Score!

by Suzanne Calvin

It was an amazing thing to see: 15 thousand people, most of whom stayed all the way through the curtain calls and many of whom--I’ll bet--walked away with a completely different impression of this art form we call “opera.”
It was a grand night for the Dallas Opera, The Dallas Foundation, and Cowboys Stadium, but don’t take my word for it.

Here’s a report on the evening (including comments from General Director and CEO Keith Cerny) from KERA’s Jerome Weeks.

And Mark Lowry of “The Star-Telegram.”

And Wendy Settle of “Pegasus News”

Here’s another report from NBC-5 (KXAS Television), as well as WFAA TV (Channel 8), who talked to General Director and CEO Keith Cerny that night.

But let’s face it: with a crowd of around 15,000, you’re not going to please everyone.  Jamie Laughlin of “The Observer” (who correctly identifies Puccini as opera’s “gateway drug”) makes an impassioned argument that opera and sports stadiums simply don’t mix.  At least, not in a way that makes opera the moving experience it ought to be.  She writes: “Opera is very expensive to produce: the stage, venue and talent comes with a high price point.  And it must be a limited quantity of seats.  After a certain venue size is reached, you won’t hear that woman die from tuberculosis in the back of the house.  For its quality and standards to be upheld, it’s the public’s responsibility to suck it up and buy a ticket to the Winspear.  If last Saturday’s offering wasn’t your cup of tea, or in this case, big gulp of Dr. Pepper, that’s natural. Investigate further.  Set aside a couple of bar tabs worth of money and shell for seats at next season’s Aida.  The Winspear doesn’t sell soft pretzels like Cowboy Stadium, but the music will change you in a way that carbs never can.”  Read what led her to this conclusion right here.

Dallas Morning News Editorial writer Rodger Jones landed in seats with a “bad view” (i.e. at the juxtoposition of two screens, one large, one smaller).  Rodger and his guest released themselves on their own recognizance and found terrific seats on the 40-yard line.  Here’s his full report.

As for the performance itself…

A review from critic David Weuste of “Everyday Opera.”

Another review and commentary (and video) from Gregory Sullivan Isaacs, Emily Trube and Eric Shaddix of “Theater Jones.” The Full Monty -- Get it here.

(Photo courtesy of Luke McKenzie, Dallas Opera)

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