Broadway star Heather Headley proud to be a diva in best sense of the word

If one uses “diva” in its original and laudatory definition — “a glamorous woman who is pre-eminent in her field” — then Heather Headley is a diva of the highest degree.

After all, the Northwestern alumna won a Tony Award for her show-stealing outing in the title role of Broadway’s “Aida” in 2000, then added a Grammy Award to her trophy case in 2010 for her gospel album “Audience of One.” She’s also appeared on many of the world’s stages, not only across Broadway and London’s West End, but also New York’s Carnegie Hall and Ravinia Festival last summer, as one of the featured singers on a concert honoring the legacy of the late Stephen Sondheim.

Headley returns to Ravinia on July 16 to headline the festival’s annual Gala Benefit Concert, hosted by its Women’s Board, where she reunites with the Chicago Symphony Orchestra. She will be joined by Ravinia Chief Conductor Marin Alsop and a chorus of special guests: singers from the Voices of Trinity Mass Choir and from the Ravinia Lawndale Family Music School, one of the festival’s community-based Reach Teach Play music education and engagement programs.

In March 2000, “Aida” opened on Broadway to rave reviews, and Headley instantly was christened a genuine phenomenon. “Aida” went on to hoist four Tony Awards, including one for Headley as best actress in a musical. In the last two decades, she’s recorded several albums, made further star turns in musical adaptations of “The Bodyguard” and “The Color Purple”, and expanded into dramatic acting, appearing on several TV projects such as NBC’s “Chicago Med” and the Netflix series “Sweet Magnolias.”

Speaking from her suburban Chicago home, where she lives with her husband and their three children, Headley, 48, discussed how she continues to make magical musical moments.

What can the audience expect from your performance at Ravinia?

I like to tailor programs to the audience, to the location, to the venue. Big songs that I usually bring to concerts, like “Can You Feel the Love Tonight?” and “Somewhere Over the Rainbow,” will stay in, but there may be some new picks. I do want to make this show special and different for Chicago and Ravinia.

What’s it like to perform with a musical force like the Chicago Symphony Orchestra?

The best musicians in the world are in the CSO, right? So it can be intimidating! I mean, they play Rachmaninov on a regular basis! However, we do get together beforehand, and that’s where the conductor comes in, to lead us into the emotion of it. Performing with the CSO, I think, is like hopping a train. Because as a performer, when you get that timing right, that train will take you to the most beautiful places. It’s gentle at times, it’s fast, it’s powerful, it’s calm again. It will even change your world standing still and feeling that power. But if you jump at the wrong time, with something that powerful, it will run right past you. So it can be frightening, but it is also exhilarating.

And what of the musicians of the CSO timing up with your locomotive-like talent?

I’m honored if the CSO thinks that way about our performing together! I have had some members of the orchestra tell me how much fun they have had working with me. When people of that caliber compliment you, it means so much. I will have to bring my “freight train” to match them. When you play with the CSO, you have to bring your A game.

How do you choose the songs to perform?

I see songs like dresses. Like something I’d like to try on. I’d like to do some songs sung by men. I like to try on many different new dresses. But sometimes the dresses don’t fit! No matter how good the seamstress is, I can’t squeeze into it — the song just isn’t right for me. But we do try to “take it in” a little here, or “cut the sleeves” there, to see if it will “fit.” And that’s always fun to explore. If it doesn’t work, I’m still happy I tried it on.

Any memorable “dresses” that have caught your eye?

I was in London when I was nominated for an Olivier Award [the British equivalent of Broadway’s Tony Award] a few years ago, and during the program, Tim Minchin, who wrote the music for the stage musical “Matilda” sat at the piano and sang “My House” from the show. I love those songs you can take out of the context of a musical show and they still resonate. And so, I did. I tried it on. We did make a few alterations — cut some things, moved others around — and it worked out. It’s been a beautiful song for me to sing. That’s how I feel about “The Sound of Music,” I would like to “try on” “Maria” just once and get it out of my system!

Your career has taken you to many places and in many directions. Has that been by plan or serendipity?

There has been a bit of both. I always have ideas of what I’d like my life to be. I am a Christian, and I do pray on things. And God has outdone any dreams I may have had. My dreams for me are not as big as his dreams are for me. But I also have been discerning about my projects. I turn things down. I tell young people it is OK to say no because sometimes a no can lead to an amazing yes — a new opportunity you never expected. I get to do what is instinctual for me. I never call it work; though, yes, sometimes it is work. I like to think I’m ministering. Let’s go minister to some people with music and make them happy.

This is an excerpt of an article published in Ravinia magazine. Click here to read the full version.