Ravinia 2025 Issue 6

In Ravinia’s 2015 concert performance of highlights from the Gershwins’ Porgy and Bess , Nicole Cabell sang arias of several roles with the Chicago Symphony Orchestra and conductor Bobby McFerrin. “We are working offstage to create a structure that supports a company we can sustain,” Hopkins said, “and those efforts have been critical to what I con- sider to be a transition from what was a passion project and a company that was saying, ‘Let’s put on a show’ with a lot of dedicated people to an organization that is planning a lot further ahead and is looking to strategic partnerships and opportunities to further our work.” Drew Minter, an internationally known countertenor who has sung with the company and directed two of its productions, including Artaserse , had nothing but praise for Haymarket and its “steady upward trajectory.” He placed much of the credit at the feet of Trompeter, a noted baroque cellist and viola da gamba player with whom he performed for 25 years when they were founding members of Chicago’s New- berry Consort, a group specializing in medieval and Renaissance music. “I really admire what they’re doing,” Minter said, praising Haymarket’s stead- fastness. “In early music, you have to have that dedication, and I think Craig really does believe in the product and the mission, and that is the key.” Trompeter came to Haymarket with virtually no conducting experience, and he has grown into a first-rate mae- stro. At first, he led from the cello but increasingly he is conducting only and not playing, as he did with the recent production of Artaserse and will with Alcina . “I love it,” he said. “I had no idea that I would. It’s a lot of fun for me. Of course, it’s a big challenge.” Cabell called him a “singer’s conduc- tor.” He brings a comprehensive artistic vision to each opera he conducts, but he is also open to adapting to the singers he is leading on stage. “He has always worked with me,” she said, “and is really respectful of my point of view and what I want to bring to the character, some- thing as simple as taking more time with a fermata [rest] or quickening or slowing down the tempi.” Handel is arguably the pre-eminent opera composer of the Baroque era, with more than 40 works in the form to his credit. Haymarket has presented nine of his operas and oratorios, but this will be its first-ever presentation of Alcina (1735) . Trompeter described it as an appeal- ing work in part because of the magi- cal aspects that swirl the story, which revolves around a knight, Ruggiero, who falls into the clutches of a sorceress, Alcina, on an ocean island. “It’s really a masterpiece,” he said, “and it’s a piece we’ve wanted to stage, and one day we will, but this is a really good opportunity to present it.” Alcina is the only Handel opera that Cabell has performed, and she likes the character because she is “quite three-di- mensional” and not just evil. “It’s really a challenge to bring some humanity to her,” she said, “but Handel writes her sympathetically toward the end of the opera, so you get this journey laid out before you in a way that is pretty rich and gratifying.” The opera is written in such a way that all six of the main characters (Ober- to, a boy-soprano role, has been cut in this Ravinia presentation, which will run about 2½ hours) get key moments in the spotlight. Trompeter called the singers performing August 24 a “cast of dreams,” which besides Cabell includes mezzo-so- pranos Elizabeth DeShong (Bradamante) and Emily Fons (Ruggiero). The presentation will feature a 19-piece onstage orchestra, including the company’s core string players, who all reside in Chicago, as well as two visiting baroque oboists and harpsichordist Jory Vinikour, who resides in Paris but has extensive ties to Chicago. “Normally, we’re in the pit,” said Trompeter. “We’re down below where you can’t see us, so that will feel different to everyone.” Haymarket’s debut at Ravinia is a ma- jor milestone for the company, and there will likely be many more in future years. Trompeter would like to see it contin- ue to expand its annual lineups, make additional recordings, and take some of its opera productions on the road. “Where we are now is incredibly exciting,” he said, “It’s exceeded my ex- pectations. I don’t know what is going to happen in the future, but based on what has happened in the first 15 years, it’s going to be surprising for all us.” Kyle MacMillan served as classical music critic for the Denver Post from 2000 through 2011. He currently freelances in Chicago, writing for such publications as the Chicago Sun-Times , Early Music America , Opera News , and Classical Voice of North America . RAVINIA.ORG  • RAVINIAMAGAZINE 13 PATRICKGIPSON/RAVINIA