A scene from Verdi’s Rigoletto at Lyricm Opera Chicago
The Lyric Opera of Chicago is set to kick off its 2024/25 season with Giuseppe Verdi’s Rigoletto, one of the most celebrated and dramatic works in the operatic canon. This year’s production, running from September 14 to October 6, marks a significant milestone not only for the opera company but for the history of the performing arts in Chicago. With the inclusion of six Black artists in prominent roles, the opera seeks to elevate voices that have historically been underrepresented on the operatic stage.
This season’s Rigoletto marks the 12th production of Verdi’s timeless work by the Lyric Opera of Chicago, continuing a proud tradition of staging world-class opera in the Civic Opera Building’s grand Civic Opera House. But this year’s Rigoletto brings a fresh and powerful perspective to the classic work, ensuring that the tale remains both relevant and riveting.
The production will feature six Black artists in key roles, all of whom bring a wealth of talent and fresh perspectives to the stage. These artists are emblematic of a broader movement in the world of classical music—one that is increasingly making space for diverse voices and experiences.
A Diverse Cast of Stellar Talent
The Lyric Opera’s 2024/25 Rigoletto features an outstanding ensemble of performers, many of whom are making their debut with the company. Notably, the production will spotlight seven Black artists whose contributions to the world of opera are profound and transformative:
• Travon D. Walker (Borsa) makes his Lyric debut as the Duke’s courtier, a role that demands vocal agility and nuanced character work. Walker, a second-year tenor with the Ryan Opera Center, earned his master’s degree from Rice University, where he performed as Sam Kaplan in Street Scene. In the Lyric Opera’s 2024/25 season, Walker will also appear in Fidelio, Blue, and La Bohème. Originally from Hinesville, Georgia, he completed his undergraduate studies at the Eastman School of Music. Walker has participated in prestigious programs including Renée Fleming’s Song Studio and Joyce DiDonato’s Masterclass Series at Carnegie Hall, and the Britten Pears Young Artist Programme. He is a recipient of the 2024 Luminarts Cultural Foundation Men’s Voice Fellowship.
• Adia Evans (Countess Ceprano) also makes her Lyric debut, embodying the tragic nobility of the Countess with grace and depth. Evans, a first-year Ryan Opera Center soprano from Baltimore, will perform as Girlfriend 2 in Blue and Theresa Alvarez in The Listeners this season. In 2023/24, she debuted with The Cliburn in Recital, Dayton Philharmonic (Messiah), and Annapolis Opera (The Magic Flute). Recent highlights include La bohème with Borderland Arts Foundation and Beethoven’s 9th with the National Orchestral Institute. Evans has also performed with Santa Fe Opera, Merola Opera, and Fort Worth Opera. Her honors include third place in the 2024 Metropolitan Opera Laffont Competition and first in the 2023 Dallas Opera Guild Lonestar Vocal Competition.
• Sankara Harouna (Marullo), already a respected name in opera, brings power and presence to his role as one of the Duke’s closest associates. Harouna, a Chicago native and first-year Ryan Opera Center baritone, recently joined Portland Opera as a Resident Artist, performing in Le nozze di Figaro and The Snowy Day during the 2023/24 season. He has also been an apprentice artist at Des Moines Metro Opera, appearing in Carmen and The Falling and the Rising. Harouna’s other engagements include performances with Greensboro Opera, Atlanta Opera, and Cincinnati Opera. He holds a Bachelor of Arts in Vocal Performance from Kentucky State University. Sankara Harouna is sponsored by Michael Steinberg and Salme Harju Steinberg.
• Christopher Humbert Jr. (Count Ceprano), another debuting artist, portrays the betrayed and vengeful Count with intensity. Humbert, a second-year Ryan Opera Center bass-baritone from Akron, Ohio, has performed with notable companies such as Minnesota Orchestra, Palm Beach Opera, Des Moines Metro Opera, and Detroit Opera. In the 2024/25 season, Humbert will appear as 2nd Prisoner in Fidelio and 3rd Policeman in Blue at Lyric Opera of Chicago. A winner of the 2023 Metropolitan Opera Laffont Competition (St. Louis district), he has performed at Carnegie Hall and participated in young artist programs at Palm Beach Opera and Opera Theatre of Saint Louis. Humbert holds music degrees from Capital University and Boston Conservatory.
• Soloman Howard (Sparafucile), a Lyric favorite, returns to the stage with his commanding portrayal of the assassin. His performance promises to be one of the dark highlights of the opera. Howard, a graduate of Washington National Opera’s Cafritz Young Artist Program, has performed at top venues including the Metropolitan Opera (Aida, Turandot), Royal Opera House (Das Rheingold), and LA Opera (Don Carlos). His recent roles at Lyric Opera of Chicago include Grand Inquisitor in Don Carlos (2022/23) and Wurm in Luisa Miller (2019/20). Future engagements include Hunding in Die Walküre at the Royal Opera House, Sparafucile in Rigoletto and Sarastro in Die Zauberflöte at the Met, and Banquo in Macbeth at Washington National Opera.
• Zoie Reams (Maddalena), an outstanding mezzo-soprano, brings a vibrant and alluring energy to her role as Sparafucile’s seductive sister. Reams, a graduate of the Houston Grand Opera Studio and Washington National Opera’s Cafritz Young Artist Program, has performed at leading venues such as the Metropolitan Opera (Aida, Turandot), Royal Opera House (Das Rheingold), and LA Opera (Don Carlos). At Houston Grand Opera, she appeared in productions of La traviata, Elektra, and world premieres of Jake Heggie’s It’s a Wonderful Life and Laura Kaminsky’s Some Light Emerges. Notable roles include Clarice in La pietra del paragone (Wolf Trap Opera) and Tituba in The Crucible (Glimmerglass Festival). Reams has also performed Hansel and Gretel with Opéra Louisiane.
These six artists, each bringing their own unique experiences and interpretations to their roles, reflect the broader commitment of the Lyric Opera of Chicago to diversifying its cast and ensuring that the stories it tells resonate with audiences from all walks of life. The inclusion of Black artists in such prominent roles also sends a message to Chicago’s Black communities: opera is an art form for everyone, and its stages are open to all.
The Timeless Appeal of Rigoletto
Verdi’s Rigoletto has long been a staple of the operatic repertoire, loved for its emotional intensity, complex characters, and unforgettable music. The story is set in 16th century Mantua, Italy, and revolves around the tragic figure of Rigoletto, a hunchbacked court jester who works for the corrupt and womanizing Duke of Mantua. The Duke, who takes pleasure in seducing women of all statuses, shows little regard for the damage he leaves in his wake.
Rigoletto, in a cruel twist, mocks the courtiers and nobles of the Duke’s court, showing disdain for those around him. However, when he taunts the nobleman Monterone for his complaints about the Duke’s behavior, Monterone curses both the Duke and Rigoletto, setting in motion the opera’s central drama. Rigoletto, haunted by this curse, becomes consumed with protecting his beloved daughter, Gilda, whom he has kept hidden from the Duke and the dangers of the court.
Unbeknownst to Rigoletto, Gilda has fallen in love with a young man she believes to be a poor student, who is, in fact, the Duke in disguise. The Duke seduces Gilda, leading to her abduction by the courtiers and her subsequent assault at the hands of the Duke. In a desperate attempt to seek vengeance, Rigoletto hires the assassin Sparafucile to kill the Duke. However, Gilda, still in love with the Duke despite his betrayal, sacrifices herself to save him, leading to a heart-wrenching and tragic conclusion.
The opera’s unforgettable music, from the Duke’s infamous aria “La donna è mobile” to Gilda’s plaintive “Caro nome,” captures the emotional depth and complexity of the characters’ relationships. The themes of power, corruption, and parental love are as resonant today as they were when the opera premiered in 1851, making Rigoletto one of Verdi’s most enduring works.
To Purchase Tickets
Rigoletto will run at the Lyric Opera House, located at 20 North Wacker Drive in Chicago, from September 14 through October 6, 2024, with both evening and matinee performances. The opera will be performed in Italian with English subtitles, and accessibility features, including audio descriptions and guided touch tours, are available at select performances.
Tickets are available now and can be purchased online at lyricopera.org/rigoletto, by calling the Lyric Opera box office at 312-827-5600, or in person at the Lyric Opera House.
Don’t miss this opportunity to witness one of opera’s greatest masterpieces brought to life by an extraordinary cast.