Lyric Opera 2025-2026 Issue 1 - Medea

Lyric Opera of Chicago | 72 What is your role here at Lyric — and what do you like about it? I raise significant funds for mainstage productions and special projects (like the theatre seat renovation and the Crowe Glass Curtain). The exciting part is nurturing deep relationships with extraordinarily interesting and generous patrons of the arts — and connecting them with the wild world of opera. What was your path to working at Lyric? Unexpected — especially since I come from a family of Chicago police (dad, uncle, and four cousins). But I have been in the development field for more than 30 years. I started at Lyric in my 20s — under the leadership of Ardis Krainik — as the Telefund Director, which was invaluable for learning the fundamentals of fundraising. I’ve always been very upfront about this: I’m attracted to organizations going through change. When I heard the Grant Park Music Festival was moving to the new Pritzker Pavilion, I left to lead that shop. Then I ran a capital campaign for a new building at Sacred Heart Schools, and then came a call out of the blue frommy first boss at Lyric, who had landed at the Art Institute of Chicago; the museum was building the brand newModern Wing. That work was really intellectually rewarding; I needed to be able to talk about art across the centuries. After some time, I began to see Renée Fleming’s face all over the city. I had continued going to the opera here and there, but I noticed a renewed energy at Lyric. An opportunity arose and I came back, starting my second tour of duty working closely with the Ryan Opera Center. Will Liverman and J’nai Bridges were in the Ensemble then — one of the many examples of I knew them when . I loved it. What do you like about working in the arts? I was the kid chosen last in gym in grammar school (I’m smart, but I can’t throw a ball) and found my little corner of the universe in the arts, namely theater. I was a brilliant Hamlet in 6th grade. At Lyric, I’m able to be close to the magic and the awe-inspiring artists — onstage, offstage, in the pit — that make it all happen, and earn a living on the admin side. I continue to be deeply grateful to have a career in the arts. Have you had a favorite moment at Lyric? Renée Fleming’s 1993 Lyric debut in Susannah . I will never forget her climbing a ladder to sit on a rooftop to sing “Ain’t it a pretty night” in a field of stars. Is there a Lyric production that you are particularly proud of? The 1991/92 Season’s world premiere of David Hockney’s Turandot . It’s a grand spectacle in bold, vibrant colors with glorious music, and I remember being proud working for the company that made it. Beyond opera, what are your other passions? I’ve been a huge theatre fan for over 40 years — from storefront Chicago to Broadway and beyond. I have a badge of honor for having seen Tom Stoppard’s The Coast of Utopia at Lincoln Center. The entire experience was 12 hours long — it’s like doing the Ring . Highlights include Bette Midler in Hello, Dolly! and Glenda Jackson in Three Tall Women on Broadway. Here in Chicago, a great Chicago actress, Mary Beth Fisher. I’ve been following her forever. And, spending time with my labradoodle. Dogs are very special gifts from God. People of Lyric A behind-the-scenes conversation When did you start at Lyric? 1990 to 1999, returned in 2012. First opera you saw live? Madama Butterfly , during a student matinee at Lyric. Favorite performer? Can’t pick one! Currently: Asmik Grigorian, in a transcendent production of Suor Angelica in Salzburg; and Lisette Oropesa in Lyric’s Daughter of the Regiment . Both are the full package: gifted vocal artistry with fierce acting chops — they bare their souls (or in Lisette’s case — her comedy). Favorite Chicago spot? Simon’s in Andersonville. One of the best dive bars. Lawrence DelPilar Senior Director of Development Todd Rosenberg