Opera Administrators Chosen for 2017 Hart Institute

by Suzanne Calvin

IWC-webbanner-flyer

FOR IMMEDIATE RELEASE:

Wednesday, August 9, 2017
Contact: Suzanne Calvin 214.443.1014 Or Celeste Hart at 214.443.1071
suzanne.calvin@dallasopera.org celeste.hart@dallasopera.org

The Dallas Opera is Proud to Announce the
Inaugural Class of Women Administrators
For the 2017 Linda and Mitch Hart Institute
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Nov. 5 -- 19, 2017 in Dallas, Texas
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Four Americans Selected for Elite Opera Professional Development Program
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Distinguished Faculty Include Marin Alsop, Nicole Paiement, Carlo Montanaro, and Alec Treuhaft
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Initial Support from the Richard and Enika Schulze Foundation Additional Support from
The Andrew W. Mellon Foundation and Baker Botts LLP

DALLAS, AUGUST 9, 2017 – The Dallas Opera is proud to announce the four distinguished professionals selected for the inaugural class of women opera administrators in the newly-expanded Linda and Mitch Hart Institute for Women Conductors and Administrators at The Dallas Opera:
• Anh Le (Opera Theatre of Saint Louis)
• Stefanie Mercier (Washington National Opera)
• Sara Noble (Chautauqua Opera Company)
• Jennifer Rivera (Long Beach Opera)
The third annual residency of the Hart Institute is scheduled to take place in Dallas, Texas, from November 5 -- 19, 2017.
Working to address a long-standing career issue in the opera world, The Dallas Opera in 2015 launched a unique, new residential program designed to provide training and career support for distinctively talented women conductors. This year, the goals of the program were expanded to address the needs of American opera administrators.

“Although women have played vital roles in politics, corporate culture, the front office, and the boardroom for many years, the so-called ‘glass ceiling’ is real,” explains Dallas Opera Chairman Holly Mayer, “and few women occupy the top jobs in our industry. That’s why the Hart Institute for Women Conductors and Administrators is such an important initiative for The Dallas Opera.
“This relatively new program already has an impressive track record of helping accomplished women achieve their career goals, as shown by the appointments of Lidiya Yankovskaya as Music Director of Chicago Opera Theater and Tianyi Lu as a Dudamel Fellow at the Los Angeles Philharmonic,” Ms. Mayer adds. “The Hart Institute is making a difference in the lives of qualified music professionals—who just happen to be women!”

For the next six years, TDO will invite between two and four American opera administrators to join the institute each season. These women will be selected on the basis of their potential to become leaders of one of America’s top opera companies later in their careers.
The selected opera administrators will attend all sessions during the annual fall residency in Dallas. This curriculum includes examining the role of the board, leadership development, personal branding, media and PR training, effective artist management, and navigating the recruiting processes for senior level positions.
To continue to develop their musical skills, which is essential for any opera executive, the administrators will observe rehearsals with The Dallas Opera Orchestra and conducting master classes by Marin Alsop, The Dallas Opera’s Martha R. and Preston A. Peak Principal Guest Conductor Nicole Paiement, and Italian conductor Carlo Montanaro. Special sessions on Development, Finance, and Marketing will be offered as well.
One of TDO’s goals is to build a network of talented leaders. In addition to the residency, selected administrators will be invited to participate in quarterly conference calls to continue to develop their personal networks and leadership skills.
The administrators program will accept applications each spring from women who are either American citizens or green-card holders; there is no age limit. Institute Fellows will receive a stipend, travel, and housing for the duration of this year’s Hart Institute.

Keith Cerny, The Dallas Opera’s Kern Wildenthal General Director and CEO notes: “The Dallas Opera has demonstrated its commitment to reshaping the opera field through the use of innovative public outreach, by exploring new technologies, commissioning new works to expand the operatic repertoire, and programming with passion, courage and imagination.”
“This already proven program,” Mr. Cerny added, “will enable more women to add to their skills in a wide range of areas, and provide them with the tools to accelerate their careers still further.”

The institute had vital foundational support from the Richard and Enika Schulze Foundation. Naming support came through the generosity of Linda and Mitch Hart. Additional support for the institute comes 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, and Jenifer and Peter Flynn.

Marc A. Scorca, President and CEO of OPERA America, earlier 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.”

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2017 Hart Institute Administrators
(Inaugural Class)

ANH LE
Anh Le is the Publications and Brand Manager at Opera Theatre of Saint Louis. Prior to moving to St. Louis, she served as the Communications Associate for The Santa Fe Opera and the Associate Director of Marketing at Yale Rep. A lifelong arts lover, she has also worked with companies including the Yale School of Music (New Haven, CT), Opera Holland Park (London), and A.R.T. (Cambridge, MA). Anh received her BA from Harvard University in 2012, where she was awarded the Robert E. Levi Prize for excellence in arts administration. In 2015, she also received an MFA in Theater Management from the Yale School of Drama.
Anh Le writes: “It is a tremendous honor to be a member of this institute’s inaugural class, and I look forward to two weeks of inspiration, learning, and professional growth next November. I cannot thank The Dallas Opera enough for its flagship commitment to women in our field.”

STEFANIE MERCIER
Stefanie Mercier is the Manager of Rehearsal Planning and Artist Services at Washington National Opera, where she oversees the creation of the overall season rehearsal and performance calendar as well as the daily rehearsal schedule. She was responsible for the rehearsal schedule for WNO’s 2016 Ring Cycle, which required three years of advance planning. Stefanie has been a lover of the performing arts since her first ballet lessons at the age of three. She danced with the School of the Richmond Ballet through high school, performing with the professional company annually in The Nutcracker. At the University of Virginia, she served in leadership roles with two student-run arts groups. After earning a bachelor’s degree, she came to WNO as an intern and has held four different staff positions in the past eleven years.
Stefanie Mercier writes: “I am thrilled to be chosen to participate in the Hart Institute at Dallas Opera this fall. I look forward to joining this diverse network of women and learning from the forward-thinking curriculum to take my career in opera to the next level.”

SARA NOBLE
Sara Noble is in her third year as Company and Media Manager for the Chautauqua Opera Company. Since 2013, she has curated the unconventional operatic concert series ‘Home Brewed Opera’ as Executive Producing diva for Opera on Tap’s New York City chapter. For Opera on Tap, Sara produced the world premiere of James Barry’s comedic opera SMASHED: The Carrie Nation Story and scenes from Daniel Felsenfeld’s opera-in-development The Inner Circle. She served three terms as the Executive Secretary for the New York Opera Alliance, and has collaborated with organizations including American Opera Projects, The BEAT Festival, Opera Slavica, and Fifth House Ensemble. Sara is a strong advocate for contemporary classical music as an administrator, producer, and performer based in New York City.
Sara Noble writes: “I am thrilled to have been chosen for the first Hart Institute for Women Opera Administrators. I have been greatly inspired by Dallas Opera’s commitment to increase diversity and inclusion in the field and look forward to this opportunity to connect with a network of peers and mentors who share those goals.”

JENNIFER RIVERA
Two time Grammy nominee Jennifer Rivera has performed leading roles with opera companies on five continents including the Berlin Staatsoper, the Teatro Regio di Torino, and the Dallas Opera among many others. She was selected as the “Debut Artist of the Year” at the New York City Opera and won a Helpmann Award (Australia’s Tony Award) in 2015. She has created leading roles in three world premieres and her discography includes recordings of Agrippina, Il Ritorno D’Ulisse, L’Olimpiade and the soon to be released Becoming Santa Claus. Jennifer has been writing popular essays for the Huffington Post Arts and Culture section since 2012. In the beginning of 2017 she transitioned to a full-time arts administrator, and was named Assistant Director of Development at Long Beach Opera where she is tasked with major gift fundraising.  Jennifer Rivera writes: “I am thrilled to be returning to The Dallas Opera in order to participate in the inaugural Institute for Women Administrators. The leadership at The Dallas Opera has already inspired me a great deal with their commitment to innovation within the opera industry alongside artistic excellence, and I am excited to be challenged and galvanized by leaders within the field in a program geared towards advancing women into leadership positions.”

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ABOUT THE DALLAS OPERA
Founded in 1957, The Dallas Opera is an internationally-recognized innovator dedicated to the overall advancement of the operatic art form and the support of established and emerging artists, as well as the education and development of new opera audiences in North Texas—and beyond. These goals are achieved by commissioning and producing world-class opera; through ground-breaking institutes, national competitions and topical programs; and by presenting opera in both traditional and non-traditional formats and venues in order to attract patrons of every age, background, educational level, and ethnicity—while engaging with more than 87,000 people in our community each year. TDO is equally committed to the task of responsible stewardship and is managed with efficiency and accountability, to the highest possible standards.

2017-2018 SEASON SPONSOR
The Nancy A. Nasher and David J. Haemisegger Family

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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 is supported, in part, by funds from: Elsa von Seggern Foundation; Texas Instruments Foundation; the 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.

TICKET INFORMATION FOR THE 2017-2018 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 $289. 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 2017-2018 SEASON MAINSTAGE INFORMATION
The Dallas Opera celebrates its Sixty-First 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. With the exception of FIRST NIGHT, The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain, at most performances.

SAMSON & DALILA by Camille Saint-Saëns
October 20, 22 (m), 25, 28, and November 5 (m), 2017
A passionate drama of biblical proportions!
Libretto by Ferdinand Lemaire
Time: 1150 B.C.E.
Place: Ancient Palestine
Conductor: Emmanuel Villaume
Director: Bruno Berger-Gorski*
Set Designer: Peter Dean Beck*
Costume Designer: Carrie Robbins*
Lighting Designer: Alan Burrett
Wig & Make-up Designer: Dawn Rivard
Chorus Master: Alexander Rom
Choreographer: Nycole Ray*
Starring: Olga Borodina* (Dalila), Clifton Forbis (Samson), Richard Paul Fink (High Priest of Dagon), Michael Chioldi* (Abimélech) and Ryan Kuster (Old Hebrew)
A traditional period production from Pittsburgh Opera!

LA TRAVIATA (“The Fallen Woman”) by Giuseppe Verdi
October 27, 29 (m), November 1, 4, 10 and 12 (m), 2017
Come toast the greatest love story in all of opera!
Time: Mid-19th century
Place: Paris, France and the French countryside
Conductor: Carlo Montanaro*
Original Director: Frank Galati*
Revival Director: Stefania Panighini**
Production Designer: Desmond Heeley
Lighting Designer: Alan Burrett
Wig & Make-up Designer: Dawn Rivard
Chorus Master: Alexander Rom
Choreographer: John de los Santos
Starring: Georgia Jarman (Violetta Valery), Zach Borichevsky* (Alfredo Germont), Vladislav Sulimsky (Giorgio Germont), Abigail Levis* (Flora Bervoix), Brenton Ryan* (Gastone), Dale Travis (Baron Douphol), Daniel Armstrong* (Marchese D’Obigny), Ryan Kuster (Doctor Grenvil) and Rachel Sterrenberg* (Annina)
A gorgeous, classic production from Lyric Opera of Chicago!

A Double Bill!
THE RING OF POLYKRATES AND VIOLIN CONCERTO IN D MAJOR
A sweeping Viennese concerto paired with a charming domestic comedy!
By Erich Wolfgang Korngold
February 9, 11 (m), 14 and 17, 2018

THE RING OF POLYKRATES
Sumptuous Viennese music laced with orchestral color and wit!
Libretto by Leo Feld
Time: Early 20th century
Place: Vienna, Austria
Conductor: Emmanuel Villaume
Director: Peter Kazaras
Set Designer: Donald Eastman*
Costume Designer: Tommy Bourgeois
Lighting Designer: Krista Billings
Wig & Make-up Designer: Dawn Rivard
Starring: Paul Groves* (Wilhelm Arndt), Laura Wilde* (Laura), Brenton Ryan (Florian Döbllinger), Susannah Biller* (Lieschen), and Craig Colclough* (Peter Vogel).
One of the most rarely performed opera gems! In its third professional U.S. production!

Violin Soloist (KORNGOLD CONCERTO): Augustin Dumay*
The Dallas Opera Orchestra conducted by Emmanuel Villaume

SUNKEN GARDEN by Michel van der Aa
March 9, 11 (m), 14 and 17, 2018
A phenomenal visual, musical and emotional adventure – live and in 3-D!
Libretto by David Mitchell
Time: Present Day
Place: Unknown
Conductor: Nicole Paiement
Director: Michel van der Aa*
Set Designer: Theun Mosk**
Costume Designer: Astrid Schulz**
Lighting Designer: Theun Mosk**
Sound Designer: Tom Gelissen*
Wig & Make-up Designer: Dawn Rivard
Starring: Roderick Williams* (Toby Kramer), Katherine Manley* (Zenna Briggs), and Miah Persson* (Iris Marinus).
Combining live actors with 2-D and 3-D film, to take you where opera has never gone before!

DON GIOVANNI by W.A. Mozart
April 13, 15 (m), 18, 21, 27 and 29 (m), 2018
Mozart’s operatic masterpiece brought vividly to life under the baton of Music Director Emmanuel Villaume!
Time: 20th century
Place: Seville, Spain and the surrounding countryside
Conductor: Emmanuel Villaume
Director: Robert Falls*
Set Designer: Walt Spangler*
Costume Designer: Ana Kuzmanic*
Original Lighting Designer: Duane Schuler
Lighting Designer: Chris Maravich*
Wig & Make-up Designer: Dawn Rivard
Chorus Master: Alexander Rom
Starring: Mariusz Kwiecie? (Don Giovanni), Laura Claycomb (Donna Anna), David Portillo* (Don Ottavio), Ellie Dehn* (Donna Elvira), Kyle Ketelsen* (Leporello), Virginie Verrez (Zerlina), Craig Verm (Masetto), and Morris Robinson (The Commendatore).
An evocative and thrilling production from Lyric Opera of Chicago!

* Dallas Opera Debut
** American Debut
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Women Conductors Chosen for 2017 Hart Institute

by Suzanne Calvin

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Photo by Karen Almond, Dallas Opera

FOR IMMEDIATE RELEASE:
Friday, June 23, 2017
Contact: Suzanne Calvin 214.443.1014 Or Celeste Hart at 214.443.1071
suzanne.calvin@dallasopera.org celeste.hart@dallasopera.org

The Dallas Opera is Proud to Announce the
Conductors and Observers for Third Annual
Linda and Mitch Hart Institute for
Women Conductors at The Dallas Opera
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Nov. 5 -- 19, 2017 in Dallas, Texas
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Six Selected for Elite Opera Program from
161 Applicants Representing 33 Countries
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Distinguished Faculty Include Marin Alsop, Nicole Paiement, Carlo Montanaro, and Alec Treuhaft
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Initial Support 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, and Martha and Max Wells

DALLAS, JUNE 23, 2017 – The Dallas Opera is proud to announce the names of the six distinguished professionals selected to participate in the third annual residency of the Linda and Mitch Hart Institute for Women Conductors at The Dallas Opera taking place November 5 -- 19, 2017 in Dallas, Texas:
• Alba Bomfim (Brazil)
• Mélisse Brunet (France)
• Lina Gonzalez-Granados (USA/Colombia)
• Karin Hendrickson (USA)
• Carolyn Watson (USA/Australia)
• Monika Wolinska (Poland)

Working to address a long-standing career issue in the opera world, The Dallas Opera in 2015 launched a unique, new residential program—one of only three in the world—designed to provide training and career support for distinctively talented women conductors. Female conductors, as well as accomplished women singers, opera coaches, accompanists, and instrumentalists with established careers seeking to develop new skills at the podium, were encouraged to apply.
A total of 161 women conductors and professional musicians heeded the call in 2017 and applied by the April 30th deadline.
Other nations represented in this year’s applicant pool are from Argentina, Australia, Brazil, Canada, Chile, China, Colombia, Cuba, Czech Republic, Denmark, Ecuador, Finland, France, Germany, Greece, Iran, Ireland, Israel, Italy, Japan, Lithuania, and Mexico; as well as New Zealand, Poland, Russia, Slovenia, South Korea, Spain, Switzerland, Taiwan, the United Kingdom, Ukraine, and Venezuela.
Applicants from these 33 countries included music directors, principal and assistant conductors, concertmasters and music staff from top-ranked symphonies, opera companies, and conservatories. Alba Bomfim described her selection as “an inspiring gift and a watershed in my career” while Mélisse Brunet revealed she “can’t wait to learn a lot, to meet new mentors and colleagues, and to build new connections.” Karin Hendrickson added, “I can’t wait to begin collaborating with the exceptional staff, and meeting with other talented women conductors from around the world.”

As is the case each year, four U.S. observers were chosen to “audit” the 2017 Institute: Marie Bucoy-Calavan, Catherine O’Shaughnessy, Maria Sensi Sellner, and Hannah Threlkeld.

The institute had vital foundational support from the Richard and Enika Schulze Foundation. Naming support came through the generosity of Linda and Mitch Hart. Additional support comes from The Andrew W. Mellon Foundation, Baker Botts LLP, Susan and Mark Geyer, Holly and Tom Mayer, Betty and Steve Suellentrop, and Martha and Max Wells.
The 2017 Linda and Mitch Hart Institute will consist of hands-on master classes with 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 Martha R. and Preston A. Peak Principal Guest Conductor Nicole Paiement and Carlo Montanaro, a renowned Italian conductor who will soon make his official Dallas Opera debut guiding our November performances of La Traviata.
The institute will include career advancement seminars with experienced professionals like Alec Treuhaft, retired senior vice-president of IMG Artists; industry discussions; intensive one-on-ones and networking opportunities; as well as the chance to conduct The Dallas Opera Orchestra in two public concerts in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center on the evenings of November 11th and November 18th (additional details to be announced).
As part of TDO’s five-year commitment to each institute “class” of conductors, alumnae will be invited to summer reunions for additional masterclasses with piano and singers, and a series of introductory seminars about the business of music.
Conductor Carolyn Watson writes: “The program is indeed groundbreaking – a unique opportunity and one which offers continuing support and mentorship over a number of years. I look forward to not only this year’s Institute, but also my ongoing association with The Dallas Opera and the Hart Institute, as well as all the wonderful women colleagues I will be fortunate to work with over the course of my career.”
The program may already be having a pronounced positive impact: Just this week, Chicago Opera Theater announced that Hart Institute Fellow Lidiya Yankovskaya (Inaugural Class, 2015) will assume the role of company music director.
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While the Hart Institute began with a focus on supporting talented conductors, the challenges faced by women opera administrators are equally daunting. To address this imbalance, The Dallas Opera is adding a new component to this year’s institute: Beginning in 2017, and for the next six years, TDO will invite between two and four American opera administrators to join the program each season. These women will be selected on the basis of their potential to become leaders of one of America’s top opera companies later in their careers.
The selected opera administrators will attend all sessions during the annual residency in Dallas. This curriculum includes the role of the board, leadership development, personal branding, media and PR training, effective artist management, and navigating recruiting processes for senior level positions. To continue to develop their musical skills, which is essential for any opera executive, the administrators will observe rehearsals with The Dallas Opera Orchestra and conducting master classes. Special sessions on Development, Finance, and Marketing will be offered as well.
One of the goals of the program is to build a network of talented leaders. In addition to the residency, selected administrators will be invited to participate in quarterly conference calls to continue to develop their personal networks and leadership skills.
This facet of the program is open to women who are American citizens or green-card holders. There is no age limit and, in an effort to encourage greater diversity, The Dallas Opera is inviting women of various backgrounds to apply by the July 15, 2017 deadline. For more information, or to apply, visit http://dallasopera.org/learn/womens-conducting-institute/ or go directly to yaptracker.com. Institute Fellows will receive a stipend, travel, and housing for the duration of this year’s Hart Institute.

Keith Cerny, The Dallas Opera’s Kern Wildenthal General Director and CEO notes: “The Dallas Opera has demonstrated its commitment to reshaping the opera field through the use of innovative public outreach, by exploring new technologies, commissioning new works to expand the operatic repertoire, and programming with passion, courage and imagination.”
“This already proven program,” Mr. Cerny added, “will enable more women conductors and general directors to add their perspectives to our collective understanding of this art form, while encouraging industry-wide conversation about the necessity of women in a variety of leadership roles.”

2017 Hart Institute Fellow Lina Gonzalez-Granados concurs: “I’m honored to have been invited to be a part of this amazing group of talented individuals who are working tirelessly to push the boundaries of Opera. It is necessary for artists like us to contribute to a musical world in which all qualified women, regardless of background, are welcomed into visible positions of leadership.”

Marc A. Scorca, President and CEO of OPERA America, earlier 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.”

2017 Hart Institute Conductors

ALBA BOMFIM (BRAZIL)
The Brazilian conductor Alba Bomfim was the winner of the 2009 Eleazar de Carvalho Prize in Conducting. She has participated in masterclasses by conductors Christopher Zimmerman, Kirk Trevor, Colin Metters, Fabio Mechetti, Harold Farberman, Dirk Brossé, John Farrer and Marin Alsop. Ms. Bomfim has conducted orchestras including: Minas Gerais Philharmonic, Fargo-Moorhead Symphony Orchestra, Astoria Symphony, Rose City Chamber Orchestra, Berlin Sinfonieta, Bohuslav Martinu, Orquestra Filarmonia das Beiras, NY Chamber Orchestra and BBC Concert Orchestra. Since 2012, Ms. Bomfim has worked as adjunct professor in conducting and orchestral activities at the Music Department of Federal University of Piauí (Brasil), and since October 2014 she has excelled as a Ph.D. candidate in Orchestral Conducting Studies at the University of Aveiro under Maestro António Lourenço’s guidance.

MÉLISSE BRUNET (FRANCE)
French-born conductor, Mélisse Brunet, is entering her third season as the Assistant Conductor of the Northeastern Pennsylvania Philharmonic, and her second season as the Music Director of the Appalachian Symphony Orchestra and the Appalachian Symphony Opera. Brunet recently conducted the operas Dead Man Walking by Jake Heggie, Gianni Schicchi by Puccini, Die Zauberflöte by Mozart, and will conduct the musical Sweeney Todd by Sondheim in April 2018. She assisted the productions of Carmen with Lionel Bringuier, Magdalena Kožená, Calixto Bieito, and Die Zauberflöte with Jeannette Sorrell and Apollo’s Fire. Brunet is the regular guest conductor of Symphoria in Syracuse, NY, and the following orchestras in France: Opéra Orchestre National Montpellier, Opéra de Rouen, Orchestre Symphonique et Lyrique de Nancy, Orchestre d’Auvergne, and Orchestre Régional de Normandie.

LINA GONZALEZ-GRANADOS (USA/COLOMBIA)
Praised for her “geniality” and “lightning changes in tempo, meter and effect” (Boston Musical Intelligencer), Lina Gonzalez-Granados has established herself as a talented conductor in orchestral and operatic worlds. Upcoming engagements include productions with Odyssey Opera and touring with Carnegie Hall’s National Youth Orchestra of the U.S. Ms. Gonzalez-Granados was recently appointed the 2017-19 Taki Concordia Conducting Fellow, and has worked with a number of Boston-area opera companies in critically acclaimed productions, including Odyssey Opera, Boston Conservatory, and OperaHub. Lina is the founder and Artistic Director of Unitas Ensemble, a chamber orchestra specializing in Latin-American repertoire, and was recognized as one of the “Latino 30 Under 30″ by El Mundo Newspaper in 2016. Gonzalez-Granados has served as Assistant Conductor of the Philharmonic Orchestra of the Americas and the Filarmonica Joven de Colombia.

KARIN HENDRICKSON (USA)
Nominated for the 2016 Salzburg Festival/Nestle Young Conductors Award, Karin Hendrickson’s operatic work includes: Music Director for the premiere and tour of Opera for the Unknown Woman (Melanie Wilson/National Theatre), Music Director for the Garsington Youth Opera, and Music Director for Bloomsbury Opera. Symphonic debuts include the Pittsburgh Symphony Orchestra, Nashville Symphony Orchestra, Kammer-symphonie Graz, Sao Paulo Symphony, Ensemble Eroica, Southbank Sinfonia and Britten-Pears Orchestra. In 2016/17 Karin Hendrickson was Assistant Conductor to the BBC Proms Verdi Requiem under Marin Alsop, and cover conductor for the Royal Ballet. Upcoming projects include music direction for an independent performance of Strauss’ Die Ägyptishce Helena, the City of Birmingham Symphony Orchestra’s Musical Leadership project, and Chorus Master for Monteverdi’s Il Ritorno d’Ulisse in Patria with The Royal Opera.

CAROLYN WATSON (USA/Australia)
A major prizewinner at the 2012 Emmerich Kálmán International Operetta Conducting Competition in Budapest, Carolyn Watson was also a Fellow of the American Academy of Conducting at the Aspen Music Festival. Ms. Watson has conducted throughout Europe including Staatsoper Berlin, Brandenburger Symphonkier, BBC Concert Orchestra, North Czech Philharmonic Orchestra, and the Kodály Philharmonic. Carolyn has participated in master classes with Marin Alsop, Peter Eötvös, Yoel Levi, Martyn Brabbins and Alex Polishchuk; conducted musicians of the Berlin Philharmonic in Interaktion 2010; served as resident assistant at the Israeli National Opera in 2009; and has worked with conductors including Sir Charles Mackerras, Simone Young and Karen Kamensek. She is the recipient of the Brian Stacey Award for Emerging Australian Conductors, Charles Mackerras Conducting Prize awarded by the Australian Music Foundation in London, Nelly Apt Scholarship and Opera Foundation Australia’s Bayreuth Opera Award and Berlin New Music Opera Award. www.carolyn-watson.com

MONIKA WOLINSKA (POLAND)
Monika Wolinska, recipient of the honorary medal, “Meritorious for Polish Culture,” from the Polish Government, enjoys an active conducting career around the world. After her successful performance at Carnegie Hall in 2009, the venue’s first performance by a Polish female conductor, New York critics praised her saying, “Monika has what many contemporary conductors lack – a great sensitivity and a wonderful sense of the sound of instruments.” In October 2014 she conducted a concert in the Gorzów Philharmonic Hall with the world-famous baritone Thomas Hampson, and in February 2015 a concert dedicated to Marina Jaszwili with the outstanding violinist Roman Simovi?. From 2013-2017, Ms. Wolinska served as Artistic Director of Gorzów Philharmonic Orchestra, and since 2013 she has been Artistic Director of Wojciech Kilar Contemporary Music Festival.

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2017 Hart Institute Observers

MARIE BUCOY-CALAVAN (USA)
Marie Bucoy-Calavan is currently the Director of Choral Studies at The University of Akron, Artistic Director of Summit Choral Society, and serves as the Chorus Director for the Akron Symphony. She served as Assistant Conductor to Robert Porco for the May Festival Chorus, the symphonic chorus for the Cincinnati Symphony Orchestra. She has also conducted various opera performances in California and Ohio, including Donizetti’s Elixir of Love and Mozart’s Le Nozze di Figaro and Cosí fan Tutte. Ms. Bucoy-Calavan is regularly invited to serve residencies, in order to teach conducting across the nation and abroad, including at the Hochschule für Musik und Theatre in Munich, Germany. She completed her Doctorate of Musical Arts in Conducting at University of Cincinnati, College-Conservatory of Music.

CATHERINE O’SHAUGHNESSY (USA)
Catherine O’Shaughnessy is a rising opera conductor in the United States and abroad. Avidly committed to Chicago’s dynamic opera scene, she has worked with numerous companies and is currently principal conductor of the Floating Opera Company and music director of Chicago Fringe Opera, an organization committed to providing a platform for new and underrepresented voices. Reviewers have praised her “great skill, alertness and sensitivity” as well as her “resourcefulness…fierce concentration…and…spirit of a modern collaborator.” During her doctoral studies with Dr. William Reber at Arizona State University, Ms. O’Shaughnessy learned to appreciate and work in a wide variety of styles and genres. This stylistic flexibility has led to performances throughout Europe and to masterclasses with such teachers as Yuri Simonov, Julius Kalmar, and Maurizio Arena.

MARIA SENSI SELLNER (USA)
Maria Sensi Sellner is widely recognized for her versatility and artistry as a conductor of opera, orchestras, and choruses. The first three-time winner of the American Prize for Opera Conducting, Ms. Sellner is the founder and Artistic Director of Resonance Works Pittsburgh, Artistic Advisor for Hubbard Hall Opera, and previously has held positions as Director of the Akron Symphony Chorus and Acting Music Director of the Mendelssohn Choir of Pittsburgh (chorus of the Pittsburgh Symphony Orchestra). An alum of Carnegie Mellon University, Ms. Sellner recently conducted the American premiere of Sir James MacMillan’s Gloria, and in 2016 was a strand leader conductor for the world premiere of David Lang’s “the public domain” for 1000 singers at the Mostly Mozart Festival at Lincoln Center.

HANNAH THRELKELD (USA)
Hannah Threlkeld is an active conductor of orchestral, opera, and ballet repertoire. She has recently served as Assistant Conductor for the Meadows Symphony Orchestra and as Conductor for the new music ensemble, SYZYGY. Ms. Threlkeld assisted with Meadows Opera Theater’s 2017 production of L’Elisir d’Amore and their 2016 production of Die Zauberflöte. In 2016, she was selected to be a conducting fellow for the Eastern Music Festival where she worked alongside music director Gerard Schwarz and conducted the Eastern Festival Orchestra. Additionally, Ms. Threlkeld studied conducting in Weimar, Germany and holds a Bachelors in Music Education and a Masters in Orchestral Conducting from Southern Methodist University, where she studied with Dr. Paul Phillips.

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ABOUT THE DALLAS OPERA
Founded in 1957, The Dallas Opera is an internationally-recognized innovator dedicated to the overall advancement of the operatic art form and the support of established and emerging artists, as well as the education and development of new opera audiences in North Texas—and beyond. These goals are achieved by commissioning and producing world-class opera; through ground-breaking institutes, national competitions and topical programs; and by presenting opera in both traditional and non-traditional formats and venues in order to attract patrons of every age, background, educational level, and ethnicity—while engaging with more than 87,000 people in our community each year. TDO is equally committed to the task of responsible stewardship and is managed with efficiency and accountability, to the highest possible standards.

2017-2018 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, Lockheed Martin, 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 2017-2018 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 $289. 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 2017-2018 SEASON MAINSTAGE INFORMATION
The Dallas Opera celebrates its Sixty-First 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. With the exception of FIRST NIGHT, The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain, at most performances.

SAMSON & DALILA by Camille Saint-Saëns
October 20, 22 (m), 25, 28, and November 5 (m), 2017
A passionate drama of biblical proportions!
Libretto by Ferdinand Lemaire
Time: 1150 B.C.E.
Place: Ancient Palestine
Conductor: Emmanuel Villaume
Director: Bruno Berger-Gorski*
Set Designer: Peter Dean Beck*
Costume Designer: Carrie Robbins*
Lighting Designer: Alan Burrett
Wig & Make-up Designer: Dawn Rivard
Chorus Master: Alexander Rom
Choreographer: Nycole Ray*
Starring: Olga Borodina* (Dalila), Clifton Forbis (Samson), Richard Paul Fink (High Priest of Dagon), Michael Chioldi* (Abimélech) and Ryan Kuster (Old Hebrew)
A traditional period production from Pittsburgh Opera!

LA TRAVIATA (“The Fallen Woman”) by Giuseppe Verdi
October 27, 29 (m), November 1, 4, 10 and 12 (m), 2017
Come toast the greatest love story in all of opera!
Time: Mid-19th century
Place: Paris, France and the French countryside
Conductor: Carlo Montanaro*
Original Director: Frank Galati*
Revival Director: Stefania Panighini**
Production Designer: Desmond Heeley
Lighting Designer: Alan Burrett
Wig & Make-up Designer: Dawn Rivard
Chorus Master: Alexander Rom
Choreographer: John de los Santos
Starring: Georgia Jarman (Violetta Valery), Zach Borichevsky* (Alfredo Germont), Vladislav Sulimsky (Giorgio Germont), Abigail Levis* (Flora Bervoix), Brenton Ryan* (Gastone), Dale Travis (Baron Douphol), Daniel Armstrong* (Marchese D’Obigny), Ryan Kuster (Doctor Grenvil) and Rachel Sterrenberg* (Annina)
A gorgeous, classic production from Lyric Opera of Chicago!

A Double Bill!
VIOLIN CONCERTO IN D MAJOR & THE RING OF POLYKRATES
A sweeping Viennese concerto paired with a charming domestic comedy!
By Erich Wolfgang Korngold
February 9, 11 (m), 14 and 17, 2018

Violin Soloist (KORNGOLD CONCERTO): Augustin Dumay*
The Dallas Opera Orchestra conducted by Emmanuel Villaume

THE RING OF POLYKRATES
Sumptuous Viennese music laced with orchestral color and wit!
Libretto by Leo Feld
Time: Early 20th century
Place: Vienna, Austria
Conductor: Emmanuel Villaume
Director: Peter Kazaras
Set Designer: Donald Eastman*
Costume Designer: Tommy Bourgeois
Lighting Designer: Krista Billings
Wig & Make-up Designer: Dawn Rivard
Starring: Paul Groves* (Wilhelm Arndt), Laura Wilde* (Laura), Brenton Ryan (Florian Döbllinger), Susannah Biller* (Lieschen), and Craig Colclough* (Peter Vogel).
One of the most rarely performed opera gems! In its third professional U.S. production!

SUNKEN GARDEN by Michel van der Aa
March 9, 11 (m), 14 and 17, 2018
A phenomenal visual, musical and emotional adventure – live and in 3-D!
Libretto by David Mitchell
Time: Present Day
Place: Unknown
Conductor: Nicole Paiement
Director: Michel van der Aa*
Set Designer: Theun Mosk**
Costume Designer: Astrid Schulz**
Lighting Designer: Theun Mosk**
Sound Designer: Tom Gelissen*
Wig & Make-up Designer: Dawn Rivard
Starring: Roderick Williams* (Toby Kramer), Katherine Manley* (Zenna Briggs), and Miah Persson* (Iris Marinus).
Combining live actors with 2-D and 3-D film, to take you where opera has never gone before!

DON GIOVANNI by W.A. Mozart
April 13, 15 (m), 18, 21, 27 and 29 (m), 2018
Mozart’s operatic masterpiece brought vividly to life under the baton of Music Director Emmanuel Villaume!
Time: 20th century
Place: Seville, Spain and the surrounding countryside
Conductor: Emmanuel Villaume
Director: Robert Falls*
Set Designer: Walt Spangler*
Costume Designer: Ana Kuzmanic*
Original Lighting Designer: Duane Schuler
Lighting Designer: Chris Maravich*
Wig & Make-up Designer: Dawn Rivard
Chorus Master: Alexander Rom
Starring: Mariusz Kwiecie? (Don Giovanni), Laura Claycomb (Donna Anna), David Portillo* (Don Ottavio), Ellie Dehn* (Donna Elvira), Kyle Ketelsen* (Leporello), Virginie Verrez (Zerlina), Craig Verm (Masetto), and Morris Robinson (The Commendatore).
An evocative and thrilling production from Lyric Opera of Chicago!

* 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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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
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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
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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).
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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.

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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.”

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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.”
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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.

###

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
___________________________________________________________________________________________
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.

###

2017-2018 Season Announcement at NorthPark Center

by Suzanne Calvin

Traviata2_137_Final_LoRes

Photo by Maxine Helfman 

FOR IMMEDIATE RELEASE:

Thursday, January 26, 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 ITS

61st INTERNATIONAL SEASON

~~~~

FIVE AMAZING PRODUCTIONS

INCLUDING THE U.S. PREMIERE OF

 MICHEL VAN DER AA’S SUNKEN GARDEN

AND A DELIGHTFUL KORNGOLD RARITY:

THE RING OF POLYKRATES

 

2017-2018 Features Three Dazzling Classics

Samson & Dalila (Oct. 20-Nov. 5, 2017)

La traviata (Oct. 27-Nov. 12, 2017) and

Don Giovanni (April 13-April 29, 2018)

~~~~

SEASON SPONSOR

The Nancy A. Nasher and David J. Haemisegger Family

~~~~

Linda and Mitch Hart Season Opening Night Performance:

FRIDAY, OCTOBER 20, 2017 AT 8:00 PM

The Margot and Bill Winspear Opera House

At the AT&T Performing Arts Center, Dallas TX

 

 

            DALLAS, JANUARY 26, 2017 –The Dallas Opera is proud to announce its ambitious 2017-2018 Season, “Motives Unmasked!” consisting of five entertaining and varied mainstage productions, including a dazzling U.S. premiere and a new Dallas Opera production of a very early opera by Viennese wunderkind Erich Wolfgang Korngold.

            The 61st Season of The Dallas Opera mixes classics with the cutting edge in both unfamiliar and favorite productions.

Considered by many to be the ultimate art form, each opera will feature the powerful singing and acting of acclaimed international artists; outstanding conductors, directors and designers; The Dallas Opera Orchestra and The Dallas Opera Chorus; superb sets and costumes; imaginative technological enhancements and more.

            In an effort to present each work in its truest form as written by the composer and librettist, The Dallas Opera will continue to produce each opera in its original language with English supertitles projected above the stage for maximum enjoyment.

 

2017-2018 DALLAS OPERA SEASON

 

SAMSON & DALILA

By Camille Saint-Saëns

October 20, 22(m), 25, 28 and November 5(m), 2017

 

LA TRAVIATA

By Giuseppe Verdi

October 27, 29(m) and November 1, 4, 10 and 12(m), 2017

 

VIOLIN CONCERTO IN D MAJOR, OP. 35

THE RING OF POLYKRATES

By Erich Wolfgang Korngold

February 9, 11(m), 14 and 17, 2018

 

SUNKEN GARDEN

By Michel van der Aa

March 9, 11(m), 14 and 17, 2018

 

DON GIOVANNI

By Wolfgang Amadeus Mozart

April 13, 15(m), 18, 21, 27 and 29(m), 2018

 

We have enlisted the talents of some of the finest composers, singers, conductors, directors and designers to create visually arresting, intellectually and emotionally satisfying performances filled with a wide range of extraordinary music and drama,” explains Keith Cerny, the Kern Wildenthal General Director and CEO of The Dallas Opera.

“Our 61st International Season, “Motives Unmasked!” will include three beloved classics, a U.S. premiere, an exquisite concerto, and a delightful opera rarity so rare, that we believe it has only had two professional productions in this country since it originally premiered in Munich 100 years ago.”     

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         Subscription prices for the 2017-2018 Season start at $95 for all five mainstage opera productions and go on sale April 3, 2017. The benefits of becoming a Dallas Opera subscriber include substantial savings off single ticket prices, priority seating, lost ticket replacement, ticket exchanges and invitations to special events. Single Tickets, starting at the low price of $19, go on sale to the public in July.   For more information, please contact the friendly staff in The Dallas Opera Ticket Services Office at 214-443-1000 or visit us online at www.dallasopera.org.

Notable company debuts in the 2017-2018 Season will include:

  • Russian mezzo-soprano Olga Borodina as Dalila (Samson & Dalila)
  • German director Bruno Berger-Gorski (Samson & Dalila)
  • American baritone Michael Chioldi as Abimélech in Samson & Dalila
  • Italian director Stefania Panighini (La traviata)
  • American tenor Zach Borichevsky as Alfredo in La traviata
  • American mezzo-soprano Abigail Levis as Flora Bervoix in Traviata
  • Italian conductor Carlo Montanaro (La traviata)
  • American tenor Brenton Ryan as Gastone in La traviata
  • American baritone Daniel Armstrong as the Marchese D’Obigny (La traviata)
  • French violinist Augustin Dumay (Korngold’s Violin Concerto in D major)
  • American tenor Paul Groves as Wilhelm Arndt in The Ring of Polykrates
  • American soprano Laura Wilde as Laura in The Ring of Polykrates
  • American soprano Susannah Biller as Lieschen in The Ring of Polykrates
  • American bass-baritone Craig Colclough as Peter Vogel in Polykrates
  • Dutch composer/director Michel van der Aa (Sunken Garden)
  • British baritone Roderick Williams as Toby Kramer in Sunken Garden
  • English soprano Katherine Manley as Zenna Briggs in Sunken Garden
  • Swedish soprano Miah Persson as Iris Marinus in Sunken Garden
  • American director Robert Falls (Don Giovanni)
  • American bass-baritone Kyle Ketelsen as Leporello in Don Giovanni

 

Designer debuts next season will include:

  • Peter Dean Beck and Carrie Robins (Samson & Dalila)
  • Donald Eastman (The Ring of Polykrates)
  • Theun Mosk and Astrid Schulz (Sunken Garden)
  • Walt Spangler and Ana Kuzmanic (Don Giovanni).

 

Returning international artists in the 2017-2018 Season will include:

  • French conductor and Dallas Opera Music Director Emmanuel Villaume leading performances of Samson & Dalila; Korngold’s Violin Concerto in D major, Op. 35 and The Ring of Polykrates; and Don Giovanni
  • French conductor and Dallas Opera Principal Guest Conductor Nicole Paiement conducting the U.S. premiere of Michel van der Aa’s Sunken Garden
  • Dallas Opera Chorus Master Alexander Rom (Samson, Traviata, Giovanni)
  • American tenor Clifton Forbis as Samson in Samson & Dalila
  • American baritone Richard Paul Fink as the High Priest of Dagon (Samson)
  • American bass-baritone Ryan Kuster as Old Hebrew (Samson & Dalila)
  • American soprano Georgia Jarman as Violetta in La traviata
  • Belarus baritone Vladislav Sulimsky as Germont in La traviata
  • American bass-baritone Dale Travis as Baron Douphol in La traviata
  • British designer Desmond Heeley (La traviata)
  • American director Peter Kazaras (The Ring of Polykrates)
  • Costume designer Tommy Bourgeois and lighting designer Krista Billings for The Ring of Polykrates
  • Polish baritone Mariusz Kwiecie? as Don Giovanni
  • American soprano Laura Claycomb as Donna Anna in Don Giovanni
  • American tenor David Portillo as Don Ottavio in Don Giovanni
  • American soprano Ellie Dehn as Donna Elvira in Don Giovanni
  • French mezzo-soprano Virginie Verrez as Zerlina in Don Giovanni
  • American baritone Craig Verm as Masetto in Don Giovanni
  • American bass Morris Robinson as The Commendatore in Giovanni
  • Lighting designer Duane Schuler (Don Giovanni)

“Great opera will always speak to us,” explains General Director and CEO Keith Cerny, “because it illuminates aspects of our nature and helps us define the times in which we live. 

“It is my aim to give Dallas Opera audiences the opportunity to better understand their world through the powerful mediums of music and drama.  I sincerely believe that the 61st International Season, filled with remarkable storytelling and unforgettable performances, will make good on that promise.”

 

            The Dallas Opera continues to expand and increase its reputation for producing important, world-class opera and the 2017-2018 season will be no exception.

The company will also present internationally renowned conductors: Emmanuel Villaume, the Mrs. Eugene McDermott Music Director, at the podium for three operas, Nicole Paiement, the Martha R. and Preston A. Peak Principal Guest Conductor, and Italian conductor Carlo Montanaro.

Every mainstage production will be presented in the magnificent Margot and Bill Winspear Opera House at the AT&T Performing Arts Center, located at 2403 Flora Street in the heart of the Dallas Arts District.  

 

~~~~

 

The Dallas Opera’s 2017-2018 Season, begins with The Linda and Mitch Hart Season Opening Night Performance on Friday, October 20, 2017 at 8:00 p.m. (note the special time). Camille Saint-Saëns’ passionate and romantic SAMSON & DALILA will launch the new season by bringing the house down!

Tenor Clifton Forbis and Russian soprano Olga Borodina—in her eagerly awaited Dallas Opera debut!—portray the doomed twosome, trapped in a love affair of biblical proportions.

Samson is the only hope of his people, the Hebrews, in the oppressive grip of the Philistines.  Enter Dalila, the calculating seductress capable of capturing men’s hearts with ease.  Her temptation of Samson continues until she gets what she wants: the secret of his strength.  Camille Saint-Saëns’ opera builds to the familiar, spectacular climax, taken straight from the Book of Judges.

            Music Director Emmanuel Villaume will conduct the renowned Dallas Opera Orchestra in “one of the brightest jewels of French opera.”  

Recently, Maestro Villaume triumphed in a revival of Jonathan Kent’s production of Tosca at the Royal Opera House, Covent Garden; prompting Hannah Nepil of The Financial Times to praise Villaume for “teasing out sultry, sumptuous playing from his orchestra.”

            He also earned uniformly outstanding notices for his superb conducting of The Dallas Opera’s 2016 revival of Jake Heggie and Gene Scheer’s Moby-Dick, which prompted Gregory Sullivan Isaacs of Theater Jones to write, “…with Villaume on the podium, Heggie’s score comes across as much more neo-tonal, lush, magnificently constructed and neo-romantic opera than what I perceived in the score back then. Vocal lines soar, giving singers some great bel-canto phrases that are grateful for the voice.”

Dramatic tenor Clifton Forbis has sung some of the most challenging roles in the operatic repertoire.  He has mesmerized Dallas Opera audiences as Siegmund in Die Walküre, as well as a “forceful and manly” Tristan.  Samson is a signature role for Mr. Forbis, who has performed this part at Bilbao, San Francisco Opera and the Met.

He will star opposite the legendary Olga Borodina, the ultimate Dalila, according to London-based critic Rupert Christiansen of The Telegraph.  Adam Wasserman of Opera News observed “…to watch Borodina is to see the masterful emergence of a truly human, fully formed character…buttressed by some of the most luxurious, thrilling vocalism that one can hope to encounter in an opera house.” 

            Other members of this cast include Grammy-winning baritone Richard Paul Fink as the High Priest of Dagon, baritone Michael Chioldi in his TDO debut as Abimélech (the Philistine provincial governor), and bass-baritone Ryan Kuster as the Old Hebrew.

This Pittsburgh Opera production was designed by Peter Dean Beck (sets) and Carrie Robins (costumes) in their company debuts.

The opera will be staged by German director Bruno Berger-Gorski in his house debut. As always, chorus preparation is by Dallas Opera Chorus Master Alexander Rom.

 

            Performances continue on October 22(m), 25, 28 and November 5, 2017 in the Margot and Bill Winspear Opera House.  Evening performances begin at 7:30 p.m., (except for the opening night performance mentioned above) and the curtain rises on our Sunday matinees at 2:00 p.m.  There is no late seating.

SAMSON & DALILA will be performed in its original language, French, with English-language translations projected above the stage at every performance.

            Tickets may be purchased by phone (214.443.1000), online (www.dallasopera.org) or at the door.  Student Rush Tickets are available 90 minutes prior to curtain – a valid student ID is required for each ticket.

~~~~

 

            Back by popular demand, the second production of The Dallas Opera’s 2017-2018 Season is Giuseppe Verdi’s heartbreaking 1853 masterpiece, LA TRAVIATA, opening on Friday, October 27, 2017 at 7:30 p.m. with an extraordinary cast.

            Performed in Italian with English supertitles projected above the stage, the romance continues with additional performances October 29(m), November 1, 4, 10 and 12(m), 2017 with evening performances beginning promptly at 7:30 p.m. and matinees at 2:00 p.m.

            It is a story that has been told for thousands of years in millions of ways, but, in this case, the tale of a woman of questionable virtue sacrificing her own happiness for the man she loves is based on an actual person. The famed “Lady of the Camillias” comes to life on the Winspear stage, under the guidance of two dynamic Italians: conductor Carlo Montanaro and director Stefania Panighini in their company debuts.

            Easily Giuseppe Verdi’s most romantic work, this revival of a magnificent Lyric Opera of Chicago production, originally directed by Frank Galati and designed by Desmond Heeley, is the perfect “Pretty Woman” night at the opera as well as a perennial crowd pleaser.

            Soprano Georgia Jarman, who possesses “a show-stealing coloratura with immaculate style” (The New York Times) will sing the lead role of the fatally ill courtesan, Violetta Valery.  Praised by Opera magazine for her “crystalline tone and uncommon attention to expressive detail,” Ms. Jarman made her TDO debut in our steamy Don Giovanni opposite Paolo Szot.

            This time around, she’ll be making sparks with tenor Zach Borichevsky.  F. Paul Driscoll of Opera News wrote that the young American has “the dashing good looks, the soft-eyed charm and the gleaming tenor needed” and he considers the role of Alfredo a personal favorite.

            As Alfredo’s father, Giorgio Germont, The Dallas Opera is bringing back an extraordinary baritone: Vladislav Sulimsky from Belarus, bringing another of what Classical Music Critic Scott Cantrell of The Dallas Morning News describes as “deeply sympathetic” portrayals to the Winspear stage.  His 2015 company debut as the mysterious Ibn-Hakia in Tchaikovsky’s Iolanta was a show-stopper, even in the midst of a very strong cast.

            Mezzo-soprano Abigail Levis makes her Dallas Opera debut as Flora Bervoix.  Berkshirefinearts.com applauded her “warm and resonant mezzo voice” but went on to note: “She has the rare interpretive gift of using coloratura to highlight emotional truth rather than to simply show off.”

            Tenor Brenton Ryan, “singing with a fresh, clarion tone and dramatic aplomb” (Corinna de Fonseca-Wollheim, The New York Times) will also be making his TDO debut as Alfredo’s friend, Gastone.  Also featured in the ensemble cast are baritone Dale Travis as Baron Douphol, baritone Daniel Armstrong in his Dallas Opera debut as the Marchese D’Obigny, bass-baritone Ryan Kuster as the sympathetic Doctor Grenvil, and soprano Rachel Sterrenberg in her company debut as Violetta’s maid, Annina.

            The chorus is a strong presence in this opera and will be prepared by Dallas Opera Chorus Master Alexander Rom.

            The complete season schedule, artist and production team bios, synopses and more can be found online, anytime, at www.dallasopera.org.

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            The third production of The Dallas Opera’s 61st Season is a unique pairing of two works by one of the great proponents of the early twentieth century “Viennese sound,” composer Erich Wolfgang Korngold.  The Dallas Opera is proud to present Korngold’s Violin Concerto in D major, Op. 35 (1945) and The Ring of Polykrates (1916) opening Friday, February 9, 2018 at 7:30 p.m. in the Winspear Opera House.

            Revered French violinist Augustin Dumay (with more than 40 recordings in his discography) will be the featured soloist with The Dallas Opera Orchestra. Dumay is considered “an absolute master of using changes in tone color as an expressive device” (Fanfare) and many of his recordings are considered the “gold standard” in their repertoire.  Heather Kurzbauer of The Strad put it simply: “This is the stuff that dreams are made of.”  As for his live concert hall performances, Geoffrey Norris of The Daily Telegraph writes: “Mr. Dumay is a violinist of remarkable individuality…excitingly musical, stimulatingly original, a marvelously fresh but idiomatic interpretation with a strength of personality that made it so powerfully communicative and memorable.”

            Critically acclaimed Dallas Opera Music Director Emmanuel Villaume will conduct.

The concerto will be paired with Korngold’s very first opera, The Ring of Polykrates, a one-act domestic comedy composed in 1913 when he was just sixteen years old.  The work premiered in 1916 on a double bill in Munich.

The plot revolves around a musician, Wilhelm Arndt, whose career is on an upswing, along with his finances.  His happiness, he tells his wife, Laura, would be complete if only he could see his long-lost friend Peter Vogel again.  But you’re aware of the old saying, right? “Be careful what you wish for!” 

Conducted by esteemed Music Director Emmanuel Villaume, directed by Peter Kazaras, and starring tenor Paul Groves, soprano Laura Wilde and bass-baritone Craig Colclough in their TDO debuts.  This really is a once-in-a-lifetime musical event!

            Scenic Designer Donald Eastman will make his TDO debut.  This new Dallas Opera production will also feature period costumes by Tommy Bourgeois and lighting by Krista Billings.

            Performed in German with English translations projected above the stage, the Korngold program will have three additional performances on February 11(m), 14 (a romantic Valentine’s Day evening) and February 17, 2018.

Tickets are likely to go quickly; renew your Dallas Opera subscription today!

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            The fourth production of The Dallas Opera’s 61st Season is SUNKEN GARDEN by Michel van der Aa with libretto by British novelist David Mitchell. This production opens on Friday, March 9, 2018, at 7:30 p.m. in the Winspear Opera House.

            The U.S. premiere of this groundbreaking opera will be directed by the composer himself–-in both 2-D and 3-D.  SUNKEN GARDEN will be performed in English with English supertitles projected above the stage.

Michel van der Aa’s critically acclaimed contemporary operatic masterpiece, SUNKEN GARDEN, has been applauded by both critics and audiences as “a fantastical tale to set the ears and eyes popping” (New York Times headline).

The work, described by its creator as an “occult mystery film opera,” fuses film and live performance (including 3-D and other visual effects) to deliver what Steve Smith of The New York Times called “a bold, rewarding venture” during its 2013 English National Opera world premiere at the Barbican.  The production coming to Dallas was reworked for a successful 2015 relaunch of the production at Opéra de Lyon.

A film maker’s obsession with the disappearance of a young girl leads to the discovery of a walled garden, which is the barrier between life and death.  Does this place actually exist or is it just a stunning journey of the imagination?  Either way, it immerses audiences into a world of crime and mystery to create a one-of-a-kind production unlike anything you’ve ever experienced before.

SUNKEN GARDEN was originally a co-production of ENO, Toronto’s Luminato Festival, Opéra de Lyon, the Holland Festival and London’s Barbican Centre.  This opera also marked the first collaboration between the Dutch composer and British novelist David Mitchell (Cloud Atlas).

Heidi Waleson, reviewing for The Wall Street Journal described the experience: “The inventive and haunting music is acoustic and electronic, live and prerecorded, classical and pop…Film and music align seamlessly; neither would make sense without the other…When the live singers enter the 3-D garden, the music grows richer and more expansive…The images here are spectacular: the opulent trees and flowers; the quivering holograms of the two captives, Amber and Simon; and the vertical pool through which Zenna enters and departs, which explodes out toward the audience as a shower of droplets or a giant, whirling funnel.

“The fine singers—live and on film—adeptly captured the ferocity and pathos in Sunken Garden.  And the lively actors…were completely believable…technical wizardry enhanced the humanity of the piece rather than overwhelming it,” Ms. Waleson added.

Antony Craig of Gramophone (UK) emphasized that SUNKEN GARDEN is a compelling theatrical work: “This is real drama and it works dramatically. The mystery is as complex as TV film noir. The spoken interviews work as film and the 3D successfully drew me right into the sunken garden. Crucially, Sunken Garden works as opera, with Van der Aa’s fusion of musical styles matching the fusion of mediums.”

And Andrew Clement of The Guardian added, “Van der Aa has directed the show as well as the often sumptuous-looking film sequences. As always he’s done it with immense technical skill, and both his orchestral writing and the electronic soundtrack are strikingly effective.”

 

            SUNKEN GARDEN will star English baritone Roderick Williams as Toby Kramer,

British soprano Katherine Manley as Zenna Briggs, and renowned Swedish soprano Miah Persson as Iris Marinus.  All will be making their Dallas Opera debuts in this production.

            Williams has been praised for “his astonishing ability to perform highly emotional music…from the top of his vocal range (where he was clear as a bell and his diction impeccable) to rich, low notes that stirred the heart.” (Laura Kate Wilson, Bachtrack)

            Set and lighting design for SUNKEN GARDEN is by Theun Mosk with costumes by Astrid Schulz, both in their company debuts.

 

SUNKEN GARDEN will be conducted by the Martha R. and Preston A. Peak 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 Everest: “(Paiement) combined old-fashioned precision and discipline with up-to-the-minute insight into the complex modernity of the score.”

 

Three additional performances of Michel van der Aa’s SUNKEN GARDEN will take place on March 11(m), 14, and 17, 2018.  Season subscriptions will go on sale to the public on April 3, 2017.  Current season subscribers may renew at any time by contacting the friendly professionals in The Dallas Opera Ticket Services Office, at 214.443.1000.

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The final production of the 61st International Season is Mozart’s hell-raising operatic masterpiece, the comedy-drama, DON GIOVANNI, based on the exploits of the legendary Don Juan, opening Friday, April 13, 2018 at 7:30 p.m. in the Margot and Bill Winspear Opera House.

After more than two centuries, the argument rages on as to whether DON GIOVANNI is the greatest of Mozart’s many masterpieces.  Decide for yourself as Dallas Opera Music Director Emmanuel Villaume conducts an all-star cast in this boldly provocative, R-rated production from Lyric Opera of Chicago. 

Polish baritone Mariusz Kwiecie? stars as the insatiable womanizer who became a living legend.  William Burnett of Opera Warhorses writes, “Kwiecien was extraordinary, an utterly charming but lethally sociopathic bad boy…his Giovanni is a masterpiece.”  Added Michael White of The New York Times: “glamorous, handsome of voice and presence, (charismatic) and intelligent besides.  It’s the whole package and explains why he’s in such demand to play the part.” 

Soprano Laura Claycomb (Rigoletto) returns to the Winspear stage as Donna Anna, after captivating North Texas audiences as Gilda several seasons back, prompting Scott Cantrell of The Dallas Morning News to praise her “limpid tone, dazzling technique and eloquence.”

Tenor David Portillo is this production’s steadfast Don Ottavio, soprano Ellie Dehn will sing the bitter and betrayed Donna Elvira, bass Kyle Ketelsen is the irrepressible Leporello, with stars Virginie Verrez as the coquettish Zerlina, baritone Craig Verm (Everest) as her fiancé, Masetto, and bass Morris Robinson (Show Boat) as The Commendatore!

Disguises and deceptions abound in Lorenzo Da Ponte’s scathing and often humorous portrait of this jaded and unrepentant anti-hero, directed by Robert Falls (Artistic Director of the famed Goodman Theater) in his eagerly awaited Dallas Opera debut.

            Critically acclaimed international conductor and TDO Music Director Emmanuel Villaume leads The Dallas Opera Orchestra in Mozart’s action-packed season finale.

            “One of the most satisfying perks of being a music director,” says Maestro Villaume, “is the opportunity to conduct productions that I find of particular interest—musically, dramatically, or both.  This season is no exception and I am thrilled to be conducting a masterpiece from the late Classical Period, a splendid example of 19th century French Romanticism, and a pair of works from the neo-Romantic Viennese School of the early 20th century.

            “I sincerely hope, when you leave the performance, you will feel as passionate about these works as we do.”

 

            Scenic Design for DON GIOVANNI is by Walt Spangler, with costumes by Ana Kuzmanic and lighting design by Duane Schuler.

           Performed in Italian with English translations projected above the stage, this acclaimed period production will command centerstage for five additional performances, April 15(m), 18, 21, 27 and 29(m), 2018.  

Don’t delay: mark your calendar, buy your tickets, and then padlock your doors—because there will be no “safe spaces” while Don Giovanni roams the streets of Seville.

 

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            Evening performances during the 2017-2018 Season will begin at 7:30 p.m., unless otherwise stated (including the 8:00 p.m. curtain for the Linda and Mitch Hart Season Opening Night Performance).  All Sunday matinees are slated to begin at 2:00 p.m.

            The “Joy and Ronald Mankoff Pre-Opera Talks,” a free background lecture designed to enhance your enjoyment of the opera being performed, takes place in Nancy B. Hamon Hall located just off the Winspear Opera House lobby, one hour prior to each performance, except for Opening Night of the Season.

            Dallas Opera performs mainstage works in their original languages.  Easy-to-read English translations are projected above the stage during every Dallas Opera performance—even those sung in English—and special headsets are available for the hearing impaired.

            No late seating is permitted at Dallas Opera performances once the house doors are closed.  Latecomers will be seated at the first available opportunity (usually, intermission).

 

            Flex subscriptions for three mainstage performances of your choice begin at $75 for the 2017-2018 Season.  Full Subscriptions begin at $95 for all five productions.  New subscriptions will become available on April 3, 2017.

            Single Tickets for next season will start at $19 and are expected to go on sale next July.  Group rates are available.

            For additional information about the “Motives Unmasked!” Season, call The Dallas Opera Ticket Services Office at 214-443-1000 or visit us online at www.dallasopera.org.

 

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Put aside those computers, tablets, and smart phones—and grab the kiddoes—in order to take advantage of budget-minded, kid-friendly performances offered by The Dallas Opera in the 2017-2018 Season!

In addition to presenting world-class opera, and to providing support for outstanding young artists, established stars, and up-and-coming female conductors; The Dallas Opera is also committed to introducing the joys of opera to as many people as possible, and to provide budget-minded, kid-friendly performances (mostly if not entirely in English) that can be enjoyed by North Texans of every age, educational level and background.

 

The always popular Dallas Opera Family Performance Series is proudly presented by Texas Instruments, and made possible with additional generous support from the Betty and Steve Suellentrop Educational Outreach Fund and Lockheed Martin.

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

            Five dollar single tickets will be available through The Dallas Opera Ticket Services Office at 214.443.1000 or 24/7 at dallasopera.org/family.

2017-2018 FAMILY PERFORMANCE SERIES

 

Presenting Sponsor, Texas Instruments

 

DONIZETTI AND COMPANY

Sunday, October 15, 2017

Sunday, February 18, 2018

 

From sparkling, good-natured comedies to hanky-clutching tragedies, Gaetano Donizetti was one of the great masters of Italian bel canto. This incredibly prolific composer gave us 75 operas, including four that are highlights of the repertoire: Lucia di Lammermoor, The Daughter of the Regiment, The Elixir of Love and Don Pasquale.  Gather up the children (and grand-children) to experience the music of Donizetti, a man who lifted himself out of poverty through hard work, generosity, and extraordinary talent.  Featuring the acclaimed Dallas Opera Orchestra and a charismatic narrator, as well as outstanding young singers.

 

THE THREE LITTLE PIGS

Saturday, November 4, 2017

Saturday, February 3, 2018

 

Based on scenes and music from operas by W.A. Mozart, this production is an operatic version of the beloved children’s fairy tale, with adaptations by John Davies. The story reinforces the virtues of reading as one of the little pigs, Despina, successfully reads up on building a “huff-proof, puff-proof” house at the library.  As constructive as it is instructive!

PÉPITO by Jacques Offenbach

Sunday, November 19, 2017

Saturday, February 10, 2018

 

Vertigo, a jack of all trades (who introduces himself with a parody of Figaro’s entrance in The Barber of Seville) is rebuffed by the beautiful hostess of the local inn, Manuelita. She is waiting patiently for her fiancé Pépito to be released from military service. Miguel, a childhood friend, returns to their native village where he immediately falls for Manuelita’s charms.  He gets Vertigo out of the way, in order to flirt with the girl, yet Miguel’s advances are rejected.  In fact, Miguel is so impressed with Manuelita’s virtue and loyalty that he decides to take the young soldier’s place, so he can come home to marry.  However, a letter from Pépito drops a stunning piece of news on Manuelita and Miguel!  Learn who finally gets the girl in Offenbach’s charming, one-act comedy. 

 

$5 performances in the Winspear Opera House. Tickets may be purchased in advance or at the door.  Learn more online at www.dallasopera.org/family.

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2016-2017 SEASON SPONSOR

The Nancy A. Nasher and David J. Haemisegger Family

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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

___________________________________________________________________________________________

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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Participants Selected for 2016 Linda and Mitch Hart Institute for Women Conductors

by Suzanne Calvin

IWC ImageFOR IMMEDIATE RELEASE:

Monday, June 20, 2016

Contact: Suzanne Calvin 214.443.1014                            Or Celeste Hart 214.443.1071

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

                                                               

Participants Named for Second Annual

Linda and Mitch Hart Institute for

Women Conductors at The Dallas Opera

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Nov. 26 – Dec. 11, 2016 in Dallas, Texas

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Six Selected for Elite Opera Program from

156 Applicants Representing 31 Countries

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Distinguished Faculty include Marin Alsop, Nicole Paiement, Carlo Montanaro and Alec Treuhaft

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Initial Support 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, Martha and Max Wells, and the TACA Bowden & Embrey Family Foundations Artist Residency Fund

 

DALLAS, JUNE 20, 2016 – The Dallas Opera is proud to announce the names of the six distinguished professionals selected to participate in the second annual session of the Linda and Mitch Hart Institute for Women Conductors at The Dallas Opera taking place November 26 -- December 11, 2016 in Dallas, Texas:

  • Elizabeth Askren (USA)
  • Mihaela Cesa-Goje (Romania)
  • Alexandra Cravero (France)
  • Tianyi Lu (New Zealand)
  • Chaowen Ting (USA/Taiwan)
  • Zoe Zeniodi (Greece)

Working to address a long-standing career issue in the opera world, The Dallas Opera in 2015 launched a unique, new residential program—one of only three in the world—designed to provide training and career support for distinctively talented women conductors.  Female conductors, as well as accomplished women singers, opera coaches, accompanists, and instrumentalists with established careers seeking to develop new skills at the podium, were encouraged to apply.

A total of 156 women conductors and professional musicians heeded the call and applied by the April 22nd deadline.  Of that number, approximately one-third of the IWC applicants (59) came from the United States. 

Other nations represented in this year’s applicant pool were from Argentina, Australia, Brazil, Canada, Chile, China, Columbia, Cuba, Czech Republic, Denmark, Ecuador, France, Germany, Greece, Ireland, Israel, Japan, Lithuania, and Mexico; as well as New Zealand, Poland, Finland, Russia, Slovenia, South Korea, Spain, Switzerland, Taiwan, Ukraine and the United Kingdom.

Applicants from these 31 countries included music directors, principal and assistant conductors, concertmasters and music staff from top-ranked symphonies, opera companies, and conservatories.

 

As is the case each year, four U.S. observers were chosen to “audit” the 2016 Institute: Ching-Chun Lai, Michelle Rofrano, Carolyn Watson and Parisa Zaeri.

 

The institute had key, foundational support from the Richard and Enika Schulze Foundation.  Naming support came through the generosity of Linda and Mitch Hart.  Additional vital support comes from The Andrew W. Mellon Foundation, Baker Botts LLP, Susan and Mark Geyer, Holly and Tom Mayer, Martha and Max Wells, and the TACA Bowden & Embrey Family Foundations Artist Residency Fund.

The 2016 Linda and Mitch Hart Institute will consist of hands-on master classes with 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 Martha R. and Preston A. Peak Principal Guest Conductor Nicole Paiement and Carlo Montanaro, a renowned Italian conductor. 

The institute will include career advancement seminars with experienced professionals like Alec Treuhaft, former senior vice-president of IMG Artists; industry discussions; intensive one-on-ones and networking opportunities; as well as the chance to conduct The Dallas Opera Orchestra in two public concerts on the evenings of December 4th and December 10th (additional details to be announced at a later time).

As part of TDO’s 5-year commitment to each institute “class” of conductors, alumnae will be invited to summer reunions for additional masterclasses with piano and singers, and a series of introductory seminars about the business of music: General Management, Marketing and Communications, Development and Finance.  In our inaugural program last December and the first round of follow-up discussions this spring, the 2015 class of conductors reiterated their interest in this type of training on multiple occasions. 

 

Keith Cerny, The Dallas Opera’s Kern Wildenthal General Director and CEO notes: “The Dallas Opera has demonstrated, in multiple ways, its commitment to reshaping the opera field through the use of innovative public outreach, by exploring new technologies, commissioning new works to expand the operatic repertoire, and programming with passion and imagination.”

“This much-needed program,” Mr. Cerny added, “will enable more women conductors to add their talents and perspectives to our collective understanding of this art form, while encouraging conversation about the necessity of women in leadership roles.”

 

The Dallas Opera’s Martha R. and Preston A. Peak Principal Guest Conductor, Nicole Paiement, who also serves as the Artistic Director and Conductor for San Francisco’s renowned contemporary opera company, Opera Parallèle, commented, “In tandem with my work as a professional conductor, I have spent many years striving to develop and support exceptional young talent, both onstage and in the orchestra pit.  I am tremendously pleased to be able to continue this aspect of my career in a leadership role here in Dallas and I sincerely hope my work with the women in this institute can serve as a source of both valuable insights and inspiration.”

Nicole Paiement’s residency for the institute is supported by the TACA Bowden & Embrey Family Foundations Artist Residency Fund.

Marc A. Scorca, President and CEO of OPERA America, earlier 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 IWC FELLOWS:

 

 

ELIZABETH ASKREN (USA)

Elizabeth Askren has worked as Assistant Music Director in leading European venues (Théâtre des Champs Elysées, The Concertgebouw, etc.) and has guest conducted orchestras such as the London Symphony Orchestra, the Orchestre de Chambre de Paris, and the Royal Philharmonic Orchestra.  Débuts for the 2015-16 season include concerts with the Romanian National Opera in Cluj and the Opera Orchestra of Toulon.  Ms. Askren is a laureate of France’s ADAMI, and has received fellowships from the Salzburg Mozarteum, the Royaumont Foundation, and the Aldeburgh Festival.  A finalist candidate for the Mahler Competition, she was invited by Lorin Maazel as “Apprentice Conductor” for the inaugural season of the Castleton Festival in Virginia. She is the subject of several radio and press interviews, and is currently a Young Leader of the French American Foundation.  Ms. Askren holds diplomas in piano and conducting from the Juilliard School, Oberlin Conservatory, and the Conducting Institute of Bard in the United States, and the Schola Cantorum and the Ecole Normale de Musique in France. 

 

MIHAELA CESA-GOJE (ROMANIA)

Mihaela Cesa-Goje gained widespread attention in 2009 as the winner of the Taki Concordia Conducting Fellowship founded by Marin Alsop and in 2010, a Conducting Grant from the League of American Orchestras.  In 2011, she was awarded the Dudamel Fellowship from the Los Angeles Philharmonic, and later that same year, was selected from a field of 160 candidates for a masterclass with Bernard Haitink and the Lucerne Festival Orchestra.  Earlier in her career, Ms. Cesa-Goje received the “Sandor Vegh Prize” from the Romanian Mozart Society for an outstanding performance of Mozart’s “Der Schauspiele Direktor” at the Cluj National Opera, Romania.  In 2005, she completed her Conducting Diploma at the Royal Academy of Music in London and was awarded the Irene Burcher Prize.  In 2013, she earned a graduate degree in conducting from Gh Dima Music Academy in Cluj, Romania, where she studied with Florentin Mihaescu. She also studied with Harold Farberman, Gustav Meier, Patrick Russill and Roland Börger.  Ms. Cesa-Goje is regularly invited to Cluj National Opera. In her first season (2014) she conducted eight different titles.

 

ALEXANDRA CRAVERO (FRANCE)

As a musician of many talents with a charismatic personality and artistic sensibility, Alexandra Cravero has quickly earned the reputation of being one of this generation’s conductors to watch.  With a National Diploma and Masters in viola and conducting from the National French Conservatory, Alexandra was also finalist at the Besancon, Pedrotti, and Cadaques competitions.  She has assisted Pierre Boulez, Kurt Masur, Tito Ceccherini, Patrick Davin and directed the BBC, the Monte-Carlo Philharmonic, the Sofia Radio, the Theatre de La Monnaie and the Opera National du Rhin Orchestras.  On the operatic stage, she has directed, among others, Annick Massis, Michael Spyres, Magdalena Kožená, and Etienne Dupuis.  Her vast operatic repertoire spans many centuries: Carmen, The Pearl Fishers, Norma, Faust, Porgy and Bess, The Cunning Little Vixen, Reigen, and Doctor Atomic, to name a few.  Upcoming engagements will see Alexandra Cravero direct The Tales of Hoffmann, Tosca, La traviata, and the Orchestre National de Lille at the Paris Philharmonic Hall.

TIANYI LU (NEW ZEALAND)

Now based in the United Kingdom, Tianyi Lu is the Junior Fellow in Conducting at the Royal Welsh College of Music and Drama and Music Director Designate of the Bristol Metropolitan Orchestra. She has been assistant conductor to Thomas Søndergård with the BBC National Orchestra of Wales, Sir Mark Elder with the Hallé, Alice Farnham with the Welsh National Youth Opera and Carlo Rizzi at the RWMCD.  She is regularly engaged by orchestras throughout Wales and New Zealand and was Music Director of The Magic Flute with Opera Otago.  Ms. Lu has studied with David Jones, John Hopkins and Uwe Grodd and has attended masterclasses with Bernard Haitink, Neemi Järvi, Sian Edwards, Alexander Polynichko, Marin Alsop and Kenneth Kiesler.  She was voted as a finalist at the twelfth ‘Interaktion’ conducting workshop by players of the Berlin Philharmonic and professional players in Germany.

 

CHAOWEN TING (USA)

Winner of the 2009 International Conductors’ Workshop and Competition, Chaowen Ting currently serves as Conductor of the Georgia Tech Symphony Orchestra. A protégé of Bernard Haitink, Ting studied with the maestro at Lucerne Festival and was later invited by Haitink to observe his work with the Boston Symphony Orchestra and Chicago Symphony Orchestra.  Outside of the U.S., she has conducted the Lucerne Festival Strings (Switzerland), Mihail Jora Bac?u Philharmonic (Romania), Zagreb Philharmonic Orchestra (Croatia), St. Petersburg Chamber Philharmonic (Russia), and Orquesta Filarmónica de Honduras (Honduras).  She won the 2013 Bruno Walter Memorial Scholarship and was a Conducting Fellow at the Cabrillo Festival of Contemporary Music.  In addition to her symphonic repertoire, opera productions she directed received honors from National Opera Association’s Opera Production Competitions for two consecutive years.

 

ZOE ZENIODI (GREECE)

Zoe Zeniodi has conducted productions at the Florida Grand Opera, Greek National Opera, the Onassis Cultural Center and guest conducted all the major Greek orchestras as well as Tatarstan National Symphony Orchestra, the Brno Philharmonic, Palm Beach Symphony, New Florida Philhamornic, and JONDE, among others.  She is currently the Music Director of Broward Symphony Orchestra, Momentum Athens Chamber Orchestra and the Associate Music Director of the Festival of the Aegean.  Previous positions include: Chief Conductor of MOYSA, Assistant/Cover Conductor for Florida Grand Opera, Music Director of Alhambra Orchestra and Associate Conductor of Frost Symphony Orchestra. She has released five CD recordings of contemporary music.  Ms. Zeniodi holds a DMA in Orchestral Conducting from the University of Miami and also studied at the Royal College of Music and the Mozarteum, Salzburg.

 

(Headshots of this year’s class are available.  Contact suzanne.calvin@dallasopera.org)

 

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2016 IWC OBSERVERS:

 

CHING-CHUN LAI (USA)

Ching-Chun Lai, Director of Orchestras at the Crane School of Music, SUNY-Potsdam, has worked on opera productions of Pelléas et Mélisande, Don Pasquale, L’elisir d’amore, Maria Stuarda, Alcina, Thaïs, and The Turn of the Screw. Her performances of Bach’s St. Matthew Passion were described in Isthmus as “consistently excellent.”  During her tenure, the Crane Symphony Orchestra has performed in Lincoln Center and Carnegie Hall. Recent engagements include the Rochester Philharmonic Orchestra and its youth orchestra.  Dr. Lai studied conducting with Gunther Schuller and James Smith. Additional studies include Gstaad Menuhin Festival and Academy, Gustav Meier, and JoAnn Falletta.  She received her DMA degree from UW-Madison, where she received the Church Memorial Conducting Award, and earned her Master’s degree with Distinguish Performance from the New England Conservatory of Music.

 

MICHELLE ROFRANO (USA)

Michelle Rofrano recently completed her master’s degree in conducting at the Peabody Conservatory, where she studied with Marin Alsop, Gustav Meier, and Markand Thakar. She will serve as assistant conductor for the upcoming Oberlin in Italy 2016 summer festival.  Ms. Rofrano recently led a production of Così fan tutte with D.C. Public opera, and she was the assistant conductor for Baltimore-based new music ensemble Symphony Number One during its 2015-16 Season. Previous engagements include serving as cover conductor for productions with Lyric Opera Baltimore and Opera Birmingham, performances with the Opera Project of New Jersey and Rutgers Symphony Orchestra, and masterclasses with the Baltimore Chamber Orchestra and Bakersfield Symphony Orchestra. Ms. Rofrano holds a bachelor’s degree in piano performance from Rutgers University.

 

CAROLYN WATSON (USA)

Conductor Carolyn Watson is Director of Orchestral Studies at Texas State University. From 2013-2015 she held the position of Conductor of the Interlochen Arts Academy Orchestra.  A Fellow of the American Academy of Conducting at the Aspen Music Festival, Ms. Watson was a major prizewinner at the 2012 Emmerich Kálmán International Operetta Conducting Competition in Budapest.  She has participated in master classes with Peter Eötvös, Yoel Levi and Alex Polishchuk and conducted musicians of the Berlin Philharmonic in Interaktion.  Ms. Watson is the recipient of the Brian Stacey Award for Emerging Australian Conductors, the Charles Mackerras Conducting Prize and Opera Foundation Australia’s Bayreuth Opera Award. She holds a PhD in Performance (Conducting) from the University of Sydney where her doctoral thesis was Gesture as Communication: The Art of Carlos Kleiberwww.carolyn-watson.com.

 

PARISA ZAERI (USA)

A native of Dallas, Texas, Parisa Zaeri maintains an active career as a conductor, collaborative pianist, and vocal coach.  Her recent musical engagements include serving as Music Director for Boulder Opera’s upcoming production of Carmen (Fall 2016), as Cover Conductor for the American premiere of Philip Glass’s Witches of Venice at Opera Saratoga (Summer 2016), and as Assistant Conductor for the recent Southern Methodist University production of  Die Zauberflöte (Spring 2016).  Notable mentors include Paul Phillips and Grant Wenaus.  Ms. Zaeri graduated with her Master’s degree in Piano Performance -- Collaborative Piano from New York University in May 2015 and currently resides in Denver, Colorado, with her husband and two dogs.

 

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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

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The Dallas Opera Family Performances are generously supported by

Texas Instruments and the Betty and Steve Suellentrop

Educational Outreach Fund.

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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 start 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 FALL SEASON INFORMATION The Dallas Opera celebrates its Sixtieth Year 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 language 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.

 

EUGENE ONEGIN by Pyotr Ilyich Tchaikovsky

October 28, 30(m), November 2, 5, 2016

A tumultuous and lush romantic opera!

Libretto by K.S. Shilovsky, after Pushkin

Time: Late Nineteenth Century

Place: Czarist Russia

Conductor: Emmanuel Villaume

Stage Director: Jean-Claude Auvray*

Costume Designer: Maria Chiara Donato

Lighting Designer: Laurent Castaingt

Choreographer: Cooky Chiapalone

Wig & Make-up Designer:

Chorus Master: Alexander Rom

Starring: Andrei Bondarenko (Eugene Onegin), Svetlana Aksenova* (Tatyana), Stephen Costello (Lensky), Kai Rüütel** (Olga), Mikhail Kazakov (Prince Gremin), Elizabeth Batton (Larina), Meredith Arwady (Filipievna), Greg Fedderly (Triquet), Musa Ngqungwana* (Zaretski)

A classic, period production originally created for the Israeli Opera Tel-Aviv-Jaffa!

 

MOBY-DICK by Jake Heggie

November 4, 6(m), 9, 12, 18, & 20(m), 2016

Back by Popular Demand!

Libretto by Gene Scheer

Time: Nineteenth Century

Place: Whaling Ship on the High Seas

Conductor: Emmanuel Villaume

Stage Director: Leonard Foglia

Set Designer: Robert Brill

Costume Designer: Jane Greenwood

Lighting Designer: Gavan Swift

Projections Designer: Elaine J. McCarthy

Wig and Make-up Designer:

Chorus Master: Alexander Rom

Starring: Jay Hunter Morris (Captain Ahab), Stephen Costello (Greenhorn), Morgan Smith (Starbuck), Musa Ngqungwana* (Queequeg), David Cangelosi (Flask), Jacqueline Echols* (Pip), Peter McGillivray* (Stubb)

Our internationally acclaimed production!

 

* 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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KEITH CERNY Featured on KERA’s “CEO”

by Celeste Hart

Tune in to KERA-TV and KERA radio for a fascinating interview with our General Director and CEO Keith Cerny by host and veteran journalist Lee Cullum. “CEO” features the best corporate and non-profit leaders in North Texas and beyond. 

According to KERA’s website, the show explores what it takes to make a company successful in today’s global marketplace, covering topics like leadership style and ethics.

Please click here for the online video! ceo cerny 11X17

Mr. Cerny’s “CEO”
interview will air on KERA-TV:

Friday, June 3, 7:30 p.m.
Monday, June 13, 10:00 p.m.
Sunday, June 26, 11:30 a.m.

It will also air on KERA Radio 90.1 FM:

Sunday, June 5, 5:00 p.m.

Thanks to Lee Cullum and KERA for this fabulous segment!

What We Learned from the Women Conductors Institute

by Celeste Hart

In his latest Off the Cuff, Dallas Opera General Director and CEO Keith Cerny reflects on the success, and opportunities for further improvement, from the inaugural Institute for Women Conductors.


published Sunday, January 3, 2016

 

Dallas — Between Nov. 28 and Dec. 6, The Dallas Opera held the inaugural program of the Linda and Mitch Hart Institute for Women Conductors. Six conductors were selected from more than 100 applicants representing 27 countries, and four additional American observers were also selected. As it turned out, of these six, two were Americans, another two Australian, one British, and one Russian/German. More information on the program can be found here. As a measure of the program’s impact, a Google search in mid-December of the terms “Women Conductors” and then “News” from computers in both Dallas and New York showed this program realizing 9 of the 10 top search slots. (The other entry was an article about Marin Alsop’s subscription series debut with the Chicago Symphony).

Although I began the serious planning and initial fundraising two-and-a-half years ago to create this conducting program, the question of why women face barriers to professional success in some fields has been on my mind for more than 35 years. By way of background, my own career has been diverse, encompassing music performance, high technology, and business, and I have observed in many different settings the challenges that women face in establishing themselves in traditionally male-dominated fields.

I grew up in an academic family; and my mother and several of her friends were among the first women to be admitted to Ph.D. programs in physics and chemistry at the University of California at Berkeley; this experience gave me some important early exposure to the challenges facing women in academia at that time. When I attended Harvard Business School in 1989, and worked as a consultant for two top-tier firms in the U.S. and Europe in the 1990s, I observed a range of barriers for women achieving success in the business world—some overt, others more subtle. And, most recently, in my career as an opera General Director and CEO, I continue to see barriers for women as conductors and leaders in classical music, with the result that women are significantly under-represented in top management—including Music Director positions—as well as guest conductor opportunities at leading American opera companies. I consider the Institute for Women Conductors to be one of my most important personal initiatives at The Dallas Opera to date, and am extremely grateful for the support of Linda and Mitch Hart, The Andrew W. Mellon Foundation, the Richard and Enika Schulze Foundation, and Baker Botts LLP.

The inaugural conducting program at The Dallas Opera was very intensive, especially since in its first year it covered a vast range of material in just nine days. (In the future, when more funding will be available, the institute will last a full two weeks). The curriculum was focused around two primary areas. The first was hands-on conducting experience with The Dallas Opera Orchestra, and master classes with singers and piano presented by TDO’s Music Director Emmanuel Villaume and Principal Guest Conductor Nicole Paiement. The second curriculum area, which I designed personally, was a series of seminars, panel discussions and role plays on important topics including personal branding and image management; conducting successful media interviews; succeeding in a male-dominated field; selecting repertoire for career impact; accepting and declining specific engagements; partnering with the concertmaster; and finding the right artist manager. The program culminated in a public concert on Dec. 5, 2015, with each of the six conductors conducting an overture and two arias or small ensembles with orchestra. The concert received excellent reviews, and the very high standard of the singers in the performance was noted by multiple reviewers.

Over the holiday period, I indulged in a little self-reflection about the curriculum for the seminars, panel discussion and role-plays we had developed. I wondered, with more than 35 years of thinking about the question of barriers to women in professional fields, how well did I anticipate the needs of the participants, and how could the program be improved in future years? I have organized my self-reflections into three areas: pleasant surprises, future opportunities, and—if I may be permitted—one general observation on how gender differences may possibly influence international conducting careers.

 

Photo: Karen Almond/The Dallas Opera -- The conductors take a bow at the Dallas Opera’s Institute for Women Conductors final concert at the Winspear Opera House

 

 

Pleasant surprises

At the start of the conducting program, we organized a welcome get-together for the participants and observers at the elegant home at one of the lead sponsors. Many of the conductors and observers had only flown in that day, and some were quite jet-lagged. Of the nine participants, I had only met one before. One of the things that most impressed me in this event was how secure and confident the 10 conductors and observers were, as they interacted with donors they had never met in a city that many of them had never been to before. This outcome was extremely reassuring to me, as the contemporary conducting field requires any conductor—male or female—to be willing and supremely able to build relationships with their supporters and patrons.

Another pleasant surprise was how well the participants and observers collaborated from the very start, and formed their own network. Yes, this criterion had been an important part of the selection process, but personality and teamwork can be hard to judge from applications and references alone. Music Director Emmanuel Villaume, Principal Guest Conductor Nicole Paiement and I had worked to select conductors and observers who were outstanding musicians, and who also appeared to have a strong interest in being mutually supportive, as we wanted to create a long-term network among the group. I was delighted to see that we were able to get this right.

Photo: Karen Almond/The Dallas Opera -- Conductor Stephanie Rhodes

 

 

Future Opportunities

In evaluating the group, I saw three areas where the workshop and seminar program can be of greatest value to women conductors (in addition to, of course, the master classes and work with the Dallas Opera Orchestra). None of these areas are especially gender specific, in my mind. The first area is helping the conductors to better articulate their personal brand – i.e. the three-to-five areas that they believe make them memorable and distinctive relative to other conductors. These might include having made a major debut with a particular opera company, having conducted an important new opera, having won a major international conducting position, or having been the protégé of a famous conductor. The inter-personal confidence, noted above, allowed them to express themselves very well in mock interviews with TDO’s Director of Media and PR, Suzanne Calvin, and, later, in actual media interviews (see, for example, this piece on TheaterJones), they all made considerable progress over the week in being able to articulate their brands to themselves, one another, the program faculty, and ultimately, the media.

Secondly, the conductors clearly need a greater understanding of the music business—both at the internal operating level (e.g. marketing, fundraising, finance), and the overall field (e.g. executive recruiters and hiring processes, the role of artist managers, how guest conductors get hired). This area will be the focus of the summer reunions that will be held each year, with participants and observers being invited to attend each summer for five years following their initial residency.

One final area that came to light is the urgent need for the conductors to have video of themselves conducting. In the online applications for the program through Yaptracker.com, we had encouraged applicants to include video of themselves conducting. Relatively few of them did, since getting video of conducting typically requires payments to artists and unions that budget-strapped opera houses and symphonies (is there any other kind?) are not always able to pay. These videos are vital, however, in eliciting the interest of artist managers, making it possible to apply for conducting programs, and securing guest conducting appointments. The Dallas Opera will be providing personalized video of the performances to the six conductors in the first part of 2016.

 

One Possible “Confidence Gap”

While the strategy of TDO’s program is to create opportunities and support for exceptionally talented women conductors, rather than to focus on barriers to success, I had one general observation that I think will help the program, and ultimately the field. One of the lead faculty members was my friend and colleague Carol Lazier, President of the San Diego Opera Board, who shared an important article with me on women and careers; whether one agrees with every point made in the article or not, the piece is certainly worthy of discussion and self-reflection. The article, entitled “The Confidence Gap”, was written by Claire Shipman (a reporter for ABC News), and Katty Kay (anchor of BBC World News America) in the May, 2014 edition of the Atlantic Magazine. The subtitle of the article was “Evidence shows that women are less self-assured than men—and that to succeed, confidence matters as much as competence. Here’s why, and what to do about it.”

Photo: Karen Almond/The Dallas Opera -- Conductor Natalie Murray Beale

 
 
 
 
While generalizing about gender differences in conducting is dangerous, especially since we had women representing such diverse countries, ethnic backgrounds, and local musical cultures participating in the conducting institute, Shipman and Kay’s article rang true with my experience leading the program. To quote the authors:

“Even as our understanding of confidence expanded, however, we found that our original suspicion was dead-on: there is a particular crisis for women—a vast confidence gap that separates the sexes. Compared with men, women don’t consider themselves as ready for promotions, they predict they’ll do worse on tests, and they generally underestimate their abilities. This disparity stems from factors ranging from upbringing to biology.

A growing body of evidence shows just how devastating this lack of confidence can be. Success, it turns out, correlates just as closely with confidence as it does with competence. No wonder that women, despite all our progress, are still woefully underrepresented at the highest levels. All of that is the bad news. The good news is that with work, confidence can be acquired. Which means that the confidence gap, in turn, can be closed.”

What was refreshing and reassuring about the Conducting Institute was the extent to which the conductors were able to project a high level of—situationally appropriate—confidence in many donor-focused social settings and media interviews; this is vital in a world where Music Directors and guest conductors are expected to interact intensively and effectively with their audiences and supporters. The conductors and observers were also very comfortable in sharing highly personal perspectives in a group setting as we worked through questions of personal branding, the role of artist management, and career aspirations. There was, however, one specific area that resonated, for me at least, with the comments of Shipman and Kay. As I commented during the program, almost all of the conductors apologized too much to the orchestra, and this is an area where they may unknowingly give other conductors the edge. (I shared this perspective with them during the working sessions, and I think they all quickly assimilated the point).

Just to be clear, I believe that conductors should apologize to the orchestra if they make a technical mistake. My favorite example is the ferociously difficult finale of Stravinsky’s The Rite of Spring, where it is very easy to get a beat pattern wrong as the meters change rapidly. However, in this case, a quick – “sorry, my mistake” suffices – although it is critically important to get this right the second time, or the orchestra will lose confidence in you. With the institute conductors, who were all accomplished musicians, but who varied considerably in podium experience and sophistication of stick technique, they tended to apologize when making a musical request. This sends the wrong message, completely. If a conductor wants the oboes and flutes to emphasize the phrasing, the first trumpet to play more quietly, or the strings to play with a different bowing, there is no need – indeed, it is unproductive – to be apologetic. (Rudeness won’t get them anywhere either, of course). This is a relatively minor point, and can be corrected, but is also important as these conductors work to secure future engagements in an extremely competitive field.

In closing, I was delighted with the success of The Dallas Opera’s inaugural conducting program, and am already looking forward to next year—which will feature considerably more orchestra time, stretched over a full two weeks. My team and I are also working on the follow-up networking opportunities for the group, and preparing for the summer reunion in the summer of 2016, which will feature more master classes and discussions of the music business, based on what we’ve learned from the process and the participants themselves.

Thanks to the generosity of Linda and Mitch Hart, The Dallas Opera has made a 20-year commitment to this program, so we will have ample time in the coming years to fine-tune the curriculum, choice of repertoire, faculty backgrounds, and format of the final public concerts. All in all, I feel very encouraged by how well-equipped these relatively young conductors are, to tackle the challenges of an international conducting career. I look forward to following their progress with great interest and, admittedly, a measure of personal satisfaction that stems from the role of The Dallas Opera in preparing these outstanding young professionals for the next set of challenges awaiting them.

It has been a rare pleasure and privilege.

 

New Major Gifts Announcement!

by Celeste Hart

THE DALLAS OPERA IS THE PROUD RECIPIENT OF EXTRAORDINARY GIFTS FROM

Mrs. Eugene McDermott

And  The Eugene McDermott Foundation

Honoring Kern Wildenthal

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The Position of General Director and CEO Has Been Named, in Perpetuity, for

Two-Time TDO Board Chair

            DALLAS, DECEMBER 18, 2015 – The Dallas Opera is the proud recipient of two extraordinary new gifts, totaling $2 million, from The Eugene McDermott Foundation and Mrs. Eugene (Margaret) McDermott, who have requested that the position of Dallas Opera General Director and CEO be known henceforth as the “Kern Wildenthal General Director and CEO” in honor of the longtime Dallas Opera Board Member and Past Chairman.  Dr. Wildenthal currently serves the company as an Officer-at-large on TDO’s Executive Committee.

           Recognized throughout the medical and business communities for his accomplishments as president of the University of Texas Southwestern Medical Center and Southwestern Medical Foundation, as well as in his current position as president of Children’s Medical Center Foundation, Dr. Wildenthal applies the same combination of vision, skill, philanthropy and advocacy to advance the standing of The Dallas Opera, both locally and internationally.

Dr. Kern and Marnie Wildenthal at the 2013 Juanita and Henry S. Miller Founders Award Luncheon -- PHOTO BY Dana Driensky

            In addition to his 27 years on The Dallas Opera Board of Directors, Dr. Wildenthal has been extremely generous with both his time and expertise, sitting on multiple senior committees including Strategic Planning, Nominating, Finance, Audit, and the Executive Committee.  He has also served on The Dallas Opera Board of Trustees.  

            Kern Wildenthal was a founding board member of the Dallas Center for the Performing Arts (now known as the AT&T Performing Arts Center) and worked tirelessly toward the successful completion of the final phase of the city’s central Arts District, with the Margot and Bill Winspear Opera House as its acoustically acclaimed “crown jewel.”

            In 2008, Dr. Wildenthal accepted the position of Chairman of The Dallas Opera Board of Directors, leading the company for two consecutive terms through the most dramatically transformative period in the company’s history. During his 2008-2012 tenure as Chairman, Kern Wildenthal:

  • Guided the company’s October 2009 move into the Winspear Opera House after more than 50 years of performances in the Music Hall at Fair Park
  • Served as the principal negotiator of a $10 million matching challenge to build the company’s endowment, personally securing 6-and 7-figure gifts and devoting countless hours to the task of completing the match, which quintupled the endowment from $5 million to $25 million
  • Acted as a strong advocate for The Dallas Opera in the community, recruiting numerous patrons, supporters and board members from among business leaders and Dallas’ philanthropic community
  • Played a leading role in the recruitment of Keith Cerny as TDO’s General Director and CEO

            Upon Mr. Cerny’s arrival in 2010, Dr. Wildenthal was asked to take an unusual step: “Kern agreed to serve a second consecutive term as Chairman of the Board, in order to provide stability and continuity to the company, and to support my transition into my new role,” explains Keith Cerny, who will be the first “Kern Wildenthal General Director and CEO.”

            “I shall always be grateful to Kern for putting the company’s needs first during that critical time,” Mr. Cerny adds, “and for his role in securing major gifts for general operations to deal with a significant deficit in our second year in our new home.

            “Together with the Board, we restructured The Dallas Opera season schedule and successfully addressed significant cost increases, while simultaneously developing strategies to attract new and more diverse audiences.  Ultimately, this led to a dramatic expansion of our education programs—reaching tens of thousands of students each year—and an ongoing program of free simulcasts which, so far, have entertained more than 60,000 people.”

            Dr. Wildenthal and his wife, Marnie, are members of the General Director’s Circle and are recognized on the West Lobby Wall in the Winspear Opera House as donors of 21st Century Major Endowments and Special Gifts.  They share a genuine passion for opera and are known throughout Texas as two of our most committed and enthusiastic champions.

            A multi-year pledge made by the couple in 2011 established the “Marnie and Kern Wildenthal Principal Artist,” a fund to support an artist’s participation in one main stage production each season.  The 2015 recipient was internationally acclaimed mezzo-soprano Joyce DiDonato, who led a glittering, all-star cast in The Dallas Opera’s eagerly anticipated October world premiere of Jake Heggie and Terrence McNally’s Great Scott.

            “The Eugene McDermott Foundation is delighted to be able to show its passion for the Greater Dallas community, as well as for the arts, through this gift made in honor of Kern Wildenthal,” says Mary McDermott Cook, President of the McDermott Foundation.  “Kern has earned the admiration—not only of our foundation and our family—but of the arts, medical and academic communities in Dallas and throughout the country.  His insightful leadership, integrity, and decades of exemplary service to a variety of causes have contributed greatly to our community.

            “I think,” she adds, “this is the perfect way to acknowledge Dr. Wildenthal’s continuing influence on the life of this city while providing an even brighter future for opera and the arts in Dallas.”

            Margaret McDermott and the Eugene McDermott Foundation have been steadfast and generous of supporters of The Dallas Opera.  Since 2003, they have made gifts totaling more than $7.6 million to special campaigns that helped the opera build their administrative offices in the Winspear Opera House, complete a $10 million challenge grant to build the company’s endowment, underwrite the world premiere of Great Scott, and to name the position of the General Director and CEO for Dr. Wildenthal.

            “It has been a great privilege to be associated with The Dallas Opera as it has emerged as one of America’s leading companies,” Dr. Wildenthal responds.  “The major gifts from Margaret McDermott and the Eugene McDermott Foundation are of enormous importance to the expanding mission of The Dallas Opera, and I feel incredibly honored that Margaret and Mary wished to recognize me by having my name associated with their exceptional donations.”

            The new name of the position of general director and CEO for the company will be applied in perpetuity.

ADDITIONAL INFORMATION IS CONVENIENTLY AVAILABLE ONLINE, 24/7

VISIT WWW.DALLASOPERA.ORG

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For high-resolution digital photographs suitable for print

To arrange an interview or obtain additional information

Please contact Suzanne Calvin, Director of Media and Public Relations

214.443.1014 or suzanne.calvin@dallasopera.org

 

TEXAS INSTRUMENTS, 2015-2016 SEASON SPONSOR FOR THE DALLAS OPERA’S “SEEKING THE HUMAN ELEMENT” SEASON

Ticket Information for the 2015-2016 Dallas Opera Season

All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise described.  Single Tickets range from $19 to $275.  Full and Flex Subscriptions are on sale now starting 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 2015-2016 SPRING SEASON INFORMATION

The Dallas Opera celebrates its Fifty-Ninth 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.

 

MANON by Jules Massenet
March 4, 6(m), 9, 12, 2016
A Timeless Tale of Young Love Set in France
Libretto by Henri Meilhac and Philippe Gille
Time:
Late 19th Century
Place:
France
Conductor:
Graeme Jenkins
Stage Director:
E. Loren Meeker*
Set and Costume Designer:
Tanya McCallin
Original Choreographer: Paule Constable
Revival Choreographer: Colm Seery*
Lighting Designer:
Kevin Sleep
Wig & Make-up Designer:
David Zimmerman
Chorus Master:
Alexander Rom
Starring:
Ailyn Pérez (Manon), Stephen Costello (Chevalier des Grieux), Edwin Crossley-Mercer* (Lescaut), David Pittsinger* (Count des Grieux), Greg Fedderly* (Guillot de Morfontaine), Troy Cook* de Brétigny), Katherine Whyte* (Pousette), Kathryn Leemhuis* (Javotte), Audrey Babcock (Rosette), Theodor Carlson (Innkeeper)
The Return of Graeme Jenkins to the Podium!

 

SHOW BOAT by Jerome Kern
April 15, 17(m), 20, 23, 29, May 1(m), 2016
A Great American Musical
Music by Jerome Kern -- Book and Lyrics by Oscar Hammerstein II
Time: 1887-1927
Place:
Mississippi and Chicago
Conductor:
Emmanuel Villaume
Stage Director:
E. Loren Meeker
Set Designer:
Peter J. Davison
Costume Designer: Paul Tazewell*
Lighting Designer:
Erik Watkins
Sound Designer: Tom Clark
Choreographer: Michele Lynch*
Wig & Make-up Designer:
David Zimmerman
Chorus Master:
Alexander Rom
Starring:
Andriana Chuchman* (Magnolia), Michael Todd Simpson (Gaylord Ravenal), Lara Teeter* (Cap’n Andy Hawks), Alyson Cambridge* (Julie), Angela Renée Simpson (Queenie), Mary-Pat Green* (Parthy Ann Hawkes), Kirsten Wyatt* (Ellie Mae Chipley), Morris Robinson (Joe), John Bolton* (Frank), Keith Chambers (Jake)
Performed with the Power of the Operatic Voice and Full Orchestra!

* 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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