Lyric Opera of Chicago Ryan Opera Center Director Dan Novak on the ROC (Ryan Opera Center) at HOC (Haymarket Opera Company)
It’s a great pleasure for me to share some thoughts after recently seeing Haymarket Opera Company’s La Semele, o sia La richiesta fatale at Gannon Concert Hall , DePaul University’s School of Music.
First, let me acknowledge that I have many personal connections to the performance and to the company. Haymarket’s general director, Chase Hopkins, was an intern with the Ryan Opera Center several years ago. I consider him a distinguished alumnus of the program, and I have watched with great admiration as he has built on Haymarket’s many strengths to elevate the company to an impressive level of artistry, visibility, and stability.
Admittedly, I’m also very grateful that Chase regularly engages Ryan Opera Center artists! The opportunity for current and alumni Ensemble members to participate in productions of this repertoire is exceptional, and I love being able to see them perform on another Chicago stage. La Semele was a great example of that, as two of the three cast members were Ryan Opera Center alumnae whom I know very well: soprano Emily Birsan and mezzo-soprano Elizabeth DeShong.
These connections nicely demonstrate what, to me, is a very special and unique quality about the classical music business in Chicago: collaboration. There’s a marvelous esprit de corps in this community among administrators, donors, and audience members in supporting one another and working together. I would say we all are the better for it, and I certainly think that it has made possible success stories like the Ryan Opera Center and Haymarket Opera.
Back to La Semele…I’m a lover of all kinds of music, but I’ll admit that much of what Haymarket produces is unfamiliar to me. That makes it all the more meaningful to be able to see works like this. As I watched the performance, what really struck me was the remarkable amount of artistry and creativity each of the performers has to bring to the table with this repertory. So much is NOT written on the page, which means each artist has to make many, many choices about how to interpret and express each moment. Plus, with musical structures that regularly repeat parts of each piece, those choices also have to include a great deal of variety.
On top of all that, much of the music also requires virtuosity of an extraordinary level. Fast-moving coloratura passages, vocalism of enormous range, and linguistic facility are also an integral part of what is asked of each artist.
Well, the three singers—Karina Gauvin joined Emily and Elizabeth—as well as the wonderful ensemble of instrumentalists, led by Haymarket’s artistic director, Craig Trompeter, definitely rose to the occasion! We were treated to some stunning moments of incredible vocal feats as well as some deeply moving and beautiful passages, all performed with great integrity and personal investment in bringing this story to life.
The format was semi-staged, with some beautiful images projected above and behind the stage. It was very effective and provided plenty of context to follow the plot (also aided by the text translations). I certainly have appreciated seeing Haymarket’s fully-staged presentations, but this set-up was absolutely fine. I’m a fan of concert opera performances: they allow companies to produce rarities much more affordably, and I actually like the idea of letting each audience member’s imagination fill in all of the details.
In line with my earlier comment about the esprit de corps of Chicago’s classical-music scene, I loved seeing so many familiar faces in the audience. The Windy City is remarkably fortunate to have such an enthusiastic and generous community of opera-ticket buyers and supporters, who make it possible for us all to do the work we do. The theater was full, and the reception was very positive!
I’m sure all of us in attendance look forward to what Chase, Craig and their wonderful company have in store for us in the years ahead—including the engagement of many Ryan Opera Center artists—providing us with even more special opportunities to hear rare pieces that formed the foundation of the art form we all hold so near and dear in our hearts!
About the author
Dan Novak was named Director of The Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago in April of 2013, having served as Manager since 2000. In 2006 his position with the program was elevated to senior management level when he assumed responsibility for all executive duties and began assisting with artistic decisions. Novak’s career at Lyric Opera of Chicago, of which the Center is an affiliate, began in 1989. The first decade of his tenure involved positions with the Development and Ticket Departments, most recently the Assistant Director of Development for Chapter Activities. An Illinois native, Novak is a graduate of Northwestern University, where he earned a degree in Music Education with distinction. He serves as a member of the Advisory Board of the Shoshana Foundation as well as an adjudicator for voice competitions, including the Metropolitan Opera Laffont Competition.
About The Haymarket Review: This digital publication including thoughts about the work produced by Haymarket is designed to deepen our connection to audiences, nurture and feed audience curiosity about historical performance, offer critical opinions and thoughtful reflections on our performances, and provide a forum for Haymarket and its audience to connect through sharing insights, opinions, learning, and expertise.