Michael Fabiano in Recital, January 22, Dallas City Performance Hall

by Suzanne Calvin

Fabiano Hands

 

 

The Dallas Opera Proudly Presents

ONE OF THE WORLD’S MOST EXCITING TENORS

MICHAEL FABIANO

IN AN EXCLUSIVE RECITAL

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SUNDAY, JANUARY 22, 2017, 2:00 P.M.

DALLAS CITY PERFORMANCE HALL

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THE ROBERT E. AND JEAN ANN TITUS

ART SONG RECITAL SERIES

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TICKETS $15 and $25

 

            DALLAS, TX, NOVEMBER 28, 2016 – The Robert E. and Jean Ann Titus Art Song Recital Series will feature the magnetic tenor, Michael Fabiano, in an exclusive recital produced by The Dallas Opera. The performance will take place on Sunday, January 22, 2017 at 2:00 p.m. in Dallas City Performance Hall (a 749-seat venue located at 2520 Flora Street—across the street from the Winspear Opera House—in the Arts District, Dallas, TX 75201). Additional support for the 2017 recital is provided by Rebecca and Michael Baker. Tickets are now on sale for $15 and $25 and may be purchased at www.dallasopera.org/recital or by contacting the friendly professionals in The Dallas Opera Ticket/Patron Services Office at 214.443.1000.

            “Michael Fabiano is one of the most captivating tenors of our day and we are proud to bring this stellar performer to North Texas,” stated Dallas Opera’s Keith Cerny, the Kern Wildenthal General Director and CEO.

            “The Titus family recognizes the importance of presenting uniquely talented singers to our community to enrich our artistic experiences. We are so grateful for their generous support of these important recitals, which offer an intimate setting to appreciate these tremendous talents. This is the fourth in the series which has included tenor Ian Bostridge in 2014, Matthew Polenzani in 2015, and legendary mezzo-soprano Frederica von Stade last January,” Cerny added.

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            Mr. Fabiano is considered one of the greatest tenors in the world today. He recently made his critically-acclaimed debut at the Royal Opera House, Covent Garden where The Sunday Times, U.K. described that he held audiences “spellbound.” He is the first singer ever to be awarded the prestigious Beverly Sills Artist Award and the Richard Tucker Award in the same year, 2014. A member of the Metropolitan Opera Guild Artists’ Council, Mr. Fabiano has graced many of the world’s most important stages and venues, and performed in many of the leading opera houses. He has recorded extensively, despite his demanding stage schedule, and his role debuts are becoming legendary.

            Mr. Fabiano “is increasingly one of the great operatic tenors of our day, diving into both familiar and off-beat repertoire and delivering it with fluency and ringing power. In the absence of an opera house stage, sets or costumes, Fabiano simply conjured up a world of theatrical intensity and let it fly,” according to Joshua Kosman of the San Francisco Chronicle regarding a recent concert.

            “I’ve raved before about Michael Fabiano,” wrote critic Anne Midgette of The Washington Post earlier this month, “but I don’t know that I’ve ever heard him sing with the clarity and power he brought to the role of Jean (John the Baptist) on Sunday, his sound heroic and translucent, with no evident strain, culminating in a show-stopping performance of his aria.”

            The Titus Recital will include works by composers Franz Liszt, Henri Duparc, Giacomo Puccini, and Amy Beach, and is a wonderful opportunity to experience this acclaimed 32-year-old star, up close.

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            Through the generosity of the Titus Family, ticket prices are $15 or $25. Seating is reserved and tickets will be held at Will Call.  $10 Student Tickets are also available with a current Student I.D.  Tickets may be purchased through The Dallas Opera Ticket Services Office (214.443.1000) or online, 24/7, at www.dallasopera.org/recital/.

 

            “We are thrilled with the caliber of artists that the opera has brought to Dallas for this concert series. Michael Fabiano proves to be another outstanding choice and we are eagerly anticipating this upcoming event. The Dallas Opera continues to uphold its commitment to bring the greatest singers of our time to North Texas audiences—we are so excited to be a part of it!” said Dallas Opera Board Member Sarah Titus.


MICHAEL FABIANO:
BIOGRAPHY

Of Michael Fabiano’s debut as Lensky in Tchaikovsky’s Eugene Onegin at the Royal Opera House, The Sunday Times in London wrote: “I can’t think of a Lensky at Covent Garden who has held the audience so spellbound in 40 years of Onegin-going… a glorious debut.” In the 2016/17 season, Mr. Fabiano made his debuts with the Royal Danish Opera in the Verdi Requiem, and at Houston Grand Opera in the title role of Gounod’s Faust. Fabiano returned to the San Francisco Symphony for a program of Italian masterworks, and sang the role of Jean in Massenet’s rarely performed Hérodiade with Washington Concert Opera. Mr. Fabiano returns to the Metropolitan Opera for performances as Rodolfo in La bohème and Alfredo in La traviata, will be the guest soloist for the Metropolitan Opera National Council Grand Finals Concert, and perform in the Met’s 50th Anniversary Gala at Lincoln Center. In addition, he sings his first Don José in Carmen at Festival Aix-en-Provence, and will perform a recital tour which will take him to seven cities in North America, including The Dallas Opera.

Last season, he added four new roles to his repertoire: Rodolfo in Luisa Miller, which he performed to open the San Francisco Opera season, Lensky in Eugene Onegin, which marked Mr. Fabiano’s Royal Opera debut, the title role in Don Carlo, at San Francisco Opera, and Jacopo in I due Foscari, in concert performances at the Teatro Real. He starred as Rodolfo in a new production of La bohème at the Opernhaus Zurich and performed the Duke in a new production of Rigoletto at the Opéra National de Paris – Opéra Bastille. Mr. Fabiano was also a guest artist on the Opera Gala at the Festival Napa Valley.

During the 2014/15 season, Mr. Fabiano returned to the San Francisco Opera and the Metropolitan Opera for performances as Rodolfo in La bohème, and debuted at Opera Australia in the title role in a new production of Faust; a role he also sang to great acclaim at the Opéra National de Paris – Opéra Bastille, and the Dutch National Opera. He created a sensation at the Metropolitan Opera when he performed Edgardo in Lucia di Lammermoor, replacing an ailing colleague on seven hours’ notice and opened the Glyndebourne Festival starring in the title role of Donizetti’s rarely-performed Poliuto in the first professionally staged production in the history of the United Kingdom. Mr. Fabiano sang Rodolfo in a special concert performance of La bohème from Maschpark, Hannover, which was televised live throughout Germany over NDR.de, sang at the Richard Tucker Gala at Lincoln Center, and was featured in the Italian-Americans documentary, both of which aired on PBS. Additional performances include the Columbus Day Parade in New York City, and special Christmas Concerts with the Montreal Symphony under the direction of Kent Nagano.

Mr. Fabiano has performed at many of the world’s leading opera houses, a list that includes: the Metropolitan Opera, San Francisco Opera, Teatro Real, Opéra National de Paris, Dutch National Opera, La Scala, Asociacíon Bilbaina de Amigos de la Ópera, Dresden Semperoper, Deutsche Oper Berlin, English National Opera, and the Teatro San Carlo. In addition, he has graced concert stages with some of the world’s most acclaimed orchestras such as the Cleveland Orchestra, San Francisco Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, Oslo Philharmonic, and the Vienna Symphony.

Mr. Fabiano also can be seen and heard on numerous recordings for prestigious labels including the “Prologue” to Shostakovich’s Orango with the Los Angeles Philharmonic under the direction of Esa-Pekka Salonen on Deutsche Grammophon. On DVD he performs the title role of Donizetti’s Poliuto and Alfredo in La traviata, both from the Glyndebourne Festival on Opus Arte, Cassio in Otello from the Metropolitan Opera on Decca, and Gennaro in Donizetti’s Lucrezia Borgia from the San Francisco Opera on EuroArts and Naxos of America.

Mr. Fabiano is the recipient of Australia’s prestigious Helpmann Award in the “Best Male Performance in an Opera” category, for his portrayal of the title role in Gounod’s Faust with Opera Australia.

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 FALL 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: TBD

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

Lighting Designer: TBD

Wig and Make-up Designer: TBD

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: TBD

Chorus Master: Alexander Rom

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

An atmospheric production from Cincinnati Opera!

 

 

* Dallas Opera Debut

** American Debut

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

 

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THE U.S. PREMIERE OF SUNKEN GARDEN

by Christian Anderson

DALLAS, NOVEMBER 17, 2016 – The Dallas Opera is privileged to announce that TDO will present the United States Premiere of composer Michel van der Aa’s critically acclaimed contemporary masterpiece, SUNKEN GARDEN, “a fantastical tale to set the ears and eyes popping” (New York Times headline) during the Texas company’s 2017-2018 Season.

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 at Opéra de Lyon.

Dallas Opera performances—sung entirely in English with supertitles projected above the stage—are scheduled for March 9, 11(m), 14 & 17, 2018 in the Margot and Bill Winspear Opera House at the AT&T Performing Arts CenterThis astonishing work will be directed (both on film and on stage) by Mr. van der Aa himself.

The announcement was made by Keith Cerny, the Kern Wildenthal General Director and CEO of The Dallas Opera, at the conclusion of this evening’s “Composing Conversation with Michel van der Aa” at Studio Music Grill (Royal Lane, Dallas).

Sunken Garden  (Photo: Mike Hoban)

Sunken Garden Photo by: Mike Hoban

“I first experienced SUNKEN GARDEN in Lyon, France, in the spring of 2015” explained Mr. Cerny, “and found it a uniquely rewarding theatrical experience.”

“Michel is an outstanding composer, yet his skill as a videographer and his pioneering use of both two-and-three-dimensional projections, paired with live singers, stretch the boundaries that typically define “What is Opera?” 

“Much like Joby Talbot and Gene Scheer’s Everest, the stunning visuals throughout this work and the brilliantly surreal libretto by Sci-Fi/Fantasy writer David Mitchell prompts a necessary rethinking of the art form itself. 

“I found myself captivated by Michel van der Aa’s extraordinary musical and visual vocabulary—and many in the audience clearly shared my sense of awe,” Cerny adds. “I was certain we were witnessing a work of rare originality and multi-disciplinary innovation. 

“Frankly, I couldn’t wait to bring it to the U.S.”

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.

            SUNKEN GARDEN will star English baritone Roderick Williams as “Tony 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.

Set and lighting design is by Theun Mosk with costumes by Astrid Schulz.

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.”

Reviewing for Opernwelt, Albrecht Thiemann had high praise for Michel van der Aa’s extraordinary versatility: “Composer, sound engineer, film maker and director all rolled into one, Van der Aa has always endeavored to make video clips, webcams and laptop animations something more than mere stage setting.  Rather than creating immaterial decoration or replacing physical backdrops and buildings with fancy digital tableaus, he is interested in exploring new dimensions of aesthetic experience. […] Nowhere else [in Van der Aa’s work] are the layerings and reflections of a multimedia Gesamtkunstwerk constructed in such complex ways…and nowhere else has an aesthetic integration of heterogeneous elements been achieved more convincingly in terms of technique. And yet, Van der Aa poses nothing but the age-old questions: Who are we? What do we see, hear, feel? Where do we come from?

“It seems there is somebody out there who sees the signs of our times for what they are, informed by artistic exploration. One who observes what he sees and hears without blinders. One who devours everything, only to feed it back into his ongoing research into the musical theatre stage.”

 

Composer Michel van der Aa:

“One of the most distinctive of the younger composers in Europe today. His ability to fuse music, text and visual images into a totally organic whole sets him apart from nearly all his contemporaries.” (Andrew Clements, The Guardian)

Michel van der Aa (Netherlands, 1970) is a truly multidisciplinary figure in contemporary music. A unique voice, he combines composition with film and stage direction, and script writing. Classical instruments, voices, electronic sound, actors, theatre and video are all seamless extensions of his musical vocabulary.

Before studying composition (with Diderik Wagenaar, Gilius van Bergeijk and Louis Andriessen), Van der Aa trained first as a recording engineer at the Royal Conservatory in The Hague. In 2002 he broadened his skills with studies in film direction, at the New York Film Academy, and in 2007 he participated in the Lincoln Center Theater Director’s Lab, an intensive course in stage direction.

Van der Aa’s musical materials are hard to tease apart, constantly switching between stasis and high energy, concrete and abstract, acoustic and electronic, ‘pure’ and processed, brand new and half-remembered. Many of them are as visual as they are aural. The possibilities of digital and audio- visual technology often feature, not as a surface gloss to his work but at the core of his artistic outlook.

Another important aspect to Van der Aa’s is collaboration and interdisciplinarity. He has worked with leading classical performers such as Sol Gabetta, Barbara Hannigan, Janine Jansen, Christianne Stotijn and Roderick Williams, as well as the Portuguese fado singer Ana Moura, pop acts Kate Miller-Heidke and These New Puritans, and well-known European actors like Klaus Maria Brandauer and João Reis.

His most recent partnership is with the English novelist David Mitchell, with whom he is writing his fourth work for music theatre, Sunken Garden, an ‘occult-mystery film-opera’ co-commissioned by English National Opera, the Toronto Luminato Festival, Opera de Lyon, the Holland Festival and the Barbican Centre, London.

His music has been performed by ensembles and orchestras worldwide, including musikFabrik, ICE, Tokyo Sinfonietta, Ensemble Modern, Freiburg Baroque Orchestra, Melbourne Symphony Orchestra, BBC Symphony Orchestra, Seattle Chamber Players, SWR orchestra Baden-Baden & Freiburg, the ASKO|Schoenberg ensemble, Amsterdam Sinfonietta, Phiharmonia Orchestra London and the Avanti! Chamber Orchestra.

He has been a featured artist at the Perth Tura New Music Festival and Holland Festival. He is a regular guest of the Berliner Festspiele, Venice Biennale, Donaueschinger Musiktage, Gaudeamus Music Week, Opera de Lyon, Huddersfield Festival and Warsaw Autumn. Additionally his compositions have been performed at the Festival d’Automne à Paris, LA Philharmonic New Music Series, Lucerne Festival, Tokyo Suntory Summer Music Festival, Schleswig-Holstein Festival, Moscow Music Week and Oslo Ultima Festival.

Van der Aa has won acclaim for his multimedia works for the stage and concert hall (not only the operas OneAfter Life and The Book of Disquiet, but also Up-Close, and Transit for piano and video). He has directed both the filmed and staged elements of all of these works. His operas have been staged in more than a dozen countries, with After Life and The Book of Disquiet being regularly revived.

In 1999 Michel van der Aa was the first Dutch composer to win the prestigious International Gaudeamus Prize. Subsequent awards include the Matthijs Vermeulen prize (2004), a Siemens Composers Grant (2005), the Charlotte Köhler Prize for his directing work and the interdisciplinary character of his oeuvre (2005), the Paul Hindemith Prize (2006), and the Kagel Prize (2013).

Michel van der Aa has won the 2013 Grawemeyer Award for Music Composition for his multimedia work Up-Close.

In 2007 the Royal Concertgebouw Orchestra commissioned the song cycle Spaces of Blank, and since 2011 he has been a ‘house composer’ with the orchestra. This association that will lead to several major new works, including a violin concerto for Janine Jansen. Over the last few years he has also developed strong ties with the Barbican Centre, with performances of After Life and Up-Close, which led to the premiere of Sunken Garden in April 2013.

In 2010 he launched Disquiet Media, an independent multimedia label for his own work, and in 2012 developed Disquiet TV, an online virtual auditorium for contemporary music events.

 

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 FALL 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: TBD

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

Lighting Designer: TBD

Wig and Make-up Designer: TBD

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: TBD

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.

Free Event! Composing Conversations Featuring Michel van der Aa

by Celeste Hart

THE DALLAS OPERA IS PROUD TO PRESENT

European Composer/Technologist Michel van der Aa

and The Dallas Opera’s General Director and CEO Keith Cerny in

COMPOSING CONVERSATIONS 

Thursday, November 17, 6:30 p.m.

Studio Movie Grill – Dallas, Royal Lane

 ~~~~ 

An Extraordinary Conversation and a Kaleidoscopic Taste of the Composer’s Approach to Musical Storytelling

To RSVP or For More Information Visit www.dallasopera.org/composing

            DALLAS, TX, NOVEMBER 11, 2016 – For an insightful window into the innovative approach of pioneering European composer and technologist Michel van der Aa, The Dallas Opera invites the public to a free event “Composing Conversations.” Keith Cerny, the Kern Wildenthal General Director and CEO of The Dallas Opera, will present the extraordinary discussion, where audiences can also expect an exciting announcement regarding a new collaboration with the composer.

            The intimate setting of the Studio Movie Grill, 11170 N. Central Expressway, (Dallas location, near Royal Lane) is the location for this unique program on Thursday, November 17, 2016, at 6:30 p.m. Doors open at 6:00 p.m.; seating is general admission.

Michel van der Aa  (Photo: Marco Borggreve)

Michel van der Aa Photo by: Marco Borggreve

            Michel van der Aa is known for combining musical theater and multimedia in often-astonishing ways, as demonstrated in excerpts from his critically acclaimed Sunken Garden, The Book of Sand, and Black Out (which premiered in this year’s Forward Festival, presented by Dutch National Opera). 
            He has been described as “one of the most distinctive of the younger composers in Europe today. His ability to fuse music, text and visual images into a totally organic whole, sets him apart from nearly all his contemporaries. (Andrew Clements, The Guardian)

            Composing Conversations is an ongoing discussions series featuring some of the most noteworthy international composers. The Dallas Opera presents this programming to showcase all types of opera composers, from grand opera to chamber. This series is intended to introduce some of these great talents to the public and to potentially ignite interest in new operatic works.

            Studio Movie Grill offers friendly service at the push of a button and patrons may order and purchase selections from its American Grill Menu. Over 60 premium spirits are available at the bar.

BIOGRAPHY – Michel van der Aa

Michel van der Aa (Netherlands, 1970) is a truly multidisciplinary figure in contemporary music. A unique voice, he combines composition with film and stage direction, and script writing. Classical instruments, voices, electronic sound, actors, theatre and video are all seamless extensions of his musical vocabulary.

Before studying composition (with Diderik Wagenaar, Gilius van Bergeijk and Louis Andriessen), Van der Aa trained first as a recording engineer at the Royal Conservatory in The Hague. In 2002 he broadened his skills with studies in film direction, at the New York Film Academy, and in 2007 he participated in the Lincoln Center Theater Director’s Lab, an intensive course in stage direction.

Van der Aa’s musical materials are hard to tease apart, constantly switching between stasis and high energy, concrete and abstract, acoustic and electronic, ‘pure’ and processed, brand new and half-remembered. Many of them are as visual as they are aural. The possibilities of digital and audio- visual technology often feature, not as a surface gloss to his work but at the core of his artistic outlook.

            For more information, visit www.dallasopera.org/composing or consult the friendly staff in the Ticket Office at 214-443-1000.

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Tickets Still Available for FIRST NIGHT – Exciting Season Opening Events!

by Celeste Hart

Elegant Opening Night Dinner and After Party with the Cast
Featuring the Hunter Sullivan Big Band

Presented by Deutsche Bank Wealth Management

Opening Weekend Sponsor
The Eugene McDermott Foundation

DALLAS, TX, OCTOBER 17, 2016 – Tickets are available for The Dallas Opera Season Opening event FIRST NIGHT, part of the exciting kick-off festivities of the company’s 60th Year.           

The evening begins with a red carpet entrance outside the Margot and Bill Winspear Opera House on Friday, October 28, 2016 beginning at 5:30 p.m. The elegant Pre-Performance Dinner, which starts at 6:00 p.m. will take place in a lovely tent in Sammons Park and culinary genius Wolfgang Puck will cater the fete.

The ambiance of the black-tie Pre-Performance Dinner will be inspired by the lush and passionate opera by Pyotr I. Tchaikovsky, EUGENE ONEGIN. Tables for the dinner range from $25,000 to $7,500 with individual tickets available for $1,000. All dinner tickets include After Party tickets. Please visit www.dallasopera.org/firstnight to purchase tickets.

The Linda and Mitch Hart Season Opening Night Performance of EUGENE ONEGIN, by Tchaikovsky, begins at 8:00 p.m. in the Winspear Opera House. Featuring a magnificent international cast, the compelling opera tells the tale of an arrogant aristocrat who squanders love and friendship, and lives to regret his choices. Critically acclaimed conductor, Emmanuel Villaume, the Mrs. Eugene McDermott Music Director will lead The Dallas Opera Orchestra. Tickets for the opera are sold separately with prices ranging from $19-$275, and are available at www.dallasopera.org.

The celebrations continue with the FIRST NIGHT After Party with the cast from 11:00 p.m. to 1:30 a.m. A perfect finish to the evening, it offers a fun opportunity to mingle with the performers while enjoying the fabulous entertainment of the Hunter Sullivan Big Band. A very popular group in Dallas, it specializes in danceable Big Band classics. Wolfgang Puck Sweet & Savory will cater offering delectable noshes, desserts, coffee and specialty cocktails.

THE WINSPEAR FAMILY: L-R Erika and Frank Winspear, Don and Ellen Winspear, Ryan and Catherine Winspear; FIRST NIGHT 2015 -- Photo by Lara Bierner

 

 

Devoted philanthropists Ellen and Don Winspear chair the festivities and Joyce and Harvey Mitchell are Honorary Chairs. The Presenting Sponsor is Deutsche Bank Wealth Management. The Pre-Performance Dinner is chaired by Matrice Ellis-Kirk and Ambassador Ron Kirk.

The Margot and Bill Winspear Opera House is located in the heart of the Arts District at 2403 Flora Street, Dallas, TX 75201.

“Deutsche Bank has always been an engaged partner in support of the arts community in Dallas,” said Mark LaRoe, Head of Dallas Private Bank office Deutsche Bank Wealth Management. “On a personal note, FIRST NIGHT at The Dallas Opera is one of the highlights of the year for Dianne and me.”

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The Dallas Opera Family Performances are generously supported by Texas Instruments and the Betty and Steve Suellentrop Educational and Outreach Fund, with additional support from Lockheed Martin, Kimberly-Clark, and Holly Energy Partners.

TDO Family Performances are a part of the

Perot Foundation Education and Community Outreach Programs.

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EVENTS, GUESTS AND ARTISTS ARE SUBJECT TO CHANGE

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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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 described.  Single Tickets range from $19 to $275 and will be available July 11, 2016.  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 2016-2017 FALL 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.

 

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*

Revival Director: Regina Alexandrovskaya*

Set Designer: Alexander Lisiyansky*

Costume Designer: Maria Chiara Donato*

Lighting Designer: Laurent Castaingt*

Choreographer: Cooky Chiapalone*

Wig & Make-up Designer: Dawn Rivard

Chorus Master: Alexander Rom

Starring: Andrei Bondarenko (Eugene Onegin), Svetlana Aksenova** (Tatyana), Stephen Costello (Lensky), Kai Rüütel** (Olga), Mikhail Kazakov (Prince Gremin), Jeanne-Michèle Charbonnet (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: Dawn Rivard

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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Back by Popular Demand – Moby-Dick!

by Celeste Hart

Jake Heggie and Gene Scheer’s 2010 Masterpiece

Returns to the Company That Commissioned the Opera

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OPENING FRIDAY, NOV. 4, 2016

Curtain Time, 7:30 p.m.

The Margot and Bill Winspear Opera House

At The AT&T Performing Arts Center

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Additional Performances Nov. 6(m), 9, 12, 18 & 20(m)

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With Generous Support From

The Carol Franc Buck Foundation

And the National Endowment for the Arts

DALLAS, OCTOBER 7, 2016 – The Dallas Opera is very proud to present the eagerly anticipated revival of an historic Dallas Opera production: Jake Heggie and Gene Scheer’s critically acclaimed twenty-first century masterpiece: MOBY-DICK, starring world-renowned heldentenor Jay Hunter Morris as Captain Ahab.

The production will open with the Rosemary and Roger Enrico Foundation Performance on Friday, November 4, 2016 at 7:30 p.m. in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center (2403 Flora St. in the Dallas Arts District).  Ticket prices start at just $19 (call 214.443.1000 or visit dallasopera.org).

Moby-Dick set a new standard for contemporary opera when it first took North Texas audiences by storm in 2010.  This revival of the universally acclaimed original production incorporates an epic set design by Robert Brill, stunning video projections by Elaine J. McCarthy, and period-authentic costumes designed by Jane Greenwood with lighting by Gavan Swift.

Heggie’s sweeping, neo-Romantic score will be performed by The Dallas Opera Orchestra and The Dallas Opera Chorus, as well as a host of international stars.

“This is a proud moment for the company.  Besides the exciting opportunity to showcase Texas tenor, Jay Hunter Morris, in one of his very favorite roles,” explains Keith Cerny, the Kern Wildenthal General Director and CEO, “it’s a special thrill to bring Jake Heggie and Gene Scheer’s masterpiece back to the Winspear Opera House stage, where this opera was born.

“Having just come to Texas six years ago as the general director and CEO, I will never forget the tremendous response from Dallas Opera audiences to this world premiere.  Clearly, music critics and patrons alike were enthralled; from Jake’s Prelude, accompanied by Elaine McCarthy’s morphing projections of a star field, to the poignant final notes of this stunning production.

“I consider Moby-Dick one of the finest operas of the past thirty years,” Mr. Cerny adds.  “For all these reasons, and more, I was determined to revive this production for North Texas audiences to enjoy – at least one more time.”

The Dallas Opera’s Moby-Dick is presented with generous support from The Carol Franc Buck Foundation and the National Endowment for the Arts

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Mrs. Eugene McDermott Music Director Emmanuel Villaume, who conducts this revival, recently earned rave reviews for his podium artistry at this summer’s Santa Fe Opera Festival.  Maestro Villaume, conducting La fanciulla del West, was praised by Opera Warhorses for giving audiences “a passionate, rousing performance with a melodramatic sweep that suggested a deep appreciation by Villaume of Puccini’s score.”

Heidi Waleson of The Wall Street Journal noted that “Emmanuel Villaume conducted with sweep and urgency.”

His work at The Dallas Opera last season inspired Scott Cantrell of The Dallas Morning News to write that “Villaume does an impressive job of coordinating both singers and orchestra in some very complicated music.” 

“Keith Cerny and I are excited to program works that patrons have longed to experience just as much as we do. My energies are devoted to sharing this most relevant and revealing of art forms with North Texas and all the world,” explains Maestro Villaume.

“We invite everyone to join us in the magnificent Winspear Opera House, to experience the musicianship and incomparable artistry that can only be fully appreciated in an outstanding live performance.”

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MOBY-DICK, a production by Leonard Foglia originally commissioned and produced by The Dallas Opera, “opened in a blaze of glory” in 2010.  In the years since, it has been met with thunderous applause and critical acclaim in ports of call all around the world.

Composer Jake Heggie and librettist Gene Scheer based their work on Herman Melville’s sprawling, epic tale of Captain Ahab’s obsession with a great white whale—and the destruction it brings upon his crew.  The opera splendidly illustrates the danger, tensions, and exhilaration of life aboard a 19th century whaling ship, as shipmates battle the harsh forces of nature in addition to Ahab’s brewing madness.

“The creation of Moby-Dick remains so incredibly vivid, fresh and joyful to me that it’s almost impossible to believe it has been six and a half years since The Dallas Opera premiere. It was easily one of the most meaningful and exciting times in my life. The joyful and adventurous spirit in the company and the community was inspiring,” writes composer Jake Heggie.  

The result of our combined work was more than we could ever have imagined: an immense success for the company, and a powerful new American opera that has since traveled to Australia, Canada and across the USA. The memorable East Coast premiere was at the Kennedy Center in Washington, D.C. with several Supreme Court justices in attendance. Moby-Dick will soon be on its way to Europe, as well. A DVD was made at the San Francisco Opera and the production was telecast nationally on PBS as a featured part of Great Performances’ 40th Anniversary Season.

“Friends, this is truly rare for a new American opera!!

Moby-Dicks return to Dallas is no less remarkable, for it is rare indeed that a new opera returns this soon to its company of origin (i.e. Dead Man Walking has yet to return to the San Francisco Opera since its premiere 16 years ago). But soon we will see Ahab, Starbuck, Greenhorn, Queequeg and the crew of the Pequod return home to the great Winspear Opera House in the original magical, breathtaking production by Leonard Foglia, Robert Brill, Elaine McCarthy and all. Another milestone in the life of an American opera that Dallas can truly claim as its own,” adds Mr. Heggie. 

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George Loomis of the Financial Times (U.K.) raved that audiences “…can warm to Heggie’s musically lush, aptly proportioned and forthrightly tonal score (which) also boasts striking melodies, vivid atmospheric scenes and vocal lines capable of showing off voices.”

Texas-born Tenor Jay Hunter Morris will star in the role of Captain Ahab, which has become a signature role for the Dallas Opera favorite. Hailed as a force of nature in his portrayal, “…he sang with pressurized fury that practically shook the seats of the…Opera House,” exclaimed Richard Scheinin of the San Jose Mercury News.

“Enduring three hours strapped into a peg leg, Morris sang the heldentenor role with the dramatic intensity of a man possessed, tempered by the character of a stoic New Englander.  It was an admirable interpretation,” wrote Jane Rosenberg of Seen and Heard International.

The Marnie and Kern Wildenthal Principal Artist, Stephen Costello, “bright-toned, sympathetic” returns to The Dallas Opera to reprise his role as Greenhorn. David Patrick Stearns of Gramophone (U.K.) reviewed the tenor’s poignant performance on the San Francisco Opera DVD; “Singing with more ease and richness of tone than anytime previously, Stephen Costello (Greenhorn) projects a sense of profound personal revelation in the final moments when, rescued at sea, he owns his own name (‘Call me Ishmael’).

Baritone Morgan Smith also reprises his role as Starbuck for which he earned unanimous critical acclaim. Joshua Kosman of the San Francisco Chronicle touted his performance as joining “vocal splendor, moral authority and deep empathy in a phenomenal combination.”

Scott Cantrell of The Dallas Morning News also singled out his portrayal for special praise: “Morgan Smith’s strong, dense baritone perfectly suits the sturdy Quaker Starbuck.”

Making his Dallas Opera debut is up-and-coming South African bass-baritone, Musa Ngqungwana, made possible with support from The Charron and Peter Denker Rising Stars Endowment Fund. Maria Nockin of Opera Today wrote Mr. Ngqungwana portrayed “an intense, commanding Queequeg whose musings showed the spiritual side of the voyage.”

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MOBY-DICK was originally directed in 2010 by Leonard Foglia, who later staged the critically acclaimed 2015 world premiere of Joby Talbot and Gene Scheer’s Everest. According to Heidi Waleson of The Wall Street Journal, Mr. Foglia’s “staging brilliantly captured the immediacy and peril of the piece.”  Keturah Stickann, who also worked on the original 2010 production, will direct the 2016 revival of Mr. Foglia’s landmark production.

“It is particularly gratifying to bring Moby-Dick back to The Dallas Opera,” writes librettist Gene Scheer.

“Jake and I worked on the piece for about two-and-a-half years before handing it over to the gifted artists who would interpret our work.

“One never quite knows what one has—until a piece is being performed before an audience.  Opening night of Moby-Dick (the world premiere in 2010) is something I’ll never forget.

“About 90 minutes before the curtain went up, I went into the Winspear Opera House with little gifts for the production team, working intently at the production table on the lighting for Act Two.  The challenges were formidable, the clock was ticking, and everyone was completely focused on using every possible moment to realize our collective vision for the piece.

“I walked behind director Leonard Foglia, lighting designer Don Holder, set designer Robert Brill, and projections designer Elaine McCarthy—leaving a little gift with each one.  To this day, I doubt they knew where those gifts came from, since they were completely focused on the stage (and only the stage!).

Moby-Dick was embraced and supported in a stunning fashion by the people working at The Dallas Opera.  It is a particular pleasure to have the piece return to the place where it began, not only to celebrate the success of this opera, but to celebrate the incredible effort and dedication of all those who made it possible.”

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Sung in English, with English language translations projected above the stage, MOBY-DICK can be experienced at any of five additional performances: November 6(m), 9, 12, 18 & 20(m), 2016 in the Winspear Opera House with tickets starting at just $19.  Tickets may be purchased online, 24/7, at www.dallasopera.org or by contacting the friendly professionals in The Dallas Opera Ticket Services Office at 214.443.1000.

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EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

ADDITIONAL INFORMATION IS CONVENIENTLY AVAILABLE ONLINE, 24/7

VISIT WWW.DALLASOPERA.ORG AND CHECK THE CALENDAR LISTINGS

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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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Season Opening Excitement – Tchaikovsky’s Treasure Eugene Onegin!

by Celeste Hart

THE DALLAS OPERA IS PROUD TO PRESENT

TCHAIKOVSKY’S 1879 MASTERPIECE!

EUGENE ONEGIN

CONDUCTED BY MUSIC DIRECTOR

EMMANUEL VILLAUME

Starring Baritone Andrei Bondarenko as Onegin

Soprano Svetlana Aksenova in her American Debut as Tatyana

 

THE LINDA AND MITCH HART 

SEASON OPENING NIGHT PERFORMANCE

Friday, October 28, 2016 at 8:00 p.m.

The Margot and Bill Winspear Opera House

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Opening Weekend Sponsor

The Eugene McDermott Foundation

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TICKETS ON SALE NOW!

STARTING AT $19

dallasopera.org or 214-443-1000

         

DALLAS, TX, SEPTEMBER 30, 2016 – Celebrating its 60th Year, the grand passions and lush melodies of Pyotr I. Tchaikovsky’s EUGENE ONEGIN open The Dallas Opera’s exciting 2016-2017 Season. 

The Linda and Mitch Hart Season Opening Night Performance features an international all-star cast in this bittersweet story about love, pride and, ultimately, regrets.

The festivities begin on Friday, October 28, 2016 with The Dallas Opera’s FIRST NIGHT, centered on the performance of Tchaikovsky’s 1879 masterpiece (curtain time, 8:00 p.m.).

Opening weekend is generously sponsored this year by The Eugene McDermott Foundation.

Additional performances of ONEGIN are scheduled for October 30 (Sunday, 2:00 p.m. matinee), November 2 and 5, at 7:30 p.m. in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center.

 Tchaikovsky is known throughout the world for his popular compositions which include the ballets The Nutcracker Suite, The Sleeping Beauty, and Swan Lake; his rousing 1812 Overture (featured at many Independence Day celebrations); and Romeo and Juliet (an orchestral piece).  Each of these works reflects his deeply felt Russian Romanticism; a natural and elegant gift for melody; and rich, sweeping orchestrations.

Eugene Onegin - The Dallas Opera marketing image - no photo creditThis much-loved opera is closely based on Russian poet Alexander Pushkin’s early nineteenth-century novel in verse, published in installments between 1825 and 1832. Born into Russian nobility, the man credited with writing the first works in Modern Russian Literature lived a life not unlike his fictional creations, even dying at the age of 37 in a duel with a French officer.

EUGENE ONEGIN will showcase the Dallas Opera Orchestra conducted by internationally renowned Emmanuel Villaume, the Mrs. Eugene McDermott Music Director, with magnificent Ukranian baritone Andrei Bondarenko in the title role. Jean-Claude Auvray’s original production will receive revival staging by Regina Alexandrovskaya in this production from Israeli Opera Tel Aviv-Jaffa.

“As we program each season, we strive to offer a variety of operas – reflecting a range of time periods, sung languages and compositional styles -- including well-known operas such as Eugene Onegin. The depth of talent in our cast, orchestra, chorus, and production team are certain to create a spectacular experience for our patrons. We hope audience members will join us for this beautiful and moving production from Tel Aviv,” said Keith Cerny, the Kern Wildenthal General Director and CEO.

Set in 19th century Russia, a naïve young country girl, Tatyana (soprano Svetlana Aksenova in her American debut), becomes smitten with an aristocrat, Eugene Onegin. She  confesses her love in a letter to the arrogant Onegin (sung by baritone Andrei Bondarenko) who rejects her affections. Pride and jealousy lead to a confrontation between Onegin and his friend Lensky (Stephen Costello), who is in love with Tatyana’s sister Olga (Kai Rüütel). Heated words escalate to a fatal duel. Years later, Onegin, attending a prominent ball alone, reflects on the emptiness of his life and his many regrets. He is captivated when a regal beauty enters the ball—it is Tatyana! Now it is Onegin who appears obsessed with the woman whose love he had scorned.

Eugene Onegin is one of the great Tchaikovsky masterpieces from a compositional viewpoint and he is said to have written the work with ‘sincere passion.’ To interpret and conduct this poignant and romantic piece will be very exciting. I hope patrons will also find it inspiring!” said Conductor Emmanuel Villaume.

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The FIRST NIGHT festivities on Opening Night, chaired by Ellen and Don Winspear, begin with a red carpet entrance outside the Winspear Opera House, beginning at 5:30 p.m.  Sammons Park is the setting for the elegant Pre-Performance Dinner, starting at 6:00 p.m. Culinary genius Wolfgang Puck will cater the event chaired by Matrice Ellis-Kirk and Ambassador Ron Kirk.

The celebrations continue after the opera with the FIRST NIGHT After Party with the cast from 11:00 p.m. until 1:30 a.m.  Tickets for FIRST NIGHT are sold separately from opera tickets and more information is available at www.dallasopera.org/firstnight.

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Andrei Bondarenko, who made his exciting American debut as Robert in Dallas Opera’s eye-opening 2015 production of Iolanta, returns in the title role.

“Andrei Bondarenko, is perfect for the role of Onegin…with such allure as to make clear why such a ripe and ready girl as Tatyana would fall so helplessly in love,” wrote Melanie Eskenaziof musicOMH. He is the winner of the prestigious 2011 BBC Cardiff Singer of the World Competition Song Prize. Upcoming performances include roles with Deutsche Oper Berlin, Bayerische Staatsoper, Scottish Opera, and Opernhaus Zurich.

Svetlana Aksenova, a native of St. Petersburg, Russia, stars in the pivotal role of Tatyana, in her eagerly-anticipated American debut. Ms. Aksenova is a member of the ensemble of the Basel Theatre and performed at such theaters as the Dortmund Opera House, Dutch National Opera, and Deutsche Oper Berlin.  Her roles last season included Emma in Mussorgsky’s  Khovanshchina, Lisa in Pique Dame at Dutch National Opera in Amsterdam, and Cio-Cio San in Madama Butterfly at the Royal Swedish Opera, Filarmonica de Jalisco, and Festival di Caracalla in Rome.

“The care with the interpretation of the text, from which you can extract contrasting and rare beauty effects, was the mark of…(Tatyana) Svetlana Aksenova.” (Estadao)

 Tenor Stephen Costello, the Marnie and Kern Wildenthal Principal Artist, will portray Lenksy in his seventh mainstage appearance with The Dallas Opera.

Opera News sums up his many gifts saying, “A first-class talent…an intelligent, well-trained singer whose enormous talent and natural musical instincts mark him for potential greatness.” Last spring he starred in The Dallas Opera’s Manon to rave reviews as the smitten des Grieux. He will also reprise the role of Greenhorn in TDO’s November production of Moby-Dick.

Mezzo-soprano Kai Rüütel of Estonia makes her Dallas Opera and American debut as Olga, Tatyana’s sister.

“…Kai Rüütel is evidently a highly musical and truly dramatic mature artist,” observed Musical Criticism. Of her performance for the University of London Symphony Orchestra in Gustav Mahler’s “Rückert-Leider,” according to Seen and Heard International, the statuesque Rüütel performed with “warmth, dramatic conviction and a pleasing hint of sensuality.”

This production also marks the long-awaited return of Russian bass Mikhail Kazakov, who made a stunning 2011 company debut in the title role of Boris Godunov

Dallas Morning News Classical Music Critic Scott Cantrell enthused that Kazakov’s Boris produced “thrilling sounds to paste you against the seatback, but also every nuance of expressivity.”  In Onegin, Mr. Kazakov will sing the role of Prince Gremin.

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Music Director Emmanuel Villaume received several glowing reviews while conducting Santa Fe Opera’s production of La Fanciulla del West.

According to Opera Today, “Best for last: the Santa Fe Opera orchestra was in absolutely superb form. From the first hammered chords, Emmanuel Villaume was firmly, thrillingly in charge of a reading that was stunning from initial downbeat to finale cut-off. The Maestro was a cunning Pied Piper, leading his amassed forces with meticulous dramatic intent and unfaltering attention to detail, whether nurturing articulate solo statements, or guiding lush ensembles (oh, those gorgeous tutti strings!). Under Villaume, the band and cast rose to meet every atmospheric requirement that Puccini (and Puccinians) could dare to wish.”

French Stage Director Jean-Claude Auvray has directed operas for close to 50 years in all the leading opera houses around the world including Paris, Barcelona, Marseille, Orange, London, Avignon, and many others. Most recently he directed Cavalleria rusticana (Mascagni),  Pagliacci (Leoncavallo), Un ballo in mascheraLa forza del destino (Verdi), Le nozze di Figaro and Die Zauberflöte (Mozart), Peter Grimes (Britten), Fidelio (Beethoven), L’Africaine (Meyerbeer), and many others.

Russian Regina Alexandrovskaya is the production’s revival Stage Director whose operatic directorial credits include Antony and Cleopatra by Samuel Barber, The Beggar’s Opera by John Gay, and Moon Wolves by Andrey Semenov at the MTYA Theatre. She has worked at the Israeli Opera house in Tel Aviv on various productions since 1999, amongst them: Don PasqualePique DameLa JuiveRigolettoCarmenElektraAlpha & OmegaBilly BuddOtelloLa TraviataEugene OneginAndrea ChenierAïda , Madama Butterfly, Nabucco, FalstaffCosi fan tutteBoris Godunov, and many others. She has worked with opera directors Jean-Claude Auvray, David Pountney, David Alden, and Mariusz Trelinski.

The production is choreographed by Cooky Chiapalone and The Dallas Opera Chorus will be prepared by acclaimed Chorus Master Alexander Rom.

All performances take place in the Margot and Bill Winspear Opera House located in the heart of the Dallas Arts District at 2403 Flora St., Dallas TX 75201. 

The Joy and Ronald Mankoff Pre-Opera Talks, a free, pre-performance lecture, will be conducted one hour prior to curtain at most performances. More perspective can be gained through “Opera Insights” presented by The Dallas Opera Guild. The informative panel discussion featuring artists, directors and designers, takes place the Sunday afternoon prior to opening. For more details, visit dallasopera.org.

Single tickets, starting at just $19, are on sale now, with seating subject to availability. Tickets may be purchased online, at the door, at the ticket office, or by calling 214.443.1000. Subscriptions for the five opera season start at $95, and flex subscriptions (three opera productions) start at $75 and are available now at www.dallasopera.org.

For more information, consult the friendly staff in the Ticket Office at 214-443-1000 or visit us online at www.dallasopera.org.

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The Dallas Opera Family Performances are generously supported by Texas Instruments and the Betty and Steve Suellentrop Educational and Outreach Fund, with additional support from Lockheed Martin, Kimberly-Clark, and Holly Energy Partners.

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

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EVENTS, GUESTS AND ARTISTS ARE SUBJECT TO CHANGE

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

~~~~

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 described.  Single Tickets range from $19 to $275 and will be available July 11, 2016.  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.

FREE SIMULCAST OF THE MAGNIFICENT PRODUCTION OF MOBY-DICK!

by Celeste Hart

THE DALLAS OPERA IS PROUD TO PRESENT ITS FOURTEENTH

FREE LIVE SIMULCAST -- IN TWO LOCATIONS!

MOBY-DICK

Jake Heggie and Gene Scheer’s 2010 Masterpiece

Returns as a High-Definition Adventure

For Audiences in Klyde Warren Park (Dallas)

And Kay Yeager Coliseum (Wichita Falls)

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FRIDAY, NOV. 4, 2016

Curtain Time, 7:30 p.m.

Live from the Margot and Bill Winspear Opera House

At The AT&T Performing Arts Center

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Pre-Performance Entertainment includes the 1948

Warner Bros. Classic Cartoon: “Buccaneer Bunny”

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Support for “MOBY-DICK: The Simulcast” from

The AT&T Performing Arts Center

And The Priddy Foundation

DALLAS, SEPTEMBER 26, 2016 – The Dallas Opera is thrilled to announce the fourteenth in a series of free public simulcasts, this time involving a game-changing Dallas Opera production: Jake Heggie and Gene Scheer’s critically acclaimed twenty-first century masterpiece: MOBY-DICK, starring world-renowned heldentenor Jay Hunter Morris as Captain Ahab.

The special simulcast presentation in Dallas and Wichita Falls, Texas, will coincide with opening night of the production on Friday, November 4, 2016 (program begins at 6:30 p.m., curtain time, 7:30 p.m.). Patrons across North Texas will have two simulcast venues to choose from:

  • The Greater Dallas Simulcast will be held at Klyde Warren Park, located at 2012 Woodall Rodgers Freeway, Dallas, TX 75201. Sign up today for reminders at dallasopera.org/simulcast.  This is a free, public space and no reservations of any kind are required to attend.
  • The “Opera in the Falls” Simulcast will take place in Kay Yeager Coliseum, 1000 5th Street, Wichita Falls, TX 76301. Sign up today at dallasopera.org/operainthefalls.  Presenting Sponsor, The Priddy Foundation.

This superb, action-packed opera will originate from the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center and will be presented on high-definition LED screens.  There is no charge for admission to either venue.

Moby-Dick set a new standard for contemporary opera when it first took audiences by storm in 2010.  The original production incorporates an epic set design by Robert Brill, stunning video projections by Elaine J. McCarthy, and period-authentic costumes designed by Jane Greenwood with lighting by Gavan Swift.

Heggie’s sweeping, neo-Romantic score will be performed by The Dallas Opera Orchestra and The Dallas Opera Chorus, as well as internationally acclaimed singers conducted by the Mrs. Eugene McDermott Music Director Emmanuel Villaume.

The simulcast itself will be produced by The Dallas Opera and hosted from Klyde Warren Park by KLUV’S Jody Dean and Kristian Roberts, Education Program Senior Manager for The Dallas Opera.

The Wichita Falls Simulcast will be hosted locally by KFDX 3 News Anchor Gwyn Bevel.

Support for The Dallas Opera’s Moby-Dick Simulcast is generously provided by the AT&T Performing Arts Center and The Priddy Foundation (the Presenting Sponsor for the Wichita Falls Moby-Dick Simulcast).

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Something new will be added to the mix this fall: The Dallas Opera Arts Reach Committee (headed by Maile Shea) will host a Family Activity Zone at Klyde Warren Park from 4:30 p.m. until 6:30 p.m. that same day.  Fun-filled activities for the kiddos will include

  • A “Show and Tell” session featuring actual props from the Dallas Opera production of Moby-Dick
  • A scavenger hunt in the park
  • A Moby-Dick-inspired photo opportunity
  • Additional educational activities and crafts

The pre-performance festivities (beginning at 6:30 p.m.) will include opportunities for trivia lovers to win prizes, as well as a special screening of the hilarious 1948 Warner Brothers cartoon “Buccaneer Bunny,” directed by Fritz Freleng and pitting a cheerfully cheeky Bugs Bunny (“What a maroon!”) against frustrated Pirate (Yosemite) Sam.

The cartoon begins on a remote island where the pirate is attempting to bury his treasure. Bugs, in a rabbit hole nearby, preens with jewels from the cache, prompting Pirate Sam to warn him that “Dead rabbits tell no tales.”

From there, the action leaps aboard the anchored pirate ship – and the inevitable chase is on!

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 The November 4th Dallas/Wichita Falls simulcasts will mark the fourteenth free public simulcast in TDO’s ongoing series—as well as the company’s first simulcast in Wichita Falls!

Wichita Falls Mayor Glenn Barham says his city “has a lot of good things happening…A live simulcast of Moby-Dick will be a great opportunity for many in our community to see exactly what the arts offer.

“We are looking forward to this simulcast and will be on the front row—if the seats are available.”

“Since launching The Dallas Opera’s free simulcast program six years ago, with support from The Dallas Opera Board and our union partners,” notes Keith Cerny, the Kern Wildenthal General Director and CEO, “it has proven to be one of our most significant innovations, attracting tens of thousands to experience opera in many different cities and venues—in an entirely different way.  For first-time opera-goers, this event is a real eye opener!

“And what a thrill to see The Dallas Opera simulcasts evolving into a popular North Texas tradition!  These days, I’m asked by people from all walks of life, when we plan to host our next simulcast.  It’s especially gratifying to be able to present a revival of this extraordinary Dallas Opera world premiere production—with the phenomenal Jay Hunter Morris as Ahab, renowned artists like Stephen Costello and Morgan Smith who created these roles in 2010, and a few new twists!”

“Audiences in both cities,” Cerny adds, “can expect an unforgettable theatrical experience from this powerful twenty-first-century classic with its all-star cast.” 

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Klyde Warren Park Simulcast - SM - Photo by Karen Almond (640x427)

KLYDE WARREN PARK Simulcast audience enjoys fabulous opera on the big screen! (Photo by Karen Almond)

The public is encouraged to arrive early to secure their spot on the lawn and take advantage of the variety of available wining-and-dining options ranging from Savor, serving New American cuisine and classic cocktails and desserts in a modern on-site “gastropub,” to other nearby eateries and food trucks.  Those interested in attending are advised to mark their calendars and stand up to be counted at www.dallasopera.org/simulcast/.

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Music Director Emmanuel Villaume, who conducts this revival, recently earned rave reviews for his podium artistry at this summer’s Santa Fe Opera Festival.  Maestro Villaume, conducting La fanciulla del West, was praised by Opera Warhorses for giving audiences “a passionate, rousing performance with a melodramatic sweep that suggested a deep appreciation by Villaume of Puccini’s score.”

Heidi Waleson of The Wall Street Journal noted that “Emmanuel Villaume conducted with sweep and urgency.”

His work at The Dallas Opera last season inspired Scott Cantrell of The Dallas Morning News to write that “Villaume does an impressive job of coordinating both singers and orchestra in some very complicated music.”

“Keith Cerny and I are excited to program works that patrons have longed to experience just as much as we do. My energies are devoted to sharing this most relevant and revealing of art forms with North Texas and all the world,” explains Maestro Villaume.

“We invite everyone to join us in Klyde Warren Park, Kay Yeager Coliseum in Wichita Falls, and—of course—the magnificent Winspear Opera House, to experience the musicianship and incomparable artistry that can only be fully appreciated in an outstanding live performance.”

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MOBY-DICK, a production by Leonard Foglia originally commissioned and produced by The Dallas Opera, “opened in a blaze of glory” in 2010.  In the years since, it has been met with thunderous applause and critical acclaim in ports of call around the world.

Composer Jake Heggie and librettist Gene Scheer based their work on Herman Melville’s epic tale of Captain Ahab’s obsession with a great white whale—and the destruction it brings upon his crew.  The opera splendidly illustrates the danger, tensions, and exhilaration of life aboard a 19th century whaling ship, as shipmates battle the harsh forces of nature in addition to Ahab’s brewing madness.

George Loomis of the Financial Times (U.K.) raved that audiences “…can warm to Heggie’s musically lush, aptly proportioned and forthrightly tonal score (which) also boasts striking melodies, vivid atmospheric scenes and vocal lines capable of showing off voices.”

Texas-born Tenor Jay Hunter Morris will star in the role of Captain Ahab, which has become a signature role for the Dallas Opera favorite. Hailed as a force of nature in his portrayal, “…he sang with pressurized fury that practically shook the seats of the…Opera House,” exclaimed Richard Scheinin of the San Jose Mercury News.

“Enduring three hours strapped into a peg leg, Morris sang the heldentenor role with the dramatic intensity of a man possessed, tempered by the character of a stoic New Englander.  It was an admirable interpretation,” wrote Jane Rosenberg of Seen and Heard International.

The Marnie and Kern Wildenthal Principal Artist, Stephen Costello, “bright-toned, sympathetic” returns to The Dallas Opera to reprise his role as Greenhorn. David Patrick Stearns of Gramophone (U.K.) reviewed the tenor’s poignant performance on the San Francisco Opera DVD; “Singing with more ease and richness of tone than anytime previously, Stephen Costello (Greenhorn) projects a sense of profound personal revelation in the final moments when, rescued at sea, he owns his own name (‘Call me Ishmael’).

Baritone Morgan Smith also reprises his role as Starbuck for which he earned universal critical acclaim. Joshua Kosman of the San Francisco Chronicle touted his performance as joining “vocal splendor, moral authority and deep empathy in a phenomenal combination.”

Scott Cantrell of The Dallas Morning News also singled out his portrayal for special praise: “Morgan Smith’s strong, dense baritone perfectly suits the sturdy Quaker Starbuck.”

Making his Dallas Opera debut is up-and-coming South African bass-baritone, Musa Ngqungwana. Maria Nockin of Opera Today wrote Mr. Ngqungwana portrayed “an intense, commanding Queequeg whose musings showed the spiritual side of the voyage.”

 

MOBY-DICK was originally directed in 2010 by Leonard Foglia, who later staged the critically acclaimed 2015 world premiere of Joby Talbot and Gene Scheer’s Everest. According to Heidi Waleson of The Wall Street Journal, Mr. Foglia’s “staging brilliantly captured the immediacy and peril of the piece.”  Keturah Stickann, who also worked on the original 2010 production, will direct the 2016 revival of Mr. Foglia’s landmark production. 

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Sung in English, with English language translations projected above the stage, MOBY-DICK can be experienced at any of five additional performances: November 6(m), 9, 12, 18 & 20(m), 2016 in the Winspear Opera House with tickets starting at just $19.  Tickets may be purchased online, 24/7, at www.dallasopera.org or by contacting the friendly professionals in The Dallas Opera Ticket Services Office at 214.443.1000.

 

About Klyde Warren Park

Klyde Warren Park is a 5.2-acre deck park, bridging Uptown Dallas to Downtown Dallas. The park includes a performance pavilion, restaurant, dog park, children’s park, great lawn, shaded walking paths, water features, free Wi-Fi, ping pong and foosball tables, and a reading and games area. The mission of Klyde Warren Park is to provide free daily programs to all visitors. Klyde Warren Park is privately operated and managed by the Woodall Rodgers Park Foundation, a 501(c)(3) nonprofit organization. For more information on programming, volunteering or to make a donation to support free daily programs, please visit www.KlydeWarrenPark.org.

About Kay Yeager Coliseum

Kay Yeager Coliseum was completed in 2003 as the final addition to the Wichita Falls Multi-Purpose Events Center complex. This entertainment venue is the cornerstone of the complex featuring permanent seating for 6,500 people and a variety of set-up options for conventions, sporting events, concerts and more.  Kay Yeager Coliseum is home to the Wichita Falls Wildcats hockey team, as well as the site for events including Midwestern State University graduation ceremonies, Ranch Roundup and WWE Wrestling.  Other events include concerts from top-name entertainers like Cher, Miranda Lambert, and Papa Roach.  Kay Yeager Coliseum also includes an NBA-quality basketball floor, indoor soccer and football turf, locker rooms, training rooms and suites, as well as a state-of-the-art digital scoreboard.  For additional information, visit www.wfmpec.com.

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EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

ADDITIONAL INFORMATION IS CONVENIENTLY AVAILABLE ONLINE, 24/7

VISIT WWW.DALLASOPERA.ORG AND CHECK THE CA
LENDAR LISTINGS

 

EMERGING ARTISTS – APPLY NOW TO THE GUILD VOCAL COMPETITION!

by Celeste Hart

THE DALLAS OPERA GUILD VOCAL COMPETITION IS NOW ACCEPTING APPLICATIONS FROM ACCOMPLISHED, YOUNG AMERICAN SINGERS!

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Chaired by Dr. Brian Zeger

TDO Orchestra and Finalists Conducted by

Mrs. Eugene McDermott Music Director

Emmanuel Villaume

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Finals Round Scheduled for Sunday, April 30, 2017 at 7:30 p.m.

Margot and Bill Winspear Opera House

The AT&T Performing Arts Center, Dallas, Texas

 

DALLAS, TX -- The Dallas Opera is pleased to announce that applications for the expanded and updated Dallas Opera Guild Vocal Competition, scheduled to take place on Saturday, April 29, 2017 at 11:00 a.m. (the free Semi-Finals Round, open to the public) and Sunday, April 30, 2017 at 7:30 p.m. (Finals Round) are now being accepted.

Applications MUST be submitted via YAP Tracker, along with a $35 entry fee. Go to www.dallasopera.org/vocal for the link.  The deadline for applications is 11:59 p.m. (Central Time) on Sunday, November 20, 2016.

Those chosen by preliminary round judges to advance to the competition semifinals in the acoustically acclaimed Margot and Bill Winspear Opera House at the AT&T Performing Arts Center will be personally notified in mid-January 2017, with a public announcement to follow in early February.

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 may apply and will be considered on a case-by-case basis.

April 2016 Finalists: (L-R) Virginie Verrez, Alexandra Loutsion, Sol Jin, Kang Wang, Adam Lau, Daniel Miroslaw

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, 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.”  This year, the evolution continues:

  • 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 conservatoriesAlso 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 Spring 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.” 

Judges for the expanded 29th Annual Dallas Opera Guild Vocal Competition will be drawn from distinguished performers and opera administrators including Keith Cerny, The Dallas Opera’s Kern Wildenthal General Director & CEO and the Mrs. Eugene McDermott Music Director Emmanuel Villaume.

The Dallas Opera is very pleased to announce the return of renowned arts administrator, educator and adjudicator Dr. Brian Zeger as Chair of the Judges Panel for the 2017 Vocal Competition.  On the faculty of The Juilliard School since 1993 and Artistic Director of Vocal Arts at Juilliard since 2004, Dr. Zeger is also the former Executive Director of the Metropolitan Opera Lindemann Young Artist Development Program.

A prominent broadcast professional and frequent guest on the Metropolitan Opera radio broadcasts, Dr. Zeger has also contributed critical essays for publications such as Opera News, Chamber Music Magazine and The Yale Review.  He has participated in countless summer festivals: Ravinia, Santa Fe, Caramoor, Aldeburgh and Aspen, as well as the Cape Cod Chamber Music Festival where he served as artistic director from 1993-2000.  This native New Yorker has also adjudicated the Metropolitan Opera National Council Auditions, the Concert Artists Guild Auditions and the Walter W. Naumberg Vocal Competition.

Commented General Director & CEO Keith Cerny: “The Guild Competition took a bold step forward in recent years and the result has been tremendously gratifying!  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 successes. 

“Working closely with Dr. Brian Zeger, our esteemed adjudicators, and the Guild, 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 annual Spring Gala one of the most sought-after tickets in town.”

 

Judges for the 2017 Dallas Opera Guild Vocal Competition:

Brian Zeger, Chair

Artistic Director of Juilliard’s Marcus Institute for Vocal Arts

Keith Cerny

General Director and CEO, The Dallas Opera

Emmanuel Villaume

Music Director, The Dallas Opera

Andreas Melinat

Director of Artistic Planning, Lyric Opera of Chicago

Pal Moe

Casting Director Bavarian State Opera,

Casting Consultant to Glyndebourne Festival and Opera d’Lille

Joshua Winograde

Senior Director of Artistic Planning, Los Angeles Opera

Diane Zola

Director of Artistic Administration, Houston Grand Opera

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.”

ABOUT THE 2017 DALLAS OPERA GUILD VOCAL COMPETITION

Potential applicants are encouraged to check TDO’s website for more information about the application process: www.dallasopera.org/vocal.  The entry fee is $35.  Applications must be submitted exclusively through YAP Tracker — no later than 11:59 p.m. (Central Time) on Sunday, November 20, 2016.  Semi-Finalists will be notified by January 10, 2017.  Additional info can be obtained by contacting The Dallas Opera at vocalcompetition@dallasopera.org.

The Margot and Bill Winspear Opera House is conveniently located in the heart of the Arts District at 2403 Flora Street, Dallas, TX 75201.

HISTORY OF THE DALLAS OPERA GUILD VOCAL COMPETITION:

In February of 1987, then-Dallas Opera Guild Presidents Connie and Jerry Klemow proposed establishing a Guild-sponsored scholarship fund to financially assist qualified singers seeking a career in opera. With the approval of The Dallas Opera management and the enthusiastic support of Artistic Director Nicola Rescigno, a committee comprised of Pat Blankenship, Nora Sands and Maria Santarelli, chaired by Connie Klemow, was entrusted to formulate a plan. Soon, the committee welcomed the assistance of then-General Director Plato Karayanis, company dramaturg Roger Pines and Dallas Morning News Classical Music Critic John Ardoin.

Mr. Ardoin suggested a grants program be established in lieu of a scholarship fund or a competition. His suggestion was considered and the concept accepted. It was decided to focus on applicants from North Texas, ages 18-35 with some professional experience. Roger Pines named the program “The Career Development Grant for Singers” (CDGS) and after 20 months of planning the first CDGS program was presented on October 8, 1988 at SMU’s Caruth Auditorium. 

However, for any program to remain dynamic, change and growth must occur. During these past 27 years there have been many changes. From the initial grants program, the concept evolved into The Dallas Opera Guild Vocal Competition which, until 2014, was focused on vocalists with a Texas connection, both natives and temporary residents. A “People’s Choice Award” and Encouragement Awards were added and, today, financial awards are given directly to the winners to use at their discretion. Through this event, the Guild continues to recognize and honor members of The Dallas Opera community who have demonstrated a special interest in promoting the careers of talented young singers, or, have given exceptional support to The Dallas Opera and the Guild. Jonathan Pell, former Artistic Director of The Dallas Opera, led the Judge’s panel for the first 26 years.

The vocal competition was significantly reimagined and expanded in its 27th year, under the leadership of Dallas Opera General Director and CEO Keith Cerny, to allow applicants from all 50 states and U.S. Territories. Dr. Brian Zeger, Artistic Director of Juilliard’s Marcus Institute for Vocal Arts and former Executive Director for the Lindemann Young Artist Development Program of the Metropolitan Opera now chairs a judge’s panel that includes leading figures in American Opera administration and classical music.

The competition was expanded to take place over a two-day period. 2017 participants will be heard during Saturday’s semi-finals and the selected finalists will perform again Sunday evening, accompanied by The Dallas Opera Orchestra under the direction of the Mrs. Eugene McDermott Music Director Emmanuel Villaume. Both events are held in the Margot and Bill Winspear Opera House in the AT&T Performing Arts Center and, this year, for the very first time, the Finals Round will be incorporated into the company’s glamorous, annual Spring Gala.

The Dallas Opera Guild remains dedicated to its original commitment to recognize, honor and support exceptionally talented young singers. The distributed award monies are funded anew each year. Guild members graciously donate their time, energy, money and talents to ensure that this prestigious annual competition succeeds in cultivating the next generation of world-class artists.

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EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

ADDITIONAL INFORMATION ABOUT THE DALLAS OPERA

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

Supers or Extras Needed for Upcoming Production of Moby-Dick

by Celeste Hart

ATHLETIC, AGILE, ADVENTUROUS,

AND UNAFRAID OF HEIGHTS?

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OPEN CALL FOR SUPERNUMERARIES

FOR TDO’S FALL PRODUCTION OF

HEGGIE AND SCHEER’S MOBY-DICK

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MONDAY, OCTOBER 3, 7:30 p.m. at

The Dallas Opera Rehearsal Center

(Karayanis Rehearsal Production Center)

4301 S. Fitzhugh, Dallas, 75210

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Share the Winspear stage with opera’s best and brightest!

Respond by noon, October 1st by emailing mobydicksupers@dallasopera.org

DALLAS, SEPTEMBER 8, 2016 – Tired of being a “land-lubber”?  Looking for a little adventure on the high seas?  The Dallas Opera is seeking men of all ages and ethnicities to act as the crew of a nineteenth-century whaling vessel in the company’s eagerly anticipated production of Jake Heggie and Gene Scheer’s critically acclaimed masterpiece, Moby-Dick.

The production opens on Friday, November 4, 2016 for six performances in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center ending on November 20th.  Supernumeraries (opera’s fancy term for “extras”) must be able to participate in all six, as well as a modified rehearsal schedule.  No singing is required.

Specifically, the company is seeking men of any ethnic background who consider themselves:

  • Athletic, quick and agile
  • Team-spirited
  • Unafraid of heights (able to remain 30-40 feet up for prolonged periods)
  • Able to engage in a mock stage fight, with choreographed action

Additional points are awarded to experienced circus performers or acrobats, but such experience is not necessary to qualify. 

The company is actively seeking a racially diverse group of individuals to work alongside top opera stars from around the world.

For the sake of authenticity, all supers will be paid on a scale comparable to that of a nineteenth-century seaman.  On the bright side, they will also receive free tickets for proud family members and none will be expected to swab a deck – either fore or aft.

Those wishing to participate can attend an open call on Monday, October 3, 2016 at 7:30 p.m. at The Dallas Opera Rehearsal Center located adjacent to Fair Park at 4301 S. Fitzhugh, Dallas, TX  75210 (parking lot entrance off Gaisford St.).

Due to the special nature of this casting call, even those who have previously signed-up to be Dallas Opera supernumeraries will need to email name and contact information to mobydicksupers@dallasopera.org by noon on Saturday, October 1, 2016.

Join The Dallas Opera for the adventure of a lifetime!  The return of Moby-Dick!

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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, Lockheed Martin, 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 60th 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 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.