Joyce DiDonato returns, but in a new role, CSO’s 25/26 Artist-in-Residence

Chicago audiences are well acquainted with Joyce DiDonato, the Chicago Symphony’s newly appointed Artist-in-Residence. Since her local debut in 2008, they have heard the internationally acclaimed soprano in Rossini and Mozart at Lyric Opera of Chicago, in recitals at the University of Chicago and the Harris Theater and at Symphony Center with the CSO and former music director Riccardo Muti. 

But DiDonato is not your standard issue operatic diva. In 2019 her program with the CSO and Maestro Muti was Hector Berlioz’s rarely performed cantata, Death of Cleopatra. One of her song recitals focused on the theme of war and peace. Last November at the Harris Theater she collaborated with a vocal group that blended R&B, jazz, pop and classical styles. She has worked with a youth choir in Greece and collaborated with Muti on his program for incarcerated young people at the Illinois Youth Center-Chicago. In 2019, she conceived a global initiative, “Eden,” to explore humanity’s complicated relationship to nature. The project included a Grammy-nominated CD, a world tour, and a movie, “Eden in Olympia,” released in time for the 2024 Summer Olympics in Paris.

Cellist Yo-Yo Ma, another boundary-pushing artist, was the CSO’s first artist-in-residence (then called Creative Consultant), serving from 2010 to 2019. Violinist Hilary Hahn held the Artist-in-Residence post in 2021-24, followed by a one-year appointment for pianist Danill Trifonov. Their off-stage projects have ranged from masterclasses for young musicians to concerts specially designed for parents, babies and toddlers.

Below are some of DiDonato’s thoughts about her new role with the CSO:

You’re best known as one of the world’s leading opera singers, but you’ve also branched out into so many other areas: work with children involved in El Sistema Greece, a recital built around Emily Dickinson’s poetry and another exploring themes of war and peace. Not to mention a Christmas tour last year that had elements of R&B, pop and jazz. But it seems your new role at the Chicago Symphony Orchestra is the first time you’ll be an artist-in-residence. What about the artist in-residence model appeals to you? 

JD: I’ve actually been fortunate to participate at the Barbican and with the Dortmund Konzerthaus as an artist in residence, and it’s precisely because I have enjoyed these encounters so much that I now actively search them out. When the CSO presented this as a possibility, I simply didn’t hesitate! I find it very enticing to have the opportunity to engage with a community more with just than a single concert. It’s similar to what I curated around my EDEN Project by introducing workshops — or exploratory conversations — around a theme and then singing about it, with the hopes that the impact goes deeper and carries on longer in the hearts and minds of the audience.

Why join forces with the CSO? What about this orchestra resonates with you for this particular role?

JD: The desire to integrate into the community in a lasting way. I’ve been very moved to see how strong this goal is to really impact and engage the audience, and it’s something I have grown to prioritize in my own career. It feels like the perfect time to align forces! 

Can you talk a bit about collaborating with Riccardo Muti on one of his interactive recitals with incarcerated young people? That was in 2016, I believe.  

JD: I’ve sung in maximum security prisons before, but had never been involved at the juvenile level, and it was deeply moving and hugely upsetting at the same time. Maestro Muti’s dedication over the years to this population is immensely admirable, and I was honored to participate. As with all the work artists do to reach underserved communities, I’m not sure we will ever know the true impact of what we do. But I am certain that any opportunity we have to remind people of their core humanity, of the beauty that still exists in the world, and to have them be seen and heard will never, ever be a wasted effort. The cultures that use “I see you” as a greeting, in my humble opinion, have it right.

You’ve talked passionately about music’s role in fostering a sense of community. Why is that important to you? Is that even possible given the state of the world right now?

JD: I witness it in every concert I give. Of course it’s possible. But not necessarily easy. It’s the true call of real art — connect to the heart within ourselves and branch out from there. 

How did the Emily Dickinson project, Emily – No Prisoner Be, come about? Are you a fan of poetry in general? Why specifically does Dickinson’s poetry speak to you? You worked with Kevin Puts on his opera The Hours. When did you start working with him on this Dickinson project? Why team up with the string trio Time for Three on this? 

JD: This was Kevin’s idea entirely — he saw the potential chemistry between me and Time For Three as unstoppable, married to his deep love of Emily’s poetry. I have to say I think he underestimated the magic we would create! We’ve just wrapped up the studio recording for Emily – No Prisoner Be, and it was the most wonderful, creative time of my life. I feel like a new cycle has arrived that is utterly new and yet feels indescribably familiar.

For my part, I included Copland’s 12 Emily Dickinson Songs on my very first solo album, so my connection to her poetry through music has been present since the very beginning. Happily, the more time I spent with it, the more it reveals. As for Time for Three? They are, without question, my musical spirit animals, and I feel that everything about this project was destiny. Can you tell I can’t WAIT to bring it to Chicago? 

You’ll be performing Peter Lieberson’s Neruda Songs in May 2026. What does that song cycle mean to you and why? 

JD: I never had the pleasure of meeting Lorraine [Hunt Lieberson], who Peter  — who I did have the pleasure of working with — wrote this cycle for, but as with all great, vulnerable artists, because of their music and unforgettable performances, we feel as if we do know them. My admiration for Lorraine and her artistry and life is unparalleled, and I know how personal these songs were to both her and Peter. I feel enough time has passed that these songs, some of the great love songs composed, should be in the spotlight again.

The Artist-in-Residence position at the Chicago Symphony Orchestra is made possible through a generous gift from James and Brenda Grusecki.

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