The Dallas Opera’s NORMA, April 21 thru May 7

by Suzanne Calvin

Norma_025_Final (640x427)FOR IMMEDIATE RELEASE:
Tuesday, March 28, 2017
Contact: Suzanne Calvin 214.443.1014 Or Celeste Hart 214-443-1071
suzanne.calvin@dallasopera.org celeste.hart@dallasopera.org

THE DALLAS OPERA PROUDLY PRESENTS
Our First Production of a bel canto Masterpiece
NORMA
By Vincenzo Bellini
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Starring Soprano Elza van den Heever in the Title Role
Tenor Yonghoon Lee and Soprano Marina Costa-Jackson
Conducted by Music Director Emmanuel Villaume
Directed by Nic Muni

OPENING FRIDAY, APRIL 21, 2017, 7:30 p.m.
The Margot and Bill Winspear Opera House
AT&T Performing Arts Center
Additional Performances: April 23(m), 26, 29 and May 7(m)
With Production Support from TACA
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Tickets start at $19
Call 214-443-1000 or Visit dallasopera.org

DALLAS, MARCH 28, 2017 – The Dallas Opera is thrilled to present—for the first time on our stage—Vincenzo Bellini’s suspense-filled masterpiece of the bel canto repertoire, NORMA, starring the phenomenal South African-born soprano Elza van den Heever in the title role of a Druid priestess wronged by the man she loves.
This 1831 masterpiece, with a libretto by Felice Romani, opens Friday, April 21, 2017 at 7:30 p.m. in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center (conveniently located at 2403 Flora Street – in the heart of the Dallas Arts District). This towering period production, originally created by designer John Conklin for Cincinnati Opera, will command centerstage in four additional performances: April 23(m), 26, 29 and May 7(m), 2017. The final performance in May, during OPERA America week, will serve as the grand finale of our exciting 60th Season.
Tickets for NORMA begin at just $19 and may be purchased at www.dallasopera.org or by contacting the friendly professional staff at The Dallas Opera Ticket Office: 214-443-1000.

“For many years now,” notes Keith Cerny, The Kern Wildenthal General Director and CEO, “Bellini’s NORMA has been a noticeable gap in the company’s repertoire.
“At last we are able to rectify that shortcoming, by bringing this influential work to life on the Winspear stage with a phenomenal international cast under the experienced leadership of Emmanuel Villaume.
“We know that our audiences will love seeing this classic work of the bel canto repertoire in Dallas. The excitement in the air as we begin the rehearsal process, is palpable.”

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Set during the Roman occupation of Gaul in 50 B.C., a passionate love triangle in the midst of a deepening culture clash leads to dangerous consequences. A Druid high priestess, Norma (soprano Elza van den Heever), is in the throes of despair after discovering that her longtime lover, a Roman proconsul for whom she has borne two children, may have been unfaithful. Pollione (sung by tenor Yonghoon Lee in his company debut) confesses to a friend that he no longer loves Norma. His amorous attentions are now focused on Adalgisa, a young novice priestess (portrayed by soprano Marina Costa-Jackson), who reluctantly returns his love. Pollione brushes aside a warning about Norma’s hair-trigger temper and capacity for rage.
Amid the turmoil of the occupation, personal betrayal, and impending revolution, Norma is driven to the very brink of insanity, convinced that her life is coming undone, and fearing what the future may hold for her disgraced “fatherless” children.
This production is generously supported by TACA.

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The dazzling South African soprano Elza van den Heever stars as Norma, in her first appearance on The Dallas Opera stage since her acclaimed 2010 TDO debut as Fiordiligi in “the Monte Carlo setting” of Mozart’s Così fan tutte. This versatile artist describes her vocal style as a “voyage of discovery.” That voyage has taken her—this season alone—to the Canadian Opera Company (Norma), Vienna State Opera (Ellen Orford in Britten’s Peter Grimes), Opera Frankfurt (Elvira, in concert performances of Verdi’s Ernani), and, most recently, to New York’s Metropolitan Opera, where she just scored a major triumph as Elletra in Mozart’s Idomeneo under the baton of Music Director James Levine, earning “the most enthusiastic ovation of the night” (David Salazar, Operawire) in this powerful dramatic role.
During the 2015-16 Season, Ms. van den Heever revisited the role of Elisabetta di Valois in Don Carlo (Opéra National du Rhin and Opéra National de Bordeaux, in a new production by director Robert Carsen), conquered the Metropolitan Opera stage as Elisabetta (a.k.a. Britain’s Queen Elizabeth I) in Donizetti’s Maria Stuarda “with impressive authority of her own” (New York Classical Voice), and moved Frankfurt Opera patrons to tears in her role debut in the title role of Suor Angelica in Puccini’s one-act from Il Trittico (“The Triptych”).
Ms. van den Heever’s recent work on the symphonic stage includes Britten’s War Requiem, conducted by Semyon Bychkov in Cologne, Germany; Beethoven’s Symphony No. 9 with the Beethoven Orchestra of Bonn; and an all-Mozart concert with the National Orchestra of Toulouse.
Christophe Rizoud, of Opéra Forum went to great lengths to describe her virtuosity: “Elza van den Heever moves us deeply, enthralls and captivates…she delighted us with her powerful and controlled voice, with a splendid midrange that does not exclude high notes. But those extreme notes are never sung without purpose; they are used to convey meaning, the same way as volume or colour offer expression.”
A dual citizen of France and South Africa, Elza van den Heever currently makes her home in Bordeaux, France.

Superb South Korean tenor Yonghoon Lee—one of opera’s busiest performers according to Bachtrack—stars as Norma’s lover, the Roman proconsul, Pollione, charged with maintaining the peace, by any means necessary in this far-flung corner of the Empire. According to Anthony Tommasini of The New York Times, Lee “is an outstanding tenor. Handsome and youthful, he is a natural onstage and a sensitive listener during duets and ensembles.”
In the 2015/16 season Mr. Lee performed at the Metropolitan Opera as Manrico in Il Trovatore and Turiddu in Cavalleria Rusticana. Lee also performed the same role in Cavalleria Rusticana at Covent Garden. He will soon be heard as Manrico in Il Trovatore at the Bavarian State Opera and Don Jose in Carmen with Opera Australia. Future engagements include Turiddu in Cavalleria Rusticana at The Paris Opera, and the title role in Andrea Chénier at San Francisco Opera.
Lee sang his first Andrea Chénier in Zurich in 2014. In the fall of 2013 Lee starred as Arrigo in the Hamburg State Opera’s new production of Verdi’s rarely performed La Battaglia di Legnano staged by David Alden and conducted by Simone Young. He subsequently sang Don Jose at the Royal Opera House, Covent Garden and returned to Munich as Calaf in Turandot. The same year he added Manrico in Il Trovatore to his repertoire in a new production at the Theater an der Wien during the Wiener Festwochen.
Highlights of recent seasons have also included Carmen at the Metropolitan Opera and for his debut in Zurich, Don Carlos in the original French version.

American soprano Marina Costa-Jackson was born in Las Vegas but raised in Palermo, Italy (Italian, in fact, is her first language). She sings the role of Adalgisa, the “other woman,” who Pollione has fallen deeply in love with, despite his lengthy relationship with Norma.
The New York Times praised Ms. Costa-Jackson for being dramatically and musically alluring…notable for her burnished timbre and subtle phrasing.” Others wrote about her “dramatic, burnished voice and subtle acting.”
Last season she made her professional debut as Musetta with Michigan Opera Theatre in La Bohème, debuted the role of Leonora in Il Trovatore in Hong Kong, and covered the role of Amelia in Simon Boccanegra at the Metropolitan Opera. Ms. Costa-Jackson also sang Verdi’s Requiem with Teatro Municipal de Santiago, and Fiora in L’amore dei Tre Re with the Academy of Vocal Arts in Philadelphia, where she graduated in May 2016. She also performed in concert with Dmitri Hvorostovsky in Minsk, with Andrea Bocelli in Madison Square Garden, debuted as one of the Costa-Jackson trio of opera-singing sisters in the International Festival “Palaces of St. Petersburg” concerts, and at Carnegie Hall and Alice Tully Hall.
Engagements this season include her debut with Opera de Paris as Micaela in Carmen, a return to the Metropolitan Opera as Mimì in La Bohème (cover), followed by Mimì at Opera Köln and with the Welsh National Opera.

American bass Christian Van Horn, acclaimed for his “sturdy voice and commanding presence…” (Anthony Tommasini, The New York Times) will portray Oroveso, Norma’s father and the leader of his clan. Mithra Mastropierro makes her TDO debut as Clotide, Norma’s confidante, and the role of Pollione’s friend, Flavio, will be sung by Charles Karanja (the Phyllis A. McCasland and Thomas H. McCasland, Jr. Young Artist).

Critically acclaimed international conductor and Mrs. Eugene McDermott Music Director Emmanuel Villaume leads The Dallas Opera Orchestra in one of Bellini’s greatest contributions to the bel canto repertoire. The maestro is concluding his fourth season with the company; a season in which he has conducted a wide variety of works reflecting different styles and periods: Tchaikovsky’s Eugene Onegin, Jake Heggie and Gene Scheer’s Moby-Dick (a revival of the Leonard Foglia production for The Dallas Opera that launched this worldwide success), Bellini’s Norma – and, still to come: Villaume will conduct a semi-staged performance of Joby Talbot and Gene Scheer’s Everest, a tremendously powerful 2015 Dallas Opera world premiere, as well as Talbot’s brand-new Everest Prelude.

“Keith Cerny and I are excited to program works that patrons have longed to experience just as much as we do. My energies are devoted to sharing this most relevant and revealing of art forms with North Texas and all the world,” comments Maestro Villaume.
“Norma is one of the most demanding soprano roles in the repertoire, but Elza has shown herself equal to the challenges. This opera truly represents what Bellini was capable of, as a composer at the peak of his powers, in its astonishing array of musical moods, duets, solo arias and ensembles. Audiences in Dallas have waited decades to hear this work; I am confident they will walk out of the Winspear Opera House satisfied that NORMA was well worth the wait!”

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NORMA is based on Norma, ou L’infanticide (“Norma, or, The Infanticide”) a play by Alexandre Soumet. The opera was first performed at Milan’s Teatro alla Scala the day after Christmas in 1831 to open Carnival Season, and got a “cold shoulder” from the opening night audience.
“Fiasco, fiasco, solemn fiasco” Bellini wrote afterwards. However, the audience indifference didn’t last, soon NORMA became one of the most popular operas of the 19th century, best known for the Act One soprano aria “Casta Diva.”
In the 20th century, the role became a showpiece for the very best and most courageous sopranos, including Rosa Raisa, Rosa Ponselle, Maria Callas, Dame Joan Sutherland, Montserrat Caballé, Shirley Verrett, Beverly Sills, Grace Bumbry, Renata Scotto, Jane Eaglen and Cecilia Bartoli.

Stage director Nic Muni makes his company debut in this period production. Mr. Muni served as artistic director of the A.J. Fletcher Opera Institute at the University of North Carolina School of the Arts. His productions have graced the stages of San Francisco Opera, New York City Opera, Canadian Opera Company (Toronto), Houston Grand Opera, Los Angeles Opera, Prague National Opera, and The Kurt Weill International Festival, among others.
Set and Costume Design is by renowned opera, Broadway and Off-Broadway designer John Conklin. Lighting design is by internationally acclaimed designer Thomas C. Hase. Wig and make-up design is by Stephanie Williams.
As always, the renowned Dallas Opera Chorus will be prepared for the performances by Dallas Opera Chorus Master Alexander Rom.

The Joy and Ronald Mankoff Pre-Opera Talks, a free, pre-performance lecture, will be conducted one hour prior to curtain at all Norma performances. More perspective can be gained through “Opera Insights” presented by The Dallas Opera Guild. The informative panel discussion featuring artists, directors and/or designers for NORMA takes place Sunday, April 9, 2017, from 3:00 to 4:30 p.m. in Hamon Hall (located off the main lobby concourse in the Margot and Bill Winspear Opera House. For more details, visit dallasopera.org and look under “Upcoming Events.”

NORMA will be performed in Italian with English supertitles projected above the stage. For tickets or additional information, call 214.443.1000 or visit dallasopera.org.

2016-2017 SEASON SPONSOR
The Nancy A. Nasher and David J. Haemisegger Family

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PHOTO BY MAXINE HELFMAN

EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE
ADDITIONAL INFORMATION ABOUT THE DALLAS OPERA
IS AVAILABLE ONLINE, 24/7. VISIT WWW.DALLASOPERA.ORG

FOR HIGH-RESOLUTION PHOTOGRAPHS
Contact Suzanne Calvin, Director of Media and PR at suzanne.calvin@dallasopera.org
Or Celeste Hart, Communications Manager at celeste.hart@dallasopera.org

~~~~
The Dallas Opera Family Performances are generously supported by
Texas Instruments and the Betty and Steve Suellentrop
Educational Outreach Fund.

TDO Family Performances are a part of the
Perot Foundation Education and Community Outreach Programs

TICKET INFORMATION FOR THE 2016-2017 DALLAS OPERA SEASON
All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise indicated. Single Tickets range from $19 to $275. Flex Subscriptions (three-performances of your choice) begin at $75. Family performance tickets are just $5. For more information or to make your purchase, contact The Dallas Opera Ticket Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.

THE DALLAS OPERA 2016-2017 SPRING SEASON INFORMATION
The Dallas Opera celebrates its Sixtieth International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District. Evening performances will begin at 7:30 p.m. and Sunday matinees begin at 2:00 p.m. unless otherwise stated. English translations will be projected above the stage at every performance and assistance is available for the hearing impaired. The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain, at most performances excluding FIRST NIGHT of the season.

MADAME BUTTERFLY by Giacomo Puccini
March 10, 12(m), 15, 18, 24, & 26(m), 2017
The must see, heart-wrenching Italian opera!
Libretto by Giuseppe Giacosa & Luigi Illica
Time: 1904
Place: Nagasaki, Japan
Conductor: Donato Renzetti
Stage Director: John Copley
Set and Costume Designer: Michael Yeargan
Lighting Designer: Duane Schuler
Wig & Make-up Designer: Stephanie Williams
Chorus Master: Alexander Rom
Starring: Hui He* (Cio-Cio-San), Gianluca Terranova* (B.F. Pinkerton), Manuela Custer (Suzuki), Lucas Meachem* (Sharpless), David Cangelosi (Goro), Reginald Smith, Jr.* (The Bonze), Will Hughes (Prince Yamadori), Mark McCrory (Imperial Commissioner), Samuel P.J. Lopez (Registrar), Angela Turner Wilson (Kate Pinkerton), Sorrow (TBD)
A classic, period production (new to Dallas) from the San Francisco Opera!

THE TURN OF THE SCREW by Benjamin Britten
March 17, 19(m), 22, 25, 2017
A dark and gripping tale!
Libretto by Myfanwy Piper
Time: 1950s
Place: Bly, an English country house
Conductor: Nicole Paiement
Original Production: Jonathan Kent
Stage Director: Francesca Gilpin*
Set and Costume Designer: Paul Brown
Original Lighting Designer: Mark Henderson
Lighting Design Recreated By: David Manion
Wig and Make-up Designer: Stephanie Williams
Starring: William Burden (Prologue/Peter Quint), Emma Bell* (Governess), Oliver Nathanielsz* (Miles), Ashley Emerson* (Flora), Dolora Zajick* (Mrs. Grose), Alexandra LoBianco* (Miss Jessel)
An acclaimed production from Glyndebourne!

NORMA by Vincenzo Bellini
April 21, 23(m), 26, 29, May 7(m), 2017
A thrilling and suspenseful masterpiece!
Libretto by Felice Romani
Time: 50 B.C.
Place: Roman-occupied Gaul
Conductor: Emmanuel Villaume
Stage Director: Nic Muni
Set Designer: John Conklin
Costume Designer: John Conklin
Lighting Designer: Thomas Hase
Wig & Make-up Designer: Stephanie Williams
Chorus Master: Alexander Rom
Starring: Elza van den Heever (Norma), Marina Costa-Jackson* (Adalgisa), Yonghoon Lee* (Pollione), Christian Van Horn (Oroveso), Mithra Mastropierro* (Clotilde), Charles Karanja (Flavio)
An atmospheric production from Cincinnati Opera!

* Dallas Opera Debut
** American Debut
____________________________________________________________________________________
The Dallas Opera is supported, in part, by funds from: Texas Instruments Foundation, TACA, City of Dallas, Office of Cultural Affairs; the Texas Commission on the Arts and The National Endowment for the Arts (NEA). American Airlines is the official airline of The Dallas Opera. Lexus is the official vehicle of The Dallas Opera. Advertising support from The Dallas Morning News. A special thanks to the Elsa von Seggern Foundation for its continuing support.

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Dallas Opera’s Free Simulcast This Saturday – “Madame Butterfly” at The Star in Frisco!

by Suzanne Calvin

Hui He w. Sorrow by Karen Almond (2)

 

FOR IMMEDIATE RELEASE:                                                                                                                                     Photo Credit: Karen Almond, Dallas Opera
Thursday, March 16, 2017
Contact: Suzanne Calvin 214.443.1014 Or Celeste Hart 214-443-1071
suzanne.calvin@dallasopera.org celeste.hart@dallasopera.org

THE STARS WILL ALIGN IN FRISCO AS
THE DALLAS OPERA PRESENTS
FREE SIMULCAST #15
MADAME BUTTERFLY
by GIACOMO PUCCINI
SATURDAY, MARCH 18, 2017, 7:30 p.m.

Simulcast Live in High Definition from
The Margot and Bill Winspear Opera House in Dallas to
THE STAR IN FRISCO
Nine Cowboys Way, Frisco, TX
~~~~
Starring Soprano Hui He and Tenor Gianluca Terranova
Donato Renzetti Conducts, Staged by Director John Copley
~~~~
With Generous Support from Founding Sponsor
THE DALLAS FOUNDATION

Additional Support from
The University of North Texas – New College in Frisco
Register for Free Tickets at dallasopera.org/simulcast
or call 214-443-1000

WALK UPS WELCOME!

DALLAS, TX. MARCH 16, 2017 -- North Texas’ newest entertainment district and Dallas Cowboys World Headquarters, The Star in Frisco, is the location for a FREE Dallas Opera Simulcast this weekend, the fifteenth in the company’s history.
A critically acclaimed production of MADAME BUTTERFLY by Giacomo Puccini will be presented live this coming Saturday, March 18, 2017 at 7:30 p.m. from the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in Dallas.
The Madame Butterfly Simulcast is generously sponsored by The Dallas Foundation.
The program begins at 6:00 p.m. hosted by KLUV Radio’s Jody Dean and The Dallas Opera’s Education Program Senior Manager Kristian Roberts. Activities include the Family Fun Zone 5:00-7:00 p.m., trivia, behind-the-scenes interviews, and a WB Classics presentation of Bugs Bunny and Elmer Fudd in “What’s Opera, Doc?” considered one of the cleverest and most popular animated cartoons of all time.
The curtain goes up on the opera performance at 7:30 p.m.
With poignant melodies, memorable characters and a heart-wrenching storyline, Madame Butterfly has captivated audiences and dampened handkerchiefs for more than a hundred years. Loosely based on true events in Nagasaki, Japan, the unforgettable opera tells the tale of a young, naïve Japanese woman, Cio-Cio-San (soprano Hui He), blinded by her love for a callous American naval officer (tenor Gianluca Terranova). Lucas Meachem stars as Sharpless and Manuela Custer as Suzuki, with David Cangelosi as Goro and Reginald Smith, Jr. as The Bonze.
“The Dallas Foundation has been proud to serve as the Founding Sponsor of The Dallas Opera’s simulcasts at AT&T Stadium since 2012, helping to provide families throughout our community the chance to experience world-class opera in this unique and relaxed setting,” remarked Mary M. Jalonick, President and CEO of The Dallas Foundation. “This year’s simulcast performance at The Star in Frisco, will offer audiences an opportunity to enjoy one of the most well-known operas in one of our area’s newest event venues.”
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“We are extremely grateful to The Dallas Foundation for its generous and sustained support of these programs,” said Keith Cerny, the Kern Wildenthal General Director and CEO of The Dallas Opera. “Bringing the splendor and magic of opera to as broad an audience as possible is one of my primary goals as head of The Dallas Opera. These free public presentations are a great vehicle to introduce newcomers to this incredible art form, as well as other opera patrons who enjoy seeing performances in a relaxed setting. TDO’s simulcasts have reached more than 70,000 patrons since the program began in 2010.”

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The Star in Frisco, Texas is located at Nine Cowboys Way, Frisco, TX 75034. Tickets and parking are free. Register online at www.dallasopera.org/simulcast or call 214-443-1000. The public is encouraged to arrive early to secure their spot and pick up their tickets. This is an outdoor venue and patrons should bring their own low-rise lawn chairs or blankets. Parking is free and concessions will be available on site.
The Dallas Opera extends special thanks to the Gene and Jerry Jones Family.
Winner of multiple international awards, conductor Donato Renzetti has earned critical acclaim from around the globe. George Loomis of The New York Times wrote that the Maestro “conducted a warm, expansive performance,” of a recent production of Tosca (Puccini) for Rome Opera.
This Dallas Opera production, staged by legendary British director John Copley, has already scored with classical music critics, who wrote:

“…it was a thriller…there were chills-down-the-back singing…Repeat performances are highly recommended.” – Scott Cantrell, The Dallas Morning News

“The Chinese soprano is one of the most famous interpreters of Butterfly today. Her Asian ancestry and look only add dramatic character to the role of the Japanese woman. The regal resonance of (Hui He’s) voice largely fills the hall of the opera house with forceful but never forced high notes.” — Sidonie Sawyer, The Huffington Post
“The cast is uniformly excellent…The orchestra was wonderful…Overall, this is a Butterfly that is not to be missed.” — Gregory Sullivan Isaacs, Theater Jones
“Hui He gave us a Butterfly for the ages…through her acting, but even more through her glorious, astonishing voice.” — J. Robin Coffelt, Texas Classical Review
MADAME BUTTERFLY is performed in Italian with projected English translations. This production, which originated at San Francisco Opera, received generous support from Texas Instruments Foundation and James R. and Carole Erwin.
SEASON SPONSOR
The Nancy A. Nasher and David J. Haemisegger Family

~~~~

EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE
ADDITIONAL INFORMATION ABOUT THE DALLAS OPERA
IS AVAILABLE ONLINE, 24/7. VISIT WWW.DALLASOPERA.ORG

FOR HIGH-RESOLUTION PHOTOGRAPHS
Contact Suzanne Calvin, Director of Media and PR at suzanne.calvin@dallasopera.org
Or Celeste Hart, Communications Manager at celeste.hart@dallasopera.org
~~~~
The Dallas Opera Family Performances are generously supported by
Texas Instruments and the Betty and Steve Suellentrop
Educational Outreach Fund

TDO Family Performances are a part of the
Perot Foundation Education and Community Outreach Programs

TICKET INFORMATION FOR THE 2016-2017 DALLAS OPERA SEASON
All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise indicated. Single Tickets range from $19 to $275. Full Subscriptions (five opera productions) begin at $95; Flex Subscriptions (three-performances of your choice) begin at $75. Family performance tickets are just $5. For more information or to make your purchase, contact The Dallas Opera Ticket Services Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.

THE DALLAS OPERA 2016-2017 SPRING SEASON INFORMATION
The Dallas Opera celebrates its Sixtieth International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District. Evening performances will begin at 7:30 p.m. and Sunday matinees begin at 2:00 p.m. unless otherwise stated. English translations will be projected above the stage at every performance and assistance is available for the hearing impaired. The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain, at most performances.

MADAME BUTTERFLY by Giacomo Puccini
March 10, 12(m), 15, 18, 24, & 26(m), 2017
The must see, heart-wrenching Italian opera!
Libretto by Giuseppe Giacosa & Luigi Illica
Time: 1904
Place: Nagasaki, Japan
Conductor: Donato Renzetti
Stage Director: John Copley
Set and Costume Designer: Michael Yeargan
Lighting Designer: Duane Schuler
Wig & Make-up Designer: Stephanie Williams
Chorus Master: Alexander Rom
Starring: Hui He* (Cio-Cio-San), Gianluca Terranova* (B.F. Pinkerton), Manuela Custer (Suzuki), Lucas Meachem* (Sharpless), David Cangelosi (Goro), Reginald Smith, Jr.* (The Bonze), Will Hughes (Prince Yamadori), Mark McCrory (Imperial Commissioner), Samuel P.J. Lopez (Registrar), Angela Turner Wilson (Kate Pinkerton)
A classic, period production (new to Dallas) from the San Francisco Opera!

THE TURN OF THE SCREW by Benjamin Britten
March 17, 19(m), 22, 25, 2017
A dark and gripping tale!
Libretto by Myfanwy Piper
Time: 1950s
Place: Bly, an English country house
Conductor: Nicole Paiement
Original Production: Jonathan Kent
Stage Director: Francesca Gilpin*
Set and Costume Designer: Paul Brown
Original Lighting Designer: Mark Henderson
Lighting Design Recreated By: David Manion
Wig and Make-up Designer: Stephanie Williams
Starring: William Burden (Prologue/Peter Quint), Emma Bell* (Governess), Oliver Nathanielsz* (Miles), Ashley Emerson* (Flora), Dolora Zajick* (Mrs. Grose), Alexandra LoBianco* (Miss Jessel)
An acclaimed production from Glyndebourne!

NORMA by Vincenzo Bellini
April 21, 23(m), 26, 29, May 7(m), 2017
A thrilling and suspenseful masterpiece!
Libretto by Felice Romani
Time: 50 B.C.
Place: Roman-occupied Gaul
Conductor: Emmanuel Villaume
Stage Director: Nic Muni*
Set Designer: John Conklin
Costume Designer: John Conklin
Lighting Designer: Thomas Hase
Wig & Make-up Designer: Stephanie Williams
Chorus Master: Alexander Rom
Starring: Elza van den Heever (Norma), Marina Costa-Jackson* (Adalgisa), Yonghoon Lee* (Pollione), Christian Van Horn (Oroveso), Mithra Mastropierro* (Clotilde), Charles Karanja (Flavio)
An atmospheric production from Cincinnati Opera!

* Dallas Opera Debut
** American Debut
____________________________________________________________________________________________________________________________________________________________________________
The Dallas Opera is supported, in part, by funds from: Texas Instruments Foundation, TACA, City of Dallas, Office of Cultural Affairs; the Texas Commission on the Arts and The National Endowment for the Arts (NEA). American Airlines is the official airline of The Dallas Opera. Lexus is the official vehicle of The Dallas Opera. Advertising support from The Dallas Morning News. A special thanks to the Elsa von Seggern Foundation for its continuing support.

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Audition Notice! Supernumeraries (Extras) Needed for Norma

by Celeste Hart

Perform on the magnificent Winspear Opera House stage with stars from around the world!

OPEN CALL FOR SUPERNUMERARIES

(EXTRAS) For the Grand Italian Opera NORMA by Bellini

norma_large_nodates

Seeking Men – Women – Children

THURSDAY, MARCH 23, 7:30 p.m. at

The Dallas Opera Rehearsal Center

(Karayanis Rehearsal Production Center)

4301 S. Fitzhugh, Dallas, 75210

Respond by March 22 by emailing supers@dallasopera.org

DALLAS, MARCH 15, 2017 – The Dallas Opera announces a fantastic opportunity for actors (no singing required) to appear in its upcoming production of the grand Italian opera NORMA by Vincenzo Bellini. All supernumeraries will be paid a stipend and receive free tickets to a dress rehearsal of Norma.

The production opens on Friday, April 21 for five performances in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center ending on May 7, 2017. Supernumeraries must be able to participate in all five performances, as well as a modified rehearsal schedule. 

Specifically, the company is seeking several men with “acting chops” to portray the following:

  • Roman Soldiers
  • Celtic Warriors
  • Druids

Also needed are young women to portray the roles of Priestesses requiring acting ability and grace as the role requires some movement including kneeling/rising.

The company is also casting children who look 4-6 years-old; ideally boys who look like twins. They will appear in several scenes and acting ability is required. 

Those wishing to participate can attend an open call on Thursday, March 23, 2017 at 7:30 p.m. at The Dallas Opera Rehearsal Center located adjacent to Fair Park (Follow to Gate 12) at 4301 S. Fitzhugh, Dallas, TX  75210 (parking lot entrance off Gaisford St.).

Those wanting to audition, even those who have previously signed-up to be Dallas Opera supernumeraries, must email name and contact information to supers@dallasopera.org by March 22, 2017.

 

Vlogging Around Dallas with Lucas Meachem

by Matt Becher

Lucas

Lucas Meachem has been busy in Dallas—at rehearsals for Madame Butterfly in the role of Sharpless, singing for the Women’s Board Founder’s Award Luncheon, and exploring all the Metroplex has to offer. We spoke with Lucas about life after a Grammy, social media for working artists, and the best eats around the city:

Congratulations on your Grammy! Has your life and approach to your art changed since your recent win? 

As an artist, I don’t feel any different now than before my Grammy win. However, the experience of winning the award was surreal, as I got to give the acceptance speech at the Premiere Ceremony in Los Angeles. But I don’t feel like my artistry, my singing, or my career is in any way altered. It is an achievement that exceeds any dream of mine. And it brings me some serious props when non-opera people hear I won a Grammy.

Any tips for other artists hoping to take your same path?

In terms of getting to where I am in my career, I would say two things:

Put yourself out there for every opportunity, even if you feel like you aren’t the best candidate for the job. So much of this job is being at the right place and time, and much of it isn’t up to you. By pursuing many opportunities at the early stages of your career, you maximize your chances of being heard by the people who will one day hire you.

Second, don’t sacrifice who you are. This comes to sticking to your gut when deciding on a job but also when you are on stage. We are always creating characters that differ from ourselves but every role you do has to have a little bit of you in it. This means take a personal experience that relates to the general feeling of the character, and channel that for your scene. Whether it’s loss, happiness, misery, etc., we’ve all experienced on some level those feelings. It makes you bring a real person into play.

You’re a consistent presence on social media (@lucasmeachem on Twitter and Instagram), posting photos, blogs and vlogs, and status updates. Do you consider a strong online following to be important to your career as an opera singer?

Nowadays, it is imperative. Social media allows opera singers to bring the audience into their daily life—what goes on behind the curtain. It’s an exciting life and sometimes I take it for granted, so there is a challenge to decide what in my daily life is appealing to an outsider. All in all, I just like to have fun!

I am thankful for the outpouring of respect, support, and kindness from my fans. They are the fans I’ve garnered through such a large social media presence and I don’t want to sound cheesy, but I do it all for you!

If I’m being honest, my wife is my social media guru. She comes up with amazing ideas, executes them and provides an outside perspective. She speaks to me about her concept of content versus presentation. I supply the content and she creates the presentation.

Your wife (Irina Meachem) is in your same field and accompanied your recent performance at our Founder’s Award Luncheon. How does the dynamic between the two of you play into your performances, and has it changed at all?

As well as being a social media guru, my wife is a pianist. Every time I perform with her, I get butterflies in my stomach. Not from any performing nerves, just the excitement of her. That being said, we do have to balance our professionalism with our personal feelings. I get caught up in either my music-making or my love for her, and at times it’s hard to blend them both.

Most of all, unlike any colleague I’ve ever worked with, performing with my wife has made both of us grow as better people. I am a spontaneous performer and she is very straight-laced. She has taught me to plan my performances better and I bring her out of the shell with all of my crazy in-the-moment ideas. We constantly inspire each other and bring out the best.

You’ve been out and about in Dallas during your time here. Any favorite local restaurants or spots that you’ve stumbled across during your stay?

Farmer’s Market. Mudhen. V-Eats. Spiral Diner. HG Sply Co. That one restaurant. Arboretum.

Dallas is awesome! I love venturing out into new cities. Some of my favorite things are Spiral Diner’s buffalo chicken nachos, V-Eats vegan brisket and Mutts veggie burger. Can you tell I like my vegetables? The Farmer’s Market is beautiful, the Arboretum is stunning and LOOK cinema is pretty dope. Next up is Fort Worth’s museums, Medieval Times, and finally Six Flags!

Madame Butterfly opens this Friday, March 10th and runs through the 26th. Click here for tickets and information, and be sure to follow Lucas and The Dallas Opera on social media for more updates and behind the scenes photos!

Apply Now for Hart Institute for Women Conductors at The Dallas Opera

by Suzanne Calvin

IWC ImageFOR IMMEDIATE RELEASE:
Tuesday, March 7, 2017
Contact: Suzanne Calvin 214.443.1014 Or Celeste Hart 214-443-1071
suzanne.calvin@dallasopera.org celeste.hart@dallasopera.org

THE DALLAS OPERA IS PLEASED TO ANNOUNCE
APPLICATIONS ARE NOW BEING ACCEPTED FOR
The Linda and Mitch Hart Institute for
Women Conductors at The Dallas Opera
~~~~
2017 Dallas Residency: Nov. 6-18, 2017
Deadline for Applications: April 30, 2017
~~~~
TDO Seeks to Create New Opportunities for Talented Young Women Conductors Making Their Mark in the Field of Opera
~~~~
Additional Support from The Andrew W. Mellon Foundation
And the Richard and Enika Schulze Foundation
~~~~
www.dallasopera.org/womenconductors

DALLAS, MARCH 7, 2017 – Striving to address a long-standing career imbalance in the opera world, The Dallas Opera is delighted to announce that applications are now being accepted for a unique residential program designed to provide training and career support for distinctively talented women conductors: The Linda and Mitch Hart Institute for Women Conductors at The Dallas Opera (IWC). This year’s program represents the third residency of a twenty-year commitment made by the company.
Female conductors, as well as accomplished singers, opera coaches, accompanists, and instrumentalists with established careers seeking a new career at the podium are encouraged to apply for the upcoming institute, assembling in the fall of 2017. Although the emphasis is on women conductors on the cusp of major careers in opera, more seasoned applicants will be considered on a case-by-case basis.
The Linda and Mitch Hart Institute for Women Conductors will meet on November 6, 2017 and run through November 18, 2017 in Dallas, Texas. This year’s institute will include two public concerts (on November 11th and November 18th) in addition to intensive one-on-one’s, master classes, career advancement curriculum, and opportunities to conduct the highly regarded Dallas Opera Orchestra.
The institute, conceived by Dallas Opera General Director and CEO Keith Cerny, was created with initial support from the Richard and Enika Schulze Foundation.
Since that time, it has garnered additional generous support from Linda and Mitch Hart and The Andrew W. Mellon Foundation.
Stated Mr. Cerny: “The Dallas Opera has demonstrated, in multiple ways, its unshakable commitment to reshaping the opera field through the use of innovative public outreach, and by exploring new technologies, commissioning new works to expand the operatic repertoire, and programming with passion and imagination.
“This much-needed program, generously supported by benefactors here in Dallas and elsewhere,” Mr. Cerny adds, “will enable more women conductors to add their talents and insights to our collective understanding of this amazing art form.”
~~~~
The tremendous success of the first two institute sessions has been recognized by music lovers, opera VIPs and the national media, earning a feature in Opera News magazine, published by the Metropolitan Opera Guild, as well as a segment on PBS NewsHour seen across the U.S.
Scott Cantrell, Classical Music Critic for The Dallas Morning News lavished praise on individual performances in the inaugural concert and wrote: “Some fine conducting talents were displayed; one hopes to see and hear more from them.”
The Senior Classical Music Critic for Theater Jones, Gregory Sullivan Isaacs, agreed: “They all did a fine job and got most of the details correct. Every one of them delivered involving performances and was, for the most part, right with the singers and clear in their stick technique. Most importantly, the orchestra responded to one and all with good ensemble playing and responsiveness to each conductor’s desires.”
The 2017 Linda and Mitch Hart Institute for Women Conductors will provide a host of career-building opportunities:
• Fellows will rehearse and conduct The Dallas Opera Orchestra, a full-sized professional ensemble, with outstanding young opera artists
• Participate in master classes with renowned conductor Carlo Montanaro, the
• Martha R. and Preston A. Peak Principal Guest Conductor Nicole Paiement and other stars of the podium
• Attend seminars and discussions, guided by a variety of experts (including Alec Treuhaft, former Senior Vice-President of IMG Artists, and Dallas Opera General Director and CEO Keith Cerny) on how women conductors can make a greater impact on their field and advance their conducting careers
• Network with peers and take part in a media “refresher” course

Six women will be selected from among those applying, along with four additional American observers to participate in this year’s Hart Institute. The Dallas Opera will provide the six fellows with a travel stipend, in-town housing, an honorarium, visa costs, and a per diem to cover basic living expenses. Most meals will be provided.
Hart Institute Observers will receive a travel and housing stipend. They will have complete access to master classes and seminars but will not have an opportunity to conduct. Most meals will be provided by The Dallas Opera.
Hart Institute Fellows are also eligible to take part in an annual spring/summer networking event for institute alumni. This spring, Hart Institute Fellows will gather at San Francisco Opera to work with Adler Fellows in an exciting new partnership for The Dallas Opera.
There is also the potential for one or more participants to be invited back to Dallas to serve as Assistant Conductors or Guest Conductors on future Dallas Opera productions.
~~~~
The application process is now open, with a deadline of 11:59 p.m. (Pacific Time) on Sunday, April 30, 2017. Entry fee, $35. Applications may be submitted directly at YAPtracker.com: http://www.yaptracker.com/applications/dallas-opera-conductors-2017
Early applications are definitely encouraged. For more information on The Women’s Conducting Institute at The Dallas Opera, please visit www.dallasopera.org/womenconductors.
~~~~
Maestro Carlo Montanaro, music director of Teatr Wielki in Warsaw, Poland from 2011 through 2014, has conducted both opera and concert repertoire on many of the world’s leading stages including La Scala, the Bastille Opera in Paris, Teatro dell’Opera in Rome, the Mariinsky Theatre in St. Petersburg, San Francisco Opera, Seattle Opera, Teatro Massimo in Palermo, Verona’s Arena, Deutsche Oper Berlin, Teatro Communale in Florence, Vienna State Opera, Canadian Opera Company, Opera Australia, the Arturo Toscanini Foundation in Parma, the Atlanta Symphony Orchestra, the New National Theatre in Tokyo, Munich Opera, Monte Carlo Opera, and Teatro Verdi in Trieste (a collaboration which led to a Japanese tour with the orchestra).
~~~~
The Dallas Opera’s Nicole Paiement, the Artistic Director and Conductor for San Francisco’s renowned contemporary opera company, Opera Parallèle, was singled out for praise in a recent Musical America “Profile in Courage” which wrote: “Working in a profession that often leaves women scandalously underrepresented, Paiement has established stellar credentials.”
As the subject of a 2015 article in Opera News (“The Mountain Climber” by Matthew Sigman), Paiement was described as “one of opera’s most adventurous spirits.” She also serves as Artistic Director of BluePrint, a contemporary music series at the San Francisco Conservatory of Music where she holds the Deléage Chair, and has broken important new ground in Dallas, where she was invited to conduct critically acclaimed performances of Peter Maxwell Davies’ The Lighthouse, Death and the Powers by Tod Machover, and the successful 2015 world premiere of Joby Talbot and Gene Scheer’s Everest. She has returned to The Dallas Opera this spring to conduct our first performances of Benjamin Britten’s The Turn of the Screw, in a Jonathan Kent production from Glyndebourne Opera.
~~~~
Marc A. Scorca, President and CEO of OPERA America, remarked: “The Dallas Opera continues to expand its influence and stature among American opera companies, as shown by this exciting new initiative. The company is to be applauded for taking a significant step to remedy the existing gender imbalance on the podium. This effort complements OPERA America’s support of the work of female opera composers and promises to enrich the art form by encouraging more gifted artists to express themselves through opera.”
~~~~
2016-2017 SEASON SPONSOR
The Nancy A. Nasher and David J. Haemisegger Family

~~~~

EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE
ADDITIONAL INFORMATION ABOUT THE DALLAS OPERA
IS AVAILABLE ONLINE, 24/7. VISIT WWW.DALLASOPERA.ORG

FOR HIGH-RESOLUTION PHOTOGRAPHS
Contact Suzanne Calvin, Director of Media and PR at suzanne.calvin@dallasopera.org
Or Celeste Hart, Communications Manager at celeste.hart@dallasopera.org
~~~~
The Dallas Opera Family Performances are generously supported by
Texas Instruments and the Betty and Steve Suellentrop
Educational Outreach Fund.

TDO Family Performances are a part of the
Perot Foundation Education and Community Outreach Programs

TICKET INFORMATION FOR THE 2016-2017 DALLAS OPERA SEASON
All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise indicated. Single Tickets range from $19 to $275. Flex Subscriptions (three-performances of your choice) begin at $75. Family performance tickets are just $5. For more information or to make your purchase, contact The Dallas Opera Ticket Services Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.

THE DALLAS OPERA 2016-2017 SPRING SEASON INFORMATION
The Dallas Opera celebrates its Sixtieth International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District. Evening performances will begin at 7:30 p.m. and Sunday matinees begin at 2:00 p.m. unless otherwise stated. English translations will be projected above the stage at every performance and assistance is available for the hearing impaired. The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain, at most performances excluding FIRST NIGHT of the season.

MADAME BUTTERFLY by Giacomo Puccini
March 10, 12(m), 15, 18, 24, & 26(m), 2017
The must see, heart-wrenching Italian opera!
Libretto by Giuseppe Giacosa & Luigi Illica
Time: 1904
Place: Nagasaki, Japan
Conductor: Donato Renzetti
Stage Director: John Copley
Set and Costume Designer: Michael Yeargan
Lighting Designer: Duane Schuler
Wig & Make-up Designer: Stephanie Williams
Chorus Master: Alexander Rom
Starring: Hui He* (Cio-Cio-San), Gianluca Terranova* (B.F. Pinkerton), Manuela Custer (Suzuki), Lucas Meachem* (Sharpless), David Cangelosi (Goro), Reginald Smith, Jr.* (The Bonze), Will Hughes (Prince Yamadori), Mark McCrory (Imperial Commissioner), Samuel P.J. Lopez (Registrar), Angela Turner Wilson (Kate Pinkerton)
A classic, period production (new to Dallas) from the San Francisco Opera!

THE TURN OF THE SCREW by Benjamin Britten
March 17, 19(m), 22, 25, 2017
A dark and gripping tale!
Libretto by Myfanwy Piper
Time: 1950s
Place: Bly, an English country house
Conductor: Nicole Paiement
Original Production: Jonathan Kent
Stage Director: Francesca Gilpin*
Set and Costume Designer: Paul Brown
Original Lighting Designer: Mark Henderson
Lighting Design Recreated By: David Manion
Wig and Make-up Designer: Stephanie Williams
Starring: William Burden (Prologue/Peter Quint), Emma Bell* (Governess), Oliver Nathanielsz* (Miles), Ashley Emerson* (Flora), Dolora Zajick* (Mrs. Grose), Alexandra LoBianco* (Miss Jessel)
An acclaimed production from Glyndebourne!

NORMA by Vincenzo Bellini
April 21, 23(m), 26, 29, May 7(m), 2017
A thrilling and suspenseful masterpiece!
Libretto by Felice Romani
Time: 50 B.C.
Place: Roman-occupied Gaul
Conductor: Emmanuel Villaume
Stage Director: Nic Muni
Set Designer: John Conklin
Costume Designer: John Conklin
Lighting Designer: Thomas Hase
Wig & Make-up Designer: Stephanie Williams
Chorus Master: Alexander Rom
Starring: Elza van den Heever (Norma), Marina Costa Jackson* (Adalgisa), Yonghoon Lee* (Pollione), Christian Van Horn (Oroveso), Mithra Mastropierro* (Clotilde), Charles Karanja (Flavio)
An atmospheric production from Cincinnati Opera!

* Dallas Opera Debut
** American Debut
____________________________________________________________________________________
The Dallas Opera is supported, in part, by funds from: Texas Instruments Foundation, TACA, City of Dallas, Office of Cultural Affairs; the Texas Commission on the Arts and The National Endowment for the Arts (NEA). American Airlines is the official airline of The Dallas Opera. Lexus is the official vehicle of The Dallas Opera. Advertising support from The Dallas Morning News. A special thanks to the Elsa von Seggern Foundation for its continuing support.

###

A New, Haunting Presentation by The Dallas Opera

by Celeste Hart

THE DALLAS OPERA PRESENTS 
The Acclaimed Glyndebourne Production of
THE TURN OF THE SCREW
By BENJAMIN BRITTEN
~~~~
Starring Soprano Emma Bell and Mezzo Dolora Zajick in Their Dallas Opera Debuts and Tenor William Burden
Nicole Paiement Conducts, Francesca Gilpin Directs

OPENING FRIDAY, MARCH 17, 2017, 7:30 p.m.
The Margot and Bill Winspear Opera House

AT&T Performing Arts Center

Additional Performances: March 19(m), 22 and 25
~~~~

Tickets start at $19
Call 214-443-1000 or Visit dallasopera.org

            DALLAS, FEBRUARY 24, 2017 – The Dallas Opera is proud to present a landmark of modern opera new to the company’s repertoire: THE TURN OF THE SCREW by Benjamin Britten, with a libretto by Myfanwy Piper. The dark and gripping tale is based on the atmospheric, nineteenth-century novella by Henry James. This production from England’s Glyndebourne Festival Opera opens on Friday, March 17, 2017, at 7:30 p.m. at the Winspear Opera House. Three additional performances of THE TURN OF THE SCREW will take place on March 19(m), 22, and 25, 2017.        

            Single tickets, starting at just $19, are on sale now, with seating subject to availability. Tickets may be purchased online, at the door, at the ticket office, or by calling 214.443.1000.  Flex subscriptions (three opera productions) start at $75 and are still available for this season.

            The Winspear Opera House is located at 2403 Flora Street, Dallas, TX 75201 in the AT&T Performing Arts Center.

            This Jonathan Kent production, successfully updated to the 1950s, features eagerly anticipated company debuts by British soprano Emma Bell, American mezzo-soprano Dolora Zajick, hailed as a “force of nature,” and the return of tenor William Burden, last seen on The Dallas Opera stage in our charming final production in the Music Hall at Fair Park, Rossini’s L’Italiana in Algeri.

            Nicole Paiement, the Martha R. and Preston A. Peak Principal Guest Conductor, leads Britten’s enthralling twentieth-century score, mixing tonality and dissonance with the recurrent use of a twelve-note theme.

            The work will be staged by British director Francesca Gilpin, whose distinguished career has included film and video work, as well as frequent stage assignments in major productions for both the Royal Opera House (U.K.) and Glyndebourne.

            The opera’s plot reads like a Gothic novel, but is vastly more mysterious and complex than most: A young governess is hired to care for two children at Bly, an English country house. The position, which initially seemed promising, soon turns puzzling when the governess sees what she believes to be a ghost. The housekeeper reveals a sordid series of events involving two former employees, now dead, who may have had inappropriate relationships with the children. Miles and Flora, the children, display bizarre and often troubling behavior. The ghosts torment them and the governess to such an extreme that she must decide whether to leave Bly House or stay in order to protect her charges.  Is the danger immediate and real?  Or conjured by a disturbed or deranged mind?

The Turn of the Screw (640x427)

            “One of my artistic goals for The Dallas Opera is to introduce our audience to excellent works they may not have yet seen, and Britten’s The Turn of the Screw is one of these gems,” says Keith Cerny, the Kern Wildenthal General Director and CEO of The Dallas Opera.

            “The haunting storyline, masterfully composed music, and the opportunity to present the acclaimed Glyndebourne production all inspired me to program this opera. With the stellar cast and production team, and conducting by our Principal Guest Conductor Nicole Paiement, I know we will create a compelling theatrical experience that will captivate our audiences. Join us for this rare opportunity to see one of the finest operas of the twentieth century.”

            The idea to use the novella, The Turn of the Screw by Henry James, for the setting of Britten’s 1954 opera came from Myfanwy Piper, the wife of his frequent designer/collaborator, John Piper (Glyndebourne, Royal Opera House). Britten was intrigued by the many disturbing ambiguities in the story.  Are the ghosts seen by the frightened governess (and the audience) real or mere figments of her imagination?  What was the nature of the relationships between the children and the now-deceased Peter Quint? 

            Britten’s opera was well received at the Venice Biennale, which commissioned the work and staged its mid-century world premiere.

            British soprano Emma Bell will star as the tormented Governess. “As the governess, Emma Bell is superbly equivocal, neurotic but never hysterical,” (Shirley Apthorp, Financial Times). “… Emma Bell deserves pride of place for her overwhelming performance as the Governess, an assumption that by vocal and dramatic means brought the character to frightening life,” (Carlos Maria Solare, Opera).

            Performing the dual roles of the Prologue and Peter Quint, American tenor William Burden recently won a Grammy for Best Opera Recording for his part in the Metropolitan Opera’s production of The Tempest. He charmed Dallas audiences as Lindoro in The Italian Girl in Algiers (2009). His “virile passion and consummate lyricism” inspired The New York Times to rave that his “subdued emotional intensity permeates every line of Mr. Burden’s elegant singing.” 

          Known as a “mezzo in a class by herself,” Dolora Zajick makes her long-awaited Dallas Opera debut as Mrs. Grose, the housekeeper. “Zajick’s voice, acting, and sheer presence carry the audience to a higher level of emotional truth than anything in the show,” raved DC Theatre Scene. “Zajick’s voice, with a hint of metal at the back of the upper notes and cavernous expansion in the lower ones, is still a couple of sizes bigger than most people’s, and as an actress, too, she delivered the goods,” (The Washington Post).

            American soprano Alexandra Lobianco, praised by Maria Mazzaro of Opera News for “dramatic flair and clarion power throughout her range,” will sing the role of the doomed Miss Jessel.

            The all-important roles of “Miles” and “Flora” – the two children in this haunting opera, will be sung by 12-year old boy treble Oliver Nathanielsz and soprano Ashley Emerson in their Dallas Opera debuts.

            Leading the acclaimed Dallas Opera Orchestra will be Principal Guest Conductor Nicole Paiement, who has developed an international reputation as a conductor of contemporary music and opera. Wayne Lee Gay of D Magazine’s Front Row wrote of The Dallas Opera’s 2015 world premiere of Joby Talbot’s Everest: “(Paiement) combined old-fashioned precision and discipline with up-to-the-minute insight into the complex modernity of the score.”

            Gregory Sullivan Isaacs, Senior Classical Music Critic for Theater Jones, also acknowledged Paiement’s skill with contemporary works in his review: “…balancing these three musical elements so that each one comes forward at its assigned time and then retreats, allowing another to take over, is a superhuman endeavor. This charge falls to conductor Nicole Paiement, who brilliantly weaves Talbot’s warp and woof into what can only be called a soundscape of Everest.”

            Maestra Paiement is highly inspired by the music in The Turn of the Screw. “This very tightly written score is Britten at his best, expressing good and evil with equal uncertainties and with a truly imaginative sound world,” Paiement writes.  “In the most ingenious way, Britten weaves a recurring twelve-tone figure into his tonal musical fabric and fills the score with telling details that brings the dramatic tension to a high peak arguably unsurpassed in any other works.”

            Renowned British stage director Francesca Gilpin makes her company debut in this original production created by Jonathan Kent for Glyndebourne Festival Opera, in which she has earned rave reviews.

Set and Costume Design is by Paul Brown.  Mark Henderson’s original lighting design will be recreated by David Manion.  Wig and make-up design will be by Stephanie Williams.

            The Joy and Ronald Mankoff Pre-Opera Talks, a free, pre-performance lecture, will be conducted one hour prior to curtain at most performances. More perspective can be gained through “Opera Insights” presented by The Dallas Opera Guild. The informative panel discussion featuring artists, directors and/or designers takes place Sunday, March 5, 2017,

3:00-4:30 p.m. in Hamon Hall at the Winspear Opera House. For more details, visit dallasopera.org.

            THE TURN OF THE SCREW will be performed in English with English supertitles projected above the stage.  For tickets, call 214.443.1000 or visit dallasopera.org.

 

2016-2017 SEASON SPONSOR

The Nancy A. Nasher and David J. Haemisegger Family

~~~~

EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

ADDITIONAL INFORMATION ABOUT THE DALLAS OPERA

IS AVAILABLE ONLINE, 24/7.  VISIT WWW.DALLASOPERA.ORG

 

FOR HIGH-RESOLUTION PHOTOGRAPHS

Contact Suzanne Calvin, Director of Media and PR at suzanne.calvin@dallasopera.org

Or Celeste Hart, Communications Manager at celeste.hart@dallasopera.org

~~~~

The Dallas Opera Family Performances are generously supported by

Texas Instruments and the Betty and Steve Suellentrop

Educational Outreach Fund.

 

TDO Family Performances are a part of the

Perot Foundation Education and Community Outreach Programs

 

TICKET INFORMATION FOR THE 2016-2017 DALLAS OPERA SEASON

All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise indicated.  Single Tickets range from $19 to $275. Flex Subscriptions (three-performances of your choice) begin at $75.  Family performance tickets are just $5. For more information or to make your purchase, contact The Dallas Opera Ticket Services Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.

 

THE DALLAS OPERA 2016-2017 SPRING SEASON INFORMATION

The Dallas Opera celebrates its Sixtieth International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District. Evening performances will begin at 7:30 p.m. and Sunday matinees begin at 2:00 p.m. unless otherwise stated.  English translations will be projected above the stage at every performance and assistance is available for the hearing impaired.  The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain, at most performances excluding FIRST NIGHT of the season.

 

Dallas Opera Looking for a Few Good (Extra) Men

by Suzanne Calvin

This may be your chance to shine in a non-singing part on The Dallas Opera stage!  Details to follow.

FOR IMMEDIATE RELEASE:

Wednesday, February 8, 2017

Contact: Suzanne Calvin 214.443.1014                            Or Celeste Hart 214.443.1071

suzanne.calvin@dallasopera.org                                    celeste.hart@dallasopera.org

                                                               

THE DALLAS OPERA
ANNOUNCES AUDITION!

~~~~

SUPERNUMERARIES (NON-SINGING EXTRAS)

MEN NEEDED FOR

MADAME
BUTTERFLY

~~~~

AUDITION: THURSDAY, FEBRUARY 16, 2017
6:00-9:00 p.m.

 Karayanis Rehearsal Production Center

4301 S. Fitzhugh, Dallas, 75210

~~~~

Respond by February 14 by emailing supers@dallasopera.org

 

DALLAS, February 8, 2017 – The Dallas Opera is seeking men to perform in one of the most popular operas of all time, Giacomo Puccini’s MADAME BUTTERFLY. The production opens on Friday, March 10, 2017 for six performances in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center, ending on March 26, 2017. Supernumeraries (opera’s fancy term for “extras”) must be able to participate in all six, as well as a modified rehearsal schedule. No singing is required and a small stipend will be provided.

 

Four to six men of any ethnic background are needed to fill the following roles:

  • Acolytes
  • Servants

Those wishing to participate must first email supers@dallasopera.org for more information by February 14, 2017.  The audition will take place on Thursday, February 16, 2017 from 6:00-9:00 p.m. at The Dallas Opera Karayanis Rehearsal Production Center located adjacent to Fair Park at 4301 S. Fitzhugh, Dallas, TX  75210 (follow signs for Gate 12, parking lot entrance off Gaisford St.).

            Join The Dallas Opera for an incredible theatrical experience!

~~~~
2016-2017 SEASON SPONSOR

The Nancy A. Nasher and David J. Haemisegger Family

~~~~

 

EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

ADDITIONAL INFORMATION ABOUT THE DALLAS OPERA

IS AVAILABLE ONLINE, 24/7.  VISIT WWW.DALLASOPERA.ORG

 

FOR HIGH-RESOLUTION PHOTOGRAPHS

Contact Suzanne Calvin, Director of Media and PR at suzanne.calvin@dallasopera.org

Or Celeste Hart, Communications Manager at celeste.hart@dallasopera.org

~~~~

The Dallas Opera Family Performances are generously supported by

Texas Instruments and the Betty and Steve Suellentrop

Educational Outreach Fund.

 

TDO Family Performances are a part of the

Perot Foundation Education and Community Outreach Programs

 

TICKET INFORMATION FOR THE 2016-2017 DALLAS OPERA SEASON

All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise indicated.  Single Tickets range from $19 to $275. Full Subscriptions (five opera productions) begin at $95; Flex Subscriptions (three-performances of your choice) begin at $75.  Family performance tickets are just $5. For more information or to make your purchase, contact The Dallas Opera Ticket Services Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.

THE DALLAS OPERA 2016-2017 SPRING SEASON INFORMATION

The Dallas Opera celebrates its Sixtieth International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District. Evening performances will begin at 7:30 p.m. and Sunday matinees begin at 2:00 p.m. unless otherwise stated.  English translations will be projected above the stage at every performance and assistance is available for the hearing impaired.  The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain, at most performances excluding FIRST NIGHT of the season.

 

MADAME BUTTERFLY By Giacomo Puccini

March 10, 12(m), 15, 18, 24, & 26(m), 2017

The must see, heart-wrenching Italian opera!

Libretto by Giuseppe Giacosa & Luigi Illica

Time: 1904

Place: Nagasaki, Japan

Conductor: Donato Renzetti

Stage Director: John Copley

Set and Costume Designer: Michael Yeargan

Lighting Designer: Duane Schuler

Wig & Make-up Designer: Stephanie Williams

Chorus Master: Alexander Rom

Starring: Hui He* (Cio-Cio-San), Gianluca Terranova* (B.F. Pinkerton), Manuela Custer (Suzuki), Lucas Meachem* (Sharpless), David Cangelosi (Goro), Reginald Smith, Jr.* (The Bonze), Will Hughes (Prince Yamadori), Mark McCrory (Imperial Commissioner), Samuel P.J. Lopez (Registrar), Angela Turner Wilson (Kate Pinkerton), Sorrow (TBD)

A classic, period production (new to Dallas) from the San Francisco Opera!

 

THE TURN OF THE SCREW By Benjamin Britten

March 17, 19(m), 22, 25, 2017

A dark and gripping tale!

Libretto by Myfanwy Piper

Time: 1950s

Place: Bly, an English country house

Conductor: Nicole Paiement

Original Production: Jonathan Kent

Stage Director: Francesca Gilpin*

Set and Costume Designer: Paul Brown

Original Lighting Designer: Mark Henderson

Lighting Design Recreated By: David Manion

Wig and Make-up Designer: Stephanie Williams

Starring: William Burden (Prologue/Peter Quint), Emma Bell* (Governess), Oliver Nathanielsz* (Miles), Ashley Emerson* (Flora), Dolora Zajick* (Mrs. Grose), Alexandra LoBianco* (Miss Jessel)

An acclaimed production from Glyndebourne!

 

NORMA By Vincenzo Bellini

April 21, 23(m), 26, 29, May 7(m), 2017

A thrilling and suspenseful masterpiece!

Libretto by Felice Romani

Time: 50 B.C.

Place: Roman-occupied Gaul

Conductor: Emmanuel Villaume

Stage Director: Nic Muni

Set Designer: John Conklin

Costume Designer: John Conklin

Lighting Designer: Thomas Hase

Wig & Make-up Designer: Stephanie Williams

Chorus Master: Alexander Rom

Starring: Elza van den Heever (Norma), Marina Costa Jackson* (Adalgisa), Yonghoon Lee* (Pollione), Christian Van Horn (Oroveso), Mithra Mastropierro* (Clotilde), Charles Karanja (Flavio)

An atmospheric production from Cincinnati Opera!

 

 

* Dallas Opera Debut

** American Debut

______________________________________________________________________________________________________________________________________________________________________

The Dallas Opera is supported, in part, by funds from: Texas Instruments Foundation, TACA, City of Dallas, Office of Cultural Affairs; the Texas Commission on the Arts and The National Endowment for the Arts (NEA).  American Airlines is the official airline of The Dallas Opera.  Lexus is the official vehicle of The Dallas Opera.  Advertising support from The Dallas Morning News.  A special thanks to the Elsa von Seggern Foundation for its continuing support.

 

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Dallas Opera Guild Vocal Competition Semi-Finalists Announced

by Suzanne Calvin

FOR IMMEDIATE RELEASE:
Tuesday, February 7, 2017
Contact: Suzanne Calvin 214.443.1014 Or Celeste Hart 214.443.1071
suzanne.calvin@dallasopera.org celeste.hart@dallasopera.org

The Dallas Opera and The Dallas Opera Guild
Are Proud to Jointly Announce the Outstanding

Semi-Finalists of the 29th Annual
“Dallas Opera Guild Vocal Competition”
~~~~
Admission $5! Lexus Red Parking $5!
Audience Members Vote on “People’s Choice”
Visit www.dallasopera.org/vocal
~~~~
Finals: Sunday, April 30, 2017, 7:30 p.m.
The Centerpiece of TDO’s Annual
Springs Gala: An Evening of Rising Stars
Conducted by Music Director Emmanuel Villaume
~~~~
The Margot and Bill Winspear Opera House
At the AT&T Performing Arts Center
2403 Flora Street, Dallas, TX 75201
~~~~
Honoring Dr. Susan Fleming

DALLAS, FEBRUARY 7, 2017 –Twenty of the finest young opera singers in the United States will be competing in the 29th Annual Dallas Opera Guild Vocal Competition presented, jointly, by The Dallas Opera and The Dallas Opera Guild.
These talented artists will compete onstage in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in Dallas on April 29 & 30, 2017. At stake are thousands of dollars in cash awards and coveted honors including the “People’s Choice Award” selected during the Finals Round by audience ballot. The competition will serve as the centerpiece of The Dallas Opera’s glamorous Springs Gala, an annual fundraising celebration of opera’s fast-rising stars.
Patrons have the option of attending
• The free Semi-Finals Round on April 29th
• The complete Springs Gala evening on April 30th
• The Finals Round and Awards Ceremony only on April 30th
• Or, the Finals Round, Awards Ceremony and the post-performance party!

Tickets range from absolutely free (for the April 29th Semi-Finals) to $5 for the Finals Round and Awards Ceremony (available online at dallasopera.org/vocal).
A $750 “host ticket” will cover the entire gala evening, including a seated, gourmet, pre-competition dinner at 5:30 p.m., early seating for the vocal competition Finals Round at 7:30 p.m., and an invitation to the festive post-competition celebration at the Winspear Opera House.
For more information about the 2017 Springs Gala, visit dallasopera.org/gala or contact Special Events Manager Tracy Mott at tracy.mott@dallasopera.org.

With a renewed focus on encouraging the next generation of opera artists and audiences, proceeds from this stellar evening will go to support the multifaceted education programs of The Dallas Opera.
Two great Dallas Opera traditions create one truly remarkable evening of music, competition and celebration! It is certain to be an affair—and a weekend—you won’t want to miss!

Commented Dallas Opera General Director and CEO Keith Cerny: “The Guild Competition took a bold step forward in recent years and the results have been electrifying! Emmanuel Villaume and The Dallas Opera Orchestra have brought a significant level of excitement to these performances and clearly inspired last year’s finalists to rise to the occasion.
“However, each competition brings an entirely new set of challenges and gives us additional opportunities to build upon our previous success.
“Working closely with Dr. Brian Zeger, our esteemed adjudicators, and the Guild itself, we continually seek new ways to attract the very finest young singers of this generation. Their presence on the Winspear stage also promises to make our second annual Springs Gala: An Evening of Rising Stars, one of the most sought-after tickets in town.
“I am also extremely pleased that, with the energetic leadership of Brian Zeger,” Cerny adds, “we have been able to assemble such a distinguished panel of industry leaders and decision makers to judge this stellar event, making it a unique showcase for artists ready to take their careers to a higher level.”

~~~~
This year, the twenty semi-finalists were selected from a group of 364 applicants from 35 states—and one competitor currently residing in Germany (residents of the U.S. territories are eligible to apply for the prestigious competition, as well) by a panel of preliminary judges that included American pianist and educator Dr. Brian Zeger of the Marcus Institute for Vocal Arts at The Juilliard School, and David Lomeli, Casting and Hart Institute for Women Conductors Manager.
The quest for these gifted young singers will begin with the Semi-Finals Round of the Vocal Competition at 11:00 a.m. on Saturday, April 29, 2017.
Six finalists will be selected to return the following evening, Sunday, April 30th at 7:30 p.m., to perform with The Dallas Opera Orchestra, conducted by internationally acclaimed Mrs. Eugene McDermott Music Director Emmanuel Villaume.

“I am very proud to collaborate with our Guild on the expanded national competition,” adds Keith Cerny, the Kern Wildenthal General Director and CEO. “This is an outstanding opportunity for the entire community to experience opera’s ‘next wave’ and to show their enthusiasm and support for the hopes and dreams of these deserving young artists.”

THE 2017 SEMI-FINALISTS
FOR THE DALLAS OPERA GUILD VOCAL COMPETITION

• Jared Bybee, baritone, age 30, Resident Artist at Academy of Vocal Arts in Philadelphia
• Helena Brown, soprano, age 28, Resident Artist at Glimmerglass Festival
• Raehann Bryce-Davis, mezzo-soprano, age 30, Merola Opera Program Graduate
• Jacquelyn Stucker, soprano, age 27, Santa Fe Opera Apprentice Program Graduate
• Mane Galoyan, soprano, age 23, Currently at Houston Grand Opera Studio
• Leah Hawkins, soprano, age 26, Resident Artist at the Domingo-Cafritz Young Artist Program at Washington National Opera
• Takaoki Onishi, baritone, age 29, Member of the Ryan Center at Lyric Opera Chicago
• Theo Hoffman, baritone, age 23, Member of Domingo Colburn Stein Young Artists Los Angeles Opera
• Alasdair Kent, tenor, age 29, Resident Artist at Academy of Vocal Arts in Philadelphia
• Alexandra Loutsion, soprano, age 33, Pittsburgh Opera Studio Graduate
• Alyssa Martin, mezzo-soprano, age 27, Member of the Arizona Opera Studio
• Meredith Mecum, soprano, age 31, Merola Opera Program Graduate
• Miles Mykkanen, tenor, age 25, Artist Diploma in Opera Studies at the Juilliard School of Music
• Daniel Noyola, bass-baritone, age 24, Resident Artist at Academy of Vocal Arts in Philadelphia
• Mario Rojas, tenor, age 23, Member of the Ryan Center at Lyric Opera Chicago
• Brent Turner, tenor, age 33, 2016 McCammon Competition Winner
• Laura Wilde, soprano, age 30, Member of the Ryan Center at Lyric Opera Chicago
• Kihun Yoon, baritone, age 35, Member of Domingo Colburn Stein Young Artists Los Angeles Opera
• Samantha Hankey, mezzo-soprano, age 24, Artist Diploma in Opera Studies at the Juilliard School of Music
• Xiaomeng Zhang, baritone, age 23, Masters in Music at Manhattan School of Music Graduate

Competitors in the 2016 Competition took home prize monies totaling $18,500. Although this competition has as its primary focus artists in the 18 to 34 age range, singers of any age were eligible to apply and considered on a case-by-case basis.
The Dallas Opera Guild Vocal Competition originally focused on young artists with Texas roots or Lone Star academic connections, and its many distinguished alumni include luminaries from throughout the opera world: Latonia Moore, Clifton Forbis, Marjorie Owens, Weston Hurt, Steven LaBrie, Amanda Woodbury, Jesus Garcia, J’nai Bridges, Anthony Clark Evans, and most recently, Kang Wang and Virginie Verrez.
As the competition sought to gain even greater prominence and significance, The Dallas Opera and The Dallas Opera Guild made significant changes in 2015, prompting Dallas Morning News Classical Music Critic Scott Cantrell to write that the competition had “considerably upped its ante.” The evolution didn’t stop there:

• In order to attract the most talented applicant pool with the greatest potential, the eligibility criteria for applicants changed. Today, it is open to residents of all 50 states and U.S. Territories, including international students attending American colleges, universities, and music conservatories. Also eligible are active members of any young artist program associated with an American opera company.

• The Finals Round, taking place on Sunday, April 30, 2017 at 7:30 pm in the Winspear Opera House as part of The Dallas Opera’s annual Springs Gala, will be accompanied by The Dallas Opera Orchestra, conducted by TDO’s internationally acclaimed Music Director, Emmanuel Villaume. Up to six finalists will participate, singing two arias each.

The impact of these changes was immediately perceived. Senior Classical Music Critic Gregory Sullivan Isaacs of theaterjones.com wrote: “The results surely exceeded expectations for this newly re-envisioned competition…It won’t take long to situate itself at the top of such events and become an important gold star on any young artist’s résumé.”
Dallas Opera Guild Co-President Jana Irwin explained that “The Dallas Opera Guild views this annual competition as the capstone of our philanthropic and supportive endeavors. The need to support the future of opera is so profound, particularly as it relates to young and somewhat unknown singers. As singers are selected, their professional stature automatically increases due to press and media exposure. However, the competition itself provides additional benefits for these singers, as well as the local opera community. It is truly a win-win situation for all concerned.”
Dallas Opera Guild 2017 Vocal Competition Chairs Bob and Patsy Brooks write: “The Dallas Opera Guild Vocal Competition gives singers pursuing a professional opera career the opportunity to showcase their talents and compete with other singers for financial rewards. Best of all is the chance to perform before a panel of distinguished judges celebrated throughout the opera world.”

Lexus Red Parking is available for just $5 at both the Semi-Finals Round, from 11:00 AM until 4:30 p.m. on Saturday, April 29th as well as the Finals Round of the competition the following evening, Sunday, April 30th at 7:30 p.m. in the Winspear Opera House.

The list of judges for the 2017 Vocal Competition reads like an opera management “Who’s Who”:

Judges for the 2017 Dallas Opera Guild Vocal Competition:

Brian Zeger, Chair
Artistic Director of the Ellen and James S. Marcus Institute for Vocal Arts
The Juilliard School

Keith Cerny
The Kern Wildenthal General Director and CEO of The Dallas Opera

Emmanuel Villaume
The Mrs. Eugene McDermott Music Director, The Dallas Opera

Andreas Melinat
Director of Artistic Planning, Lyric Opera of Chicago

Pal Moe
Casting Director, Bavarian State Opera;
Casting Consultant, Glyndebourne Festival and Opéra de Lille

Joshua Winograde
Senior Director, Artistic Planning, Los Angeles Opera

Diane Zola
Director of Artistic Administration, Houston Grand Opera

However, the judging isn’t left entirely to the professionals; “amateur” music lovers will have the opportunity to express their views, too. Audience participation is part of the fun at each year’s Dallas Opera Guild Vocal Competition. For the eighteenth consecutive year, attendees will be given the chance to vote on their personal favorites to receive the “People’s Choice Award.”
~~~~

Honoring Dr. Susan Fleming
This year’s vocal competition honors former Dallas Opera Guild President and current Board Member, Dr. Susan Fleming, renowned for her philanthropy and leadership as well as her continuing work with children with communication disorders.
As a bachelor’s and master’s student in speech pathology and audiology at SMU, she thrived in the classroom. Her career path included working at Texas Scottish Rite Hospital, directing the preschool at the Greenhill School and maintaining her own private practice. Over the years, Dr. Fleming honed her skills by providing evaluations of children, designing curriculum and working in admissions.
She joined the Shelton Evaluation Center (a division of the Shelton School) in 1993; serving as director until 2009 when she became director emeritus of the center.
Dr. Fleming dedicates her time away from work to numerous professional and volunteer organizations. She is co-chair of the Dream Team of the Rotary Club of Dallas, a program that provides mentors, encouragement and scholarships to local high school students who might otherwise be unable to attend college. Dr. Fleming recently became a court-appointed special advocate (CASA) in Dallas, appointed by judges to work for a year with specific children removed from their home environments by CPS. This UT Dallas Distinguished Alumni Award winner has held numerous positions with the Dallas Opera Guild Board.
“I am touched by my selection,” writes Susan Fleming, “as this places me in the company of the dynamic guild leaders I have admired; those who have contributed so much to The Dallas Opera Guild’s effectiveness in promoting and sustaining the annual Vocal Competition.
“Each person who contributes to this competition,” she adds, “should feel proud to be helping promote young singers as they strive for success in this especially beautiful art form.”
~~~~
SPECIAL THANKS
TO THE AT&T PERFORMING ARTS CENTER AND STAFF
FOR THEIR SUPPORT OF THE
2017 DALLAS OPERA GUILD VOCAL COMPETITION

EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE
VISIT WWW.DALLASOPERA.ORG

2016-2017 SEASON SPONSOR
The Nancy A. Nasher and David J. Haemisegger Family

~~~~
FOR HIGH-RESOLUTION PHOTOGRAPHS
Contact Suzanne Calvin, Director of Media and PR at suzanne.calvin@dallasopera.org
Or Celeste Hart, Communications Manager at celeste.hart@dallasopera.org
~~~~
The Dallas Opera Family Performances are generously supported by
Texas Instruments and the Betty and Steve Suellentrop
Educational Outreach Fund.

TDO Family Performances are a part of the
Perot Foundation Education and Community Outreach Programs

TICKET INFORMATION FOR THE 2016-2017 DALLAS OPERA SEASON

All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise indicated. Single Tickets range from $19 to $275. Full Subscriptions (five opera productions) begin at $95; Flex Subscriptions (three-performances of your choice) begin at $75. Family performance tickets are just $5. For more information or to make your purchase, contact The Dallas Opera Ticket Services Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.

THE DALLAS OPERA 2016-2017 SPRING SEASON INFORMATION

The Dallas Opera celebrates its Sixtieth International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District. Evening performances will begin at 7:30 p.m. and Sunday matinees begin at 2:00 p.m. unless otherwise stated. English translations will be projected above the stage at every performance and assistance is available for the hearing impaired. The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain, at most performances excluding FIRST NIGHT of the season.

MADAME BUTTERFLY by Giacomo Puccini
March 10, 12(m), 15, 18, 24, & 26(m), 2017
The must see, heart-wrenching Italian opera!
Libretto by Giuseppe Giacosa & Luigi Illica
Time: 1904
Place: Nagasaki, Japan
Conductor: Donato Renzetti
Stage Director: John Copley
Set Designer: Michael Yeargan
Costume Designer: Anita Yavich
Lighting Designer: Duane Schuler
Wig & Make-up Designer: Stephanie Williams
Chorus Master: Alexander Rom
Starring: Hui He* (Cio-Cio-San), Gianluca Terranova* (B.F. Pinkerton), Manuela Custer (Suzuki), Lucas Meachem* (Sharpless), David Cangelosi (Goro), Reginald Smith, Jr.* (The Bonze), Will Hughes (Prince Yamadori), Mark McCrory (Imperial Commissioner), Samuel P.J. Lopez (Registrar), Angela Turner Wilson (Kate Pinkerton), Sorrow (TBD)
A classic, period production (new to Dallas) from the San Francisco Opera!

THE TURN OF THE SCREW by Benjamin Britten
March 17, 19(m), 22 & 25, 2017
A dark and gripping tale!
Libretto by Myfanwy Piper
Time: 1950s
Place: Bly, an English country house
Conductor: Nicole Paiement
Original Production: Jonathan Kent
Stage Director: Francesca Gilpin*
Set Designer: Paul Brown
Costume Designer: Paul Brown
Original Lighting Designer: Mark Henderson
Lighting Design Recreated by: David Manion
Wig and Make-up Designer: Stephanie Williams
Starring: William Burden (Prologue/Peter Quint), Emma Bell* (Governess), Oliver Nathanielsz* (Miles), Ashley Emerson* (Flora), Dolora Zajick* (Mrs. Grose), Alexandra LoBianco* (Miss Jessel)
An acclaimed production from Glyndebourne!

NORMA by Vincenzo Bellini
April 21, 23(m), 26, 29, May 7(m), 2017
A thrilling and suspenseful masterpiece!
Libretto by Felice Romani
Time: 50 B.C.
Place: Roman-occupied Gaul
Conductor: Emmanuel Villaume
Stage Director: Nic Muni
Set Designer: John Conklin
Costume Designer: John Conklin
Lighting Designer: Thomas Hase
Wig & Make-up Designer: Stephanie Williams
Chorus Master: Alexander Rom
Starring: Elza van den Heever (Norma), Marina Costa Jackson* (Adalgisa), Yonghoon Lee* (Pollione), Christian Van Horn (Oroveso), Mithra Mastropierro* (Clotilde), Charles Karanja (Flavio)
An atmospheric production from Cincinnati Opera!

* Dallas Opera Debut
** American Debut
______________________________________________________________________________________
The Dallas Opera is supported, in part, by funds from: Texas Instruments Foundation, TACA, City of Dallas, Office of Cultural Affairs; the Texas Commission on the Arts and The National Endowment for the Arts (NEA). American Airlines is the official airline of The Dallas Opera. Lexus is the official vehicle of The Dallas Opera. Advertising support from The Dallas Morning News. A special thanks to the Elsa von Seggern Foundation for its continuing support.

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Mezzos and Margaritas: A Q&A with Sarah Mesko

by Matt Becher

 

 

Music and Masterpieces-01Mesko

This February’s Music and Masterpieces event features mezzo-soprano Sarah Mesko in recital at the Dallas Museum of Art in conjunction with their Shaken, Stirred, Styled: The Art of the Cocktail exhibition. Sarah touches down in Dallas following a role debut as Carmen at Washington National Opera in the Domingo-Cafritz Young Artist performance and her work with the Metropolitan Opera’s Rising Stars concert tour across the U.S. We caught up with Sarah in anticipation of the recital on February 11th to talk about great opera and great cocktails:

Welcome back to Dallas! How has life been for you since the Dallas Opera Guild Vocal Competition in 2015?

It is so great to be back in Dallas!  Life has truly been fantastic.  After the Vocal Competition in 2015, I made my Glimmerglass Opera debut in Vivaldi’s Cato in Utica, my role debut as Carmen with Washington National Opera, and my Metropolitan Opera debut as the Second Lady in The Magic Flute!

What other projects do you have on the horizon for 2017?

I have a lot of great projects coming up in 2017.  In March I’ll be giving a duo recital with Paul Appleby at the Morgan Library, sponsored by the George London Foundation.  Then I get to join the Mercury Orchestra in Houston for a Mozart Requiem before heading off to Oregon in July to sing Dejanira in Handel’s Hercules at the Oregon Bach Festival.  Then it’s back to the Met this fall!

Is there a favorite role—whether it be beloved or particularly challenging—in your upcoming engagements?

I’m particularly looking forward to my recital with Paul this March in New York.  I really love giving recitals; it’s about the most personal thing I do, artistically.  It’s the way I can connect most directly with an audience, by choosing a program according to their space, their city, or the season we find ourselves in.  I’m excited that Paul and I will be creating a shared vision that will last one afternoon, and then it will be gone.  That is the ecstasy of live music!

This Music and Masterpieces event features a selection of songs with a “libations” theme followed by the opportunity to enjoy the Dallas Museum of Art’s exhibit Shaken, Stirred, Styled: The Art of the Cocktail. Can you talk about how the songs connect with the cocktail theme?

When I saw this exhibit on the DMA’s website, I immediately thought of the old standard “You go to my head,” which has been a favorite of mine since high school.  From there, I started thinking of songs and arias that have to do with love and drinking, and Strauss’s “Heimliche Aufforderung” came to mind – the “secret invitation” being the lifting of a glass a wine.  And the rest followed!

Do you feel a strong connection to one role in particular featured in the selection lineup?

I feel particularly strong about my set featuring the night sky.  For me, love’s intoxication began when I was a young teenager looking up at the moon and stars, walking barefoot down the street at night in my neighborhood, completely in awe of the universe.  That sense of awe was reawakened when I first heard Samuel Barber’s “Sure on this shining night” my freshman year in college.  To me it is still the epitome of what an art song should be – so beautiful that it made me “weep with wonder” – and this will be the first time I’ve ever had the opportunity to sing it in public, after holding it close all these years.

Finally, the most important cocktail-related question of all: which cocktail is your favorite?

I love margaritas!  I came home from Guadalajara this summer having had the best margaritas of my life, so I went out and bought a cocktail shaker (that’s right, I didn’t have one!) so I could make my own.  I love the fancy margaritas in restaurants, but when I’m at home, I make a simple 3-2-1: three parts reposado tequila, two parts Grand Marnier, 1 part lime juice.  To be enjoyed slowly, if you want to wake up the next morning!

Doors open for Music and Masterpieces at the Dallas Museum of Art at 1:30 pm on February 11th. The event is FREE with RSVP; seating is general admission. Go to http://dallasopera.org/events/ to learn more and RSVP today. We’ll see you there! 

Hart Institute Featured on PBS NewsHour Tonight

by Suzanne Calvin

Check It Out!

THE DALLAS OPERA’S
LINDA AND MITCH HART INSTITUTE FOR WOMEN CONDUCTORS WILL BE FEATURED TONIGHT ON PBS NewsHour

~~~~
6:00 to 7:00 p.m., Tuesday, January 31, 2017
On Your Local PBS Station (times may vary)
http://www.pbs.org/newshour/tv-schedule/
~~~~
Distinguished Faculty included Marin Alsop, Nicole Paiement, Carlo Montanaro, Alice Farnham and Alec Treuhaft
~~~~
Initial Support for the Hart Institute from
The Richard and Enika Schulze Foundation
Additional Support from The Andrew W. Mellon Foundation, Baker Botts LLP, Susan and Mark Geyer, Holly and Tom Mayer, Betty and Steve Suellentrop, Martha and Max Wells, Jenifer and Peter Flynn, Cindy Feld, and the TACA Bowden & Embrey Family Foundations Artist Residency Fund

DALLAS, JANUARY 31, 2017 –The Dallas Opera is pleased to announce that—barring urgent, late-breaking news, PBS NewsHour will present a news story tonight (6:00 p.m. to 7:00 p.m. on the North Texas PBS affiliate, KERA-TV) focused on the recent Linda and Mitch Hart Institute for Women Conductors at The Dallas Opera.
The behind-the-scenes segment was recorded in Dallas during the 2016 Hart Institute which ran from late November through mid-December and attracted 156 applicants from 34 countries. Six were selected to participate in the elite program for women conductors on the cusp of major careers in opera. An additional four American observers also took part.
The story, produced by PBS NewsHour Chief Arts and Culture Correspondent Jeffrey Brown and Deputy Senior Producer/Art and Culture Producer Anne Azzi Davenport, allows viewers to step into the world of rarely-seen conducting masterclasses, industry seminars, orchestra rehearsals, and specialized career guidance. However, the story also examines the life and work of several women participants through exclusive interviews, personal photographs, and adrenaline-pumping public performances. Here’s an advance look from PBS:
https://www.facebook.com/newshour/videos/10155038978803675/

Faculty for the most recent Hart Institute included Marin Alsop (Music Director, Baltimore Symphony Orchestra and São Paulo State Symphony Orchestra, and the only conductor ever to receive the prestigious MacArthur Fellowship); The Dallas Opera’s own Martha R. and Preston A. Peak Principal Guest Conductor Nicole Paiement, as well as Carlo Montanaro, a renowned Italian conductor; distinguished British conductor and educator Alice Farnham and the former chorus master of the Royal Opera House, Covent Garden, Renato Balsadonna.
The institute also addressed career advancement challenges and opportunities for women conductors in sessions with experienced professionals like Alec C. Treuhaft, former senior vice-president of IMG Artists; Zizi Mueller, former president of Boosey & Hawkes; Carol Lazier, president, San Diego Opera; Marc A. Scorca, president and CEO of OPERA America; and a senior client partner and co-managing director of Korn Ferry’s Global Education Practice, Paul Hsun-Ling Chou. The Texas opera company also hosted intensive one-on-ones and networking opportunities for the Institute participants; and offered the six fellows the chance to conduct The Dallas Opera Orchestra in two public concerts.
The Dallas Opera will begin accepting applications for the 2017 Hart Institute on February 27, 2017. For more information, visit dallasopera.org.
PBS NewsHour airs on 356 affiliate stations across the U.S. and can be viewed online at http://www.pbs.org/newshour/ as well. The award-winning program is one of the most-watched, and most-respected daily news programs on American television today.

2016-2017 SEASON SPONSOR
The Nancy A. Nasher and David J. Haemisegger Family
~~~~

EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE
ADDITIONAL INFORMATION ABOUT THE DALLAS OPERA IS AVAILABLE ONLINE, 24/7.
VISIT WWW.DALLASOPERA.ORG

FOR HIGH-RESOLUTION PHOTOGRAPHS
Contact Suzanne Calvin, Director of Media and PR at suzanne.calvin@dallasopera.org
Or Celeste Hart, Communications Manager at celeste.hart@dallasopera.org
~~~~

The Dallas Opera Family Performances are generously supported by Texas Instruments and the Betty and Steve Suellentrop Educational Outreach Fund.

TDO Family Performances are a part of the
Perot Foundation Education and Community Outreach Programs

TICKET INFORMATION FOR THE 2016-2017 DALLAS OPERA SEASON

All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise indicated. Single Tickets range from $19 to $275. Full Subscriptions (five opera productions) begin at $95; Flex Subscriptions (three-performances of your choice) begin at $75. Family performance tickets are just $5. For more information or to make your purchase, contact The Dallas Opera Ticket Services Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.

THE DALLAS OPERA 2016-2017 SPRING SEASON INFORMATION

The Dallas Opera celebrates its Sixtieth International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District. Evening performances will begin at 7:30 p.m. and Sunday matinees begin at 2:00 p.m. unless otherwise stated. English translations will be projected above the stage at every performance and assistance is available for the hearing impaired. The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain, at most performances excluding FIRST NIGHT of the season.

MADAME BUTTERFLY by Giacomo Puccini
March 10, 12(m), 15, 18, 24, & 26(m), 2017
The must see, heart-wrenching Italian opera!
Libretto by Giuseppe Giacosa & Luigi Illica
Time: 1904
Place: Nagasaki, Japan
Conductor: Donato Renzetti
Stage Director: John Copley
Set Designer: Michael Yeargan
Costume Designer: Anita Yavich
Lighting Designer: Duane Schuler
Wig & Make-up Designer: Stephanie Williams
Chorus Master: Alexander Rom
Starring: Hui He* (Cio-Cio-San), Gianluca Terranova* (B.F. Pinkerton), Manuela Custer (Suzuki), Lucas Meachem* (Sharpless), David Cangelosi (Goro), Reginald Smith, Jr.* (The Bonze), Will Hughes (Prince Yamadori), Mark McCrory (Imperial Commissioner), Samuel P.J. Lopez (Registrar), Angela Turner Wilson (Kate Pinkerton), Sorrow (TBD)
A classic, period production (new to Dallas) from the San Francisco Opera!

THE TURN OF THE SCREW by Benjamin Britten
March 17, 19(m), 22 & 25, 2017
A dark and gripping tale!
Libretto by Myfanwy Piper
Time: 1950s
Place: Bly, an English country house
Conductor: Nicole Paiement
Original Production: Jonathan Kent
Stage Director: Francesca Gilpin*
Set Designer: Paul Brown
Costume Designer: Paul Brown
Original Lighting Designer: Mark Henderson
Lighting Design Recreated by: David Manion
Wig and Make-up Designer: Stephanie Williams
Starring: William Burden (Prologue/Peter Quint), Emma Bell* (Governess), Oliver Nathanielsz* (Miles), Ashley Emerson* (Flora), Dolora Zajick* (Mrs. Grose), Alexandra LoBianco* (Miss Jessel)
An acclaimed production from Glyndebourne!

NORMA by Vincenzo Bellini
April 21, 23(m), 26, 29, May 7(m), 2017
A thrilling and suspenseful masterpiece!
Libretto by Felice Romani
Time: 50 B.C.
Place: Roman-occupied Gaul
Conductor: Emmanuel Villaume
Stage Director: Nic Muni
Set Designer: John Conklin
Costume Designer: John Conklin
Lighting Designer: Thomas Hase
Wig & Make-up Designer: Stephanie Williams
Chorus Master: Alexander Rom
Starring: Elza van den Heever (Norma), Marina Costa Jackson* (Adalgisa), Yonghoon Lee* (Pollione), Christian Van Horn (Oroveso), Mithra Mastropierro* (Clotilde), Charles Karanja (Flavio)
An atmospheric production from Cincinnati Opera!

* Dallas Opera Debut
** American Debut
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The Dallas Opera is supported, in part, by funds from: Texas Instruments Foundation, TACA, City of Dallas, Office of Cultural Affairs; the Texas Commission on the Arts and The National Endowment for the Arts (NEA). American Airlines is the official airline of The Dallas Opera. Lexus is the official vehicle of The Dallas Opera. Advertising support from The Dallas Morning News. A special thanks to the Elsa von Seggern Foundation for its continuing support.

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