nilsson, Mario del Monaco, och Tito Gobbi. Bl a Björling och Maria Callas hade sina amerikanska debuter här (1937 respektive 1954).
Opera in Chicago 1850-1954
The first opera to be performed in Chicago was Bellini’s La sonnambula, presented by a traveling opera company on 29 July 1850. Chicago’s first opera house opened in 1865 but was destroyed in the Great Fire of Chicago in 1871. The second opera house, the Chicago Auditorium, opened in 1889.
In 1929 the current Civic Opera House on 20 North Wacker Drive was opened, though the Chicago Civic Opera Company itself collapsed in the Great Depression. The old Auditorium continued to produce stage shows and musicals till it closed in 1941.
Resident opera companies began in Chicago in 1910 with the Chicago Grand Opera Company being formed from the remains of the Manhattan Opera Company, which had been founded by Oscar Hammerstein I, and had been squeezed out by the more financially sound Metropolitan Opera. Chicago had this first company for four seasons, then, after no season in 1914-15, it was re-formed as the Chicago Opera Association. This lasted through 1921-22, when it became the Chicago Civic Opera from 1922-32. After no season in 1932-33, the company was re-formed and again named the Chicago Grand Opera Company from 1933-35. From 1936-39, the company was called Chicago City Opera Company, and finally from 1940-46 opera was given by the Chicago Opera Company. There were no seasons from 1947–53, so opera was presented by other companies on tour. Lyric Opera was formed in 1954 and has continued uninterrupted except for 1967.
Lyric Opera, 1954 to 1980
Carol Fox, America’s first female opera impresario at the age of 28, began her first season in 1954 by bringing Maria Callas for her American debut in the title role of Norma, the first of many electrifying Callas performances in Chicago. However, this first eight-opera season in 1954 was not the result of a long apprenticeship in opera production; Carol Fox, fluent in Italian and French, had studied opera singing for many years, culminating in two years of intensive work in Italy. However, when she realized that performance was not to be in her future, she decided that it lay in bringing the performances of the world’s finest artists to her home town of Chicago. Her success can be measured in one statistic regarding the filling of the Lyric’s Civic Opera House: in 1954, the season ran for three weeks; in 2007-2008 the Lyric had an almost six-month season.
Fox also used her formidable persuasive powers on artists other than singers: she was able to bring Rudolph Nureyev to make his debut on an American opera stage at the Lyric; Vera Zorina, Alicia Markova, Erik Bruhn and Maria Tallchief also danced at the Lyric, and George Balanchine created choreography for the Lyric. The Italian composer Pino Donati was her artistic director. Bruno Bartoletti was principal conductor, but other conductors included Tullio Serafin, Dimitri Mitropoulos and Artur Rodzinski. Christoph von Dohnányi and Sir George Solti chose the Lyric for their American operatic debuts. Franco Zeffirelli staged operas as did Harold Prince.
Because of her illnesses and her refusal to lower her artistic standards despite the Lyric’s dire financial state in 1980, her resignation was sought and given. Carol Fox died a few months later, survived by a daughter Victoria.
It was of the Lyric’s founder that Saul Bellow wrote in 1979 “Miss Fox will be remembered, together with Jane Addams of Hull House and Harriet Monroe of Poetry magazine, as one of Chicago’s greatest women.”
Throughout the many years at the Lyric, Carol Fox developed the confidence and authority to bring world-famous artists to the Lyric: Luciano Pavarotti (56 performances in 7 roles), Tito Gobbi, Eleanor Steber, Jussi Björling, Birgit Nilsson, Renata Tebaldi, Giuseppe di Stefano, Giulietta Simionato, Richard Tucker, Boris Christoff, Eileen Farrell, Dorothy Kirsten, Leonie Rysanek, Leontyne Price, Elisabeth Schwarzkopf, Geraint Evans, Mirella Freni, Nicolai Ghiaurov, Alfredo Kraus, Renata Scotto, Robert Merrill, Joan Sutherland, Christa Ludwig, Jon Vickers, Marilyn Horne, Grace Bumbry, Montserrat Caballé, Tatiana Troyanos, Sherill Milnes, Plácido Domingo, Felicia Weathers and José Carreras. Anna Moffo also chose the Lyric for her American debut.
Later administrations, 1981 to the present
Carol Fox was succeeded at the Lyric by her longtime assistant manager, Ardis Krainik (1981–1996), after whom the opera house was named, and then by William Mason (1997–2011). Anthony Freud took over in October 2011.
Sir Andrew Davis is Lyric’s music director and principal conductor, a post he has occupied since in September 2000. He led three complete cycles of Der Ring des Nibelungen in the 2004-2005 season to mark the company’s 50th anniversary. Danny Newman was the company’s long-time press agent from 1954 until his retirement in the 2001/02 season; Newman is largely credited as the founder of subscription-based arts marketing, the standard economic model for not-for-profit arts organizations in the US. Philip David Morehead is head of music staff.
In addition to the standard operatic repertoire, Lyric also presents contemporary works. Recent productions have included Harbison’s The Great Gatsby (2000–2001), Weill’s Street Scene (2001–2002), and Floyd’sSusannah and Sondheim’s Sweeney Todd (2002–2003), and John Adams’ Doctor Atomic directed by Peter Sellars.
Composer William Bolcom wrote his most recent opera for Lyric, A Wedding, based on the 1978 film of the same name directed by Robert Altman. It premiered during Lyric’s 50th-anniversary season.
The Lyric Opera productions were broadcast and nationally syndicated by WFMT Radio Network, from 1971 until 2001. The broadcasts ceased then because of a labor dispute with the Chicago Federation of Musicians, American Guild Musical Artists and the International Alliance of Theatrical Stage Employees, over broadcast fees for musicians. The dispute was resolved at the 11th hour for the October 21, 2006 premiere of Richard Strauss’s opera Salome starring Deborah Voigt.
Syndicated broadcast of the Lyric Opera resumed in May 2007 on the WFMT network, which was included on XM Satellite Radio before it merged and became SiriusXM Radio.
Civic Opera House
The Patrick G. and Shirley W. Ryan Opera Center
The Patrick G. and Shirley W. Ryan Opera Center (formerly Lyric Opera Center for American Artists, 1981–2006), established in 1974 by Carol Fox, is the professional artist-development program for Lyric Opera of Chicago.
The Ryan Opera Center is considered one of the most prestigious vocal programs in America, and has produced notable singers, including:
- René Barbera
- Harolyn Blackwell
- Nicole Cabell
- David Cangelosi
- Andriana Chuchman
- Mark S. Doss
- Christopher Feigum
- Elizabeth Futral
- Roger Honeywell
- Joseph Kaiser
- Maria Kanyova
- Quinn Kelsey
- Dina Kuznetsova
- Gary Lehman
- Emily Magee
- Marlin Miller
- Susanna Phillips
- Matthew Polenzani
- Franco Pomponi
- Wayne Tigges
- Amber Wagner
- Erin Wall
- Guang Yang
Approximately a dozen young singers are selected from the near 400 who audition annually, and they are in residence for twelve months. Over the course of the year they receive advanced instruction in numerous aspects of operatic performance, including voice lessons and coachings, language and acting training, and master classes with some of opera’s most renowned artists. The singers gain valuable performing experience by participating in recitals and concerts at many Chicago-area venues. During Lyric Opera’s mainstage season, they perform and understudy roles at all levels. The singers work with the world’s greatest opera singers, conductors, and directors, thus advancing the young artists’ professionalism. In 2005, author William Murray wrote a book about a year in the life of an entering class at the Ryan Opera Center.
Andrew Foldi was Director of the Ryan Opera Center from 1991 to 1995. He was succeeded by Richard Pearlman, who was Director of the program from 1995 until his death in 2006. Renowned soprano Gianna Rolandi, who had been the Ryan Opera Center’s Director of Vocal Studies a