A Conversation with Lisa Wong

What does a typical Cleveland Orchestra Chorus rehearsal look like? 

We rehearse at Severance most Monday evenings, and it’s terrific to be able to rehearse in the space where we’ll perform. Not only is there a great piano and the hall’s beautiful acoustics, but it’s just inspiring to be in this environment. It’s really helped develop the sound of the group. 

The Chorus always knows in advance what we’ll be rehearsing, and we try to give them as many tools as possible to help them prepare at home. Rehearsals can move quickly because we cover a lot of repertoire throughout the season. Even now in the fall, we’re preparing some of what we’ll do in the spring! But I like having multiple projects. Each piece has its own unique challenges, and I think it’s good to be working on many things at once. 

How do you approach preparing a canonic work — like a Bach cantata or Mahler symphony — compared to a newer piece? 

When we work on canonic repertoire, there are usually lots of resources available and  it’s interesting to see what other conductors have done. For example, I really admire the Bach Collegium Japan, so in preparing for our all-Bach program [April 17–19, 2025], I’ve been using their recordings as a resource for our singers, having them listen to the style and the sound. Even though they’re a very different chorus from us, it can still be informative in so many ways. 

With newer works, like those we’ll perform by Saariaho and Thomas Adès [February 20 & 22, 2025], there are few — or, in some cases, no — recordings or writings for us to reference. But that can be very freeing in a way, because then you put all your creative input into figuring out what is possible and how we can bring the performance to life. It’s so exciting to perform new music, and I love working on pieces that we’ve never done before. 

You’ve collaborated with Music Director Franz Welser-Möst on many different projects with the Chorus. What is his approach to working with singers? Is there a lot of discussion about interpretation or do you tend to align on things? 

There’s actually very little discussion in advance! He’s really open, which is wonderful. But I also think it’s important for us to come into our first rehearsal with Franz with lots of musical ideas. If he likes them, he can take them and go even further. Or if he wants to go in a completely different direction, that’s fine too! He’s worked with many singers throughout his career, so he knows what to ask for and how to ask for it. That’s really, really helpful. 

What are some of your favorite aspects of working with an all-volunteer ensemble like The Cleveland Orchestra Chorus, where members come from all different backgrounds? 

My favorite thing is that everyone is there because they love to sing, and they’ve dedicated a huge portion of their lives to singing. We have somebody, for example, who’s been in the Chorus for 50 seasons! And everyone brings something different. We have lots of people who have careers in music and we also have lots of people who do something else in their professional lives, but the common aspect is that we all love to sing. I find that very inspiring.

The Children’s Choruses are also made up of a robust group of young singers. What is going on in their world right now? 

We always look forward to December because that’s when The Cleveland Orchestra Chorus joins with our Children’s Choruses for the Holiday Concerts [December 11–15 & 20–22]. Some of the performances this year will also feature a chamber ensemble from our Youth Chorus. 

We’re also really excited that this year, not only are all of our youth and children’s choruses tuition-free — thanks to a generous gift from Mr. and Mrs. Kenneth W. Outcalt — but we’ve opened up our Children’s Preparatory Chorus to fourth-grade students without audition. We’re actually in discussions about how to fit everyone on stage! We have so many kids coming to us. It’s a wonderful predicament to be in! 

It definitely is! With all of the music the Chorus is preparing this season, is there one concert you’re particularly looking forward to? 

I love it all! I love both the new repertoire and the classics, but I’m really glad that we’re ending the season with Janáček’s Jenůfa [May 17, 22 & 25, 2025]. Opera, whether it’s staged or a concert performance like this season, brings everything together. There’s beautiful singing, of course, but there’s also language, acting, and a shared sense of community that comes with this art form. It’s very much a culmination of everything we’ve been working on throughout the season. 

Lisa Wong  is Director of Choruses at The Cleveland Orchestra. She holds the Frances P. and Chester C. Bolton Chair. 

Visit cochorus.com  or more information on The Cleveland Orchestra Chorus and auditions.