Ravinia 2025 Issue 6

HAYMARKET OPERA COMPANY Haymarket Opera Company contributes to the diverse and culturally vi- brant artistic community of Chicago and the Midwest through the histor- ically informed presentation of opera and oratorio from the 17th and 18th centuries, including many Chicago and US premieres. Since its founding in 2010, Haymarket has offered more than 30 productions using period instru- ments and historically informed staging conventions, shining a spotlight on many lesser-known but quality pieces by a wide diversity of composers, sung and played by a combination of international stars and top regional talent. The company has received glowing reviews in the Chicago Tribune , Italy’s L’Opera , Opera News , and Early Music America . The New York Times has praised Haymarket’s “finely played, carefully sung, lovingly detailed period performance.” Haymarket attracted national attention by offering a season of filmed Handel operas that reached more than 800,000 households during the COVID-19 pandemic. Since 2020, Haymarket has partnered withWFMT to be featured on the historic Saturday Matinee Broadcast series, alongside the Metropolitan Opera, Covent Garden, and Paris Opera, reaching over one million listeners worldwide through free broadcasts. Following an ac- claimed 2022 stage production of biracial composer Joseph Bologne’s only extant opera, L’Amant anonyme, Haymarket released the world-premiere recording of the opera in collaboration with the Grammy Award-winning label Cedille Records. The recording is the inaugural project supported by the Ruth Bader Ginsburg Fund for Vocal Recordings. In 2020, Haymarket was included in the “Ten Best of the Decade” by the Chicago Sun-Times, and in 2022 Musical America lauded Haymarket as “among the most impressive period-performance ensembles around today.” Haymarket takes its name from both Chicago’s Haymarket Affair of 1886, which gave focus to the worldwide labor movement, and from the King’s Theatre in the Haymarket District of London, where Handel produced his Italian operas. Violin Jeri-Lou Zike concertmaster Pauline Kempf Allison Nyquist Charlene Kleugel Emi Tanabe Jaime Gorgojo Ann Duggan Viola Elizabeth Hagen Kiyoe Matsuura Cello Ana Kim Miquel Fuentes Bass Jerry Fuller Lute Brandon Acker Harpsichord Jory Vinikour Oboe/Recorder Stephen Bard Curtis Foster Bassoon William Buchman Horn John Schreckengost Thomas Vienna Craig Trompeter is the founder and artistic director of Chicago’s acclaimed Haymarket Opera Com- pany. Praised for his “marvelous” conducting ( Opera Magazine ), he has led operas spanning the early Baroque to the Classical period, in- cluding works by Francesca Caccini, Monteverdi, Gluck, the Chevalier de Saint-Georges, and numerous operas and oratorios of Handel. An accomplished cellist and violist da gamba, Trompeter has performed with such leading ensembles as Second City Musick, the Chicago Symphony Orchestra, Lyric Opera of Chicago, Chicago Opera Theater, Music of the Baroque, the Smithsonian Chamber Music Society, and the Oberlin Consort of Viols. He has been featured at such venues such as the Metropolitan Museum of Art, the Art Institute of Chicago, the Glimmerglass Festival, the Brooklyn Academy of Music, and the Valletta International Baroque Festival in Malta. As soloist, he has performed with the Chicago Symphony and Music of the Baroque, as well as at Ravinia and the American Bach Society. Trompeter’s discography in- cludes works by Mozart, Bologne, Marais, Biber, Handel, and Vivaldi on the Harmonia Mundi, Cedille, and Centaur labels. A founding member of the Fry Street Quartet, he has premiered chamber operas by MacArthur Fellow John Eaton, performing as cellist, actor, and singer. A dedicated educator, Trompeter has conducted operas at DePaul University, served as director of the Early Music Ensemble at the University of Chicago for seven seasons, taught Baroque performance practice at Northwestern University, and con- ducted productions at Utah State University. Nicole Cabell , the 2005 Winner of the BBC Singer of the World Competition in Cardiff and a Dec- ca recording artist, is one of the most sought-after lyric sopranos of today. This season Cabell appears as Amine in Dédé’s Morgiane with Opera Lafayette, in concert with the Rochester Philharmonic, and in recital at the Harris Theater in Chi- cago. Last season, the soprano made company and role debuts when she sang Donna Anna in Mozart’s Don Giovanni with the Royal Swedish Opera, then she returned to Tucson to perform Poulenc’s Gloria and a solo recit- al. Previously, Cabell returned to the BBC Proms for a concert of George Walker’s Lilacs before performing the Countess in Mozart’s The Marriage of Figaro with the Pittsburgh Opera. Her recent operatic credits have also included Bess in the Gershwins’ Porgy and Bess with Opera Carolina and North Carolina Opera and Clara (in the same opera) in concert with the NDR Elbphilharmonie Orchestra at its Grand Hall in Hamburg. Addition- ally, on the concert stage, Cabell sang Handel’s Messiah with the Seattle Symphony, Vaughan-Williams’s Sea Symphony with the Atlanta Symphony, and Mahler’s Symphony No. 2 with the Rochester Philharmonic. Nicole Cabell made her Ravinia debut in 2002, during her first season at the Lyric’s Ryan Opera Center, and this marks her 10th performance at Ravinia. RAVINIAMAGAZINE • AUG. 18 – AUG. 31, 2025 74 DEVONCASS(CABELL)