Guild Vocal Competition Semi-Finalists Announced!

by Celeste Hart

The Dallas Opera and The Dallas Opera Guild

Are Proud to Jointly Announce the Outstanding Young Semi-Finalists

of the 28th Annual “Dallas Opera Guild Vocal Competition”

~~~~

Admission $5!  Lexus Red Parking $5!

Audience Members Vote on “People’s Choice”

Visit www.dallasopera.org/vocal

~~~~

FREE Semi-Finals: Friday, April 29, 2016 at 11:00 a.m.

Finals: Saturday, April 30, 2016, 7:30 p.m.

Incorporated into This Year’s Spring Gala!

Conducted by Music Director Emmanuel Villaume

~~~~

The Margot and Bill Winspear Opera House

At the AT&T Performing Arts Center

2403 Flora Street, Dallas, TX 75201

~~~~

Honoring Linda and John Gage

 DALLAS, FEBRUARY 2, 2016 –Twenty of the finest young opera singers in the United States will be competing in the 28th Annual Dallas Opera Guild Vocal Competition presented, jointly, by The Dallas Opera and The Dallas Opera Guild.

These talented artists will compete April 29 & 30, 2016 for thousands of dollars in prize money and coveted honors including the “People’s Choice Award” selected by audience ballot.

The evolution of the recently expanded Dallas Opera Guild Vocal Competition (“Still Bigger Than Texas”) continues in 2016, as the Finals Round will now be incorporated—for the very first time—into the company’s glamorous Spring Gala! 

Patrons will have the option of attending the free Semi-Finals Round on April 29th, the complete Gala evening on April 30th, the Finals Round and Awards Ceremony alone on April 30th, or the Finals Round, Awards Ceremony and the post-performance party! 

Tickets range from free (for the April 29th Semi-Finals) to $5 for the Finals Round and Awards Ceremony (available online at dallasopera.org/vocal), to $500 for the entire gala evening, including a seated, gourmet, pre-competition dinner at 5:30 p.m., the vocal competition Finals Round at 7:30 p.m., and the festive post-competition celebration on stage in the Winspear Opera House.

For more information on the 2016 Spring Gala, visit dallasopera.org/gala or contact Special Events Manager Tracy Mott at tracy.mott@dallasopera.org

With a renewed focus on encouraging the next generation of opera artists and audiences, proceeds from this stellar evening will go to support the many education programs of The Dallas Opera. 

Two great Dallas Opera traditions will be united after more than a quarter of a century, to create one truly remarkable evening of music, competition and celebration!  It is certain to be an affair—and a weekend—you won’t want to miss!

“It will be difficult to top the gathering of exceptional young talent that will command center stage in the Guild’s 28th annual vocal competition,” explains The Dallas Opera’s Kern Wildenthal General Director and CEO, Keith Cerny.  “Many of them, graduates of the world’s most prestigious opera and young artist programs, conservatories and academies; and all of them showing tremendous promise.

“I am also extremely pleased that, with the energetic leadership of Dr. Brian Zeger from Juilliard, we have been able to assemble such a distinguished panel of industry leaders and decision makers to judge this exciting event, making it a unique showcase for artists ready to take their careers to a higher level.”

~~~~

This year, the twenty semi-finalists were selected from a group of 336 applicants from 39 states (residents of the U.S. territories are eligible to apply for the prestigious competition, as well) by a panel of preliminary judges that included Dr. Brian Zeger, Dallas Opera Artistic Administrator Ian Derrer, and Assistant Artistic Administrator and Special Projects David Lomeli.

These gifted young singers will compete throughout the weekend of April 29-30, 2016, beginning with the Semi-Finals Round at 11:00 a.m. on Friday, April 29th (General Admission is free, Winspear Opera House parking is $5) in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center.

Finalists will be chosen to return the following evening, Saturday, April 30th at 7:30 p.m., to perform with the full Dallas Opera Orchestra, conducted by internationally acclaimed Mrs. Eugene McDermott Music Director Emmanuel Villaume.

“These competitors are from the Metropolitan Opera Lindemann Young Artist Development Program, the San Francisco Opera Merola Program, and young artist programs in Los Angeles, Chicago, Santa Fe, Houston, and St. Louis—to name a few!” notes Dallas Opera Guild 2016 Vocal Competition Chair Ketty Fitzgerald.

“The incredible success of last year’s vocal competition still warms our hearts; the glowing comments, the generous support, and the sincere congratulations. All of this is reflected in the extraordinary caliber of applicants who applied to take part in 2016—the best of the best!”

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

THE 2016 SEMI-FINALISTS FOR THE DALLAS OPERA GUILD VOCAL COMPETITION 

Elizabeth Baldwin, soprano, 34, Merola, Ravinia, Virginia Opera, Tanglewood

Helena Brown, mezzo-soprano, age 27, young artist at Des Moines, Chautauqua

Nicholas Brownlee, bass-baritone, 26, winner, Met Opera Nat. Council Auditions

Jessica Rose Cambio, soprano, 33, Richard Tucker, George London, Gerda Lissner

Brandon Cedel, bass-baritone, age 28, Metropolitan Opera National Council Auditions

Martin Clark, Jr., tenor, age 23, Dallas Opera Education and Outreach programs

César Delgado, tenor, age 29, Plácido Domingo’s NY Master Class, Mannes

Sol Jin, baritone, 29, winner, Licia Albanese, Gerda Lissner, Merola Program

Adam Lau, bass, age 31, winner of George London Competition, Merola Opera Program

Stephanie Lauricella, mezzo-soprano, 31, young artist programs at Santa Fe, Pittsburgh

D’Ana Lombard, soprano, 28, Domingo-Colburn-Stein Program, HGO Studio

Alexandra Loutsion, soprano, age 32, Arizona Opera, Wolf Trap, Central City,

Daniel Miroslaw, bass, age 29, Marcus Institute for Vocal Arts at The Juilliard School

Emmett O’Hanlon, baritone, age 25, Marcus Institute for Vocal Arts at Juilliard

Amy Owens, soprano, age 28, Sullivan Award winner, young artist at Wolf Trap, Utah

Karolina N. Pilou, mezzo-soprano, 32, NY Lyric Opera Comp., Gerda Lissner

Carolyn Sproule, mezzo-soprano, age 27, Houston Grand Opera, Met Opera

Sarah Tucker, soprano, 27, semifinalist, Met Opera Nat. Council Auditions, Arizona

Virginie Verrez, mezzo-soprano, 26, winner, Met Opera Nat. Council Auditions

Kang Wang, tenor, age 27, Metropolitan Opera Lindemann Young Artist Program 

There is no admission charge for attending the Semi-Finals Round of the 28th annual competition (although donations are definitely welcome), and admission to the Finals Round is a nominal $5 per person

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

The list of judges for the 2016 vocal competition reads like a Classical Music and Opera Management “Who’s Who”:


Judges for the 2016 Dallas Opera Guild Vocal Competition:

Brian Zeger, Chair
Executive Director for the Lindemann Young Artist Development Program of the Metropolitan Opera and Artistic Director of Juilliard’s Marcus Institute for Vocal Arts

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

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

Ian Derrer
Artistic Administrator, The Dallas Opera

Alain Lanceron
President, Warner Classics

Aidan Lang
General Director, Seattle Opera 

Leonore Rosenberg
Associate Artistic Administrator, The Metropolitan Opera 

Joshua Winograde
Senior Director, Artistic Planning, Los Angeles Opera

Diane Zola
Director of Artistic Administration, Houston Grand Opera

 

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

~~~~

This year’s competition honors former Dallas Opera Director of Production John Gage and his wife, Linda, for their long and faithful service to the company and the Greater Dallas community.  Both are Lifetime Honorary Members of The Dallas Opera Guild.

~~~~

“Previous vocal competitions have been quite noteworthy for spotlighting incredible young talent, and it’s been such an honor for The Dallas Opera Guild’s membership to be involved in their production,” says Dallas Opera Guild Co-President Mac Irwin.  “With last year’s transformation to include rising opera singers from all fifty U.S. states and territories, the level of competition and excitement has increased—exponentially!”    

~~~~

 “The Dallas Opera Guild Vocal Competition offered much-needed career and financial support at a crucial time in my life,” says Jennifer Black (First Prize, People’s Choice award, 2001).  “I had just completed my studies at the University of Texas at San Antonio, as well as my first summer with San Francisco’s Merola Opera Program, and was on my way to The Yale School of Music.

“The chance to participate in this competition was a real ‘vote of confidence’ that encouraged me to continue on this path I had chosen.  I feel blessed to have been a recipient of the Guild’s generous support.”

For tickets or additional information about the 28th Annual Dallas Opera Guild Vocal Competition, please contact The Dallas Opera Guild at 214-443-1040 or visit us online at dallasopera.org/vocal.

~~~~

SPECIAL THANKS TO THE AT&T PERFORMING ARTS CENTER AND STAFF

FOR THEIR SUPPORT OF THE

2016 DALLAS OPERA GUILD VOCAL COMPETITION

~~~~

EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

ADDITIONAL INFORMATION ABOUT “FEBRUARY AT THE DALLAS OPERA”

IS CONVENIENTLY AVAILABLE ONLINE, 24/7

VISIT WWW.DALLASOPERA.ORG

 

For high-resolution digital photographs suitable for print

To arrange an interview or obtain additional information

Please contact

Suzanne Calvin, Director of Media and Public Relations

214.443.1014 or suzanne.calvin@dallasopera.org

Or Celeste Hart, Communications Manager

214-443-1071 or celeste.hart@dallasopera.org.

 

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

Ticket Information for the 2015-2016 Dallas Opera Season

All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise described.  Single Tickets range from $19 to $275.  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 Community Event – SHOW BOAT SIMULCAST!

by Celeste Hart

THE DALLAS OPERA IS THRILLED TO ANNOUNCE ANOTHER OUTSTANDING,

FREE COMMUNITY EVENT AT AT&T STADIUM IN ARLINGTON!

A ONE-TIME-ONLY SIMULCAST OF SHOW BOAT BY JEROME KERN

BOOK AND LYRICS BY OSCAR HAMMERSTEIN II

~~~~

SPONSORED BY THE DALLAS FOUNDATION

With Additional Support from the Carl B. and Florence E. King Foundation

~~~~

SATURDAY, APRIL 23, 2016

Stadium Doors Open at 6:00 PM

Live Opera Performance at 7:30 PM

~~~~

With WB Classics Cartoon:

“ANOTHER FROGGY EVENING”

~~~~

Free Seating, Free Parking, Paid Concessions

www.dallasopera.org/simulcast

 

            DALLAS, TX, JANUARY 21, 2016 – The Dallas Opera, in partnership with AT&T Stadium and with support from our founding sponsor, The Dallas Foundation, is extremely proud to announce the company’s fifth stadium simulcast.  This program has reached more than 63,000 people since the first free public presentation in 2010. 

            The simulcast of the legendary 1927 American Musical, SHOW BOAT, conducted by Dallas Opera Music Director Emmanuel Villaume, is scheduled to take place on Saturday, April 23, 2016 at AT&T Stadium in Arlington, TX (home of the Dallas Cowboys). 

            Doors will open at 6:00 p.m.  Curtain time for that evening’s live performance of this critically acclaimed production of a twentieth-century musical theater masterpiece is 7:30 p.m.

            Free parking is available, starting at 5:00 p.m. in lots 1, 2, 3 and 10.  Enter through gates A and K on the north side of the stadium.  There is no reserved parking.

            The simulcast will be hosted by local radio personality Jody Dean with able assistance   from co-host Kristian Roberts, Dallas Opera Education Program Senior Manager.

            As always, pre-performance entertainment will include trivia contests, a pre-performance workshop at 5:00 p.m. for kids from grades K through 6 (sign up online), and a screening of the WB Classics cartoon, “Another Froggy Evening.” 

            Although the cartoon was produced in 1995, it is actually a prequel (and tribute) to the 1955 classic “One Froggy Evening,” created by Michael Maltese and Chuck Jones.  As you might expect, the prequel explores the curious origins of the cartoon character Michigan J. Frog.

~~~~

            Stadium guests will then experience a groundbreaking work from the American Musical canon, based on the novel by Edna Ferber. Composed by Jerome Kern with book and lyrics by Oscar Hammerstein II, SHOW BOAT courageously addressed some of the most contentious social issues of the day within the context of a beautifully told story of a bittersweet, lifelong romance.  The American Musical would never be the same again.

            Based on the novel by Edna Ferber, SHOW BOAT is the source of many memorable musical numbers including “Make Believe,” “Can’t Help Lovin’ Dat Man” and “Ol’ Man River.”  The landmark musical also tackled such taboo subjects as racism, alcohol addiction and miscegenation on this journey through several transformative decades of American life.

            This brilliant Francesca Zambello production of SHOW BOAT, created for Lyric Opera of Chicago, carries us down the Mississippi, through love’s choppy waters, as life rolls on for Magnolia and the gambling man she adores.

~~~~

            Patrons will be able to enjoy the SHOW BOAT simulcast, live from the Shannon and Ted Skokos Stage in the Winspear Opera House at the AT&T Performing Arts Center in Dallas, on the world’s largest high-definition video board structure suspended directly above the playing field.

SHOW BOAT Photo by Cory Weaver SM (600x392)

A scene from SHOW BOAT -- Photo by Cory Weaver

            This performance will take place as part of The Dallas Opera’s nationally recognized, free public simulcast program, which has attracted more than 60,000 patrons over the past five years.  Thousands more are expected to attend next April. 

            “The Dallas Foundation has been pleased to support The Dallas Opera’s simulcasts to AT&T Stadium since 2012, helping to provide families throughout our community the chance to experience world-class opera in this unique and relaxed setting,” remarked Mary M. Jalonick, President and CEO of The Dallas Foundation. “This successful partnership has inspired our Board of Governors to pledge our continued support of these efforts through 2017. 

            “The Dallas Foundation is proud to be the Founding Sponsor of The Dallas Opera AT&T Stadium Simulcasts.”

            The Dallas Opera’s SHOW BOAT Simulcast has additional generous support from: The Carl B. and Florence E. King Foundation

~~~~

            SHOW BOAT stars Canadian soprano Andriana Chuchman, praised by The Chicago Tribune for radiating “enough vocal allure, physical beauty and charm to light up the stage,” in the role of Magnolia Hawks and “elegant” baritone Michael Todd Simpson (Huffington Post), a Dallas Opera favorite, as the irresistible Gaylord Ravenal. 

            This production also marks the company debut of soprano Alyson Cambridge as Julie, whose secret reveals shameful attitudes that once hovered beneath the surface of American life. 

            In the iconic role of “Joe,” bass Morris Robinson, a commanding Commendatore in TDO’s 2010 Don Giovanni, “brings a penetratingly deep operatic bass to ‘Ol Man River’,” according to Mark Swed of the Los Angeles Times

            Soprano Angela Renée Simpson, with a voice that can “bring the house down” (Opera News) will perform the role of Queenie.

            Broadway dancer, singer, actor Lara Teeter dazzles as Cap’n Andy, the owner of The Cotton Blossom, and mezzo-soprano Mary-Pat Green makes a delightful Parthy Ann Hawks—both, in their Dallas Opera debuts.

            Conducted by Mrs. Eugene McDermott Music Director Emmanuel Villaume and directed by E. Loren Meeker, “whose megawatt talent lights up the stage” (Berkshire Fine Arts), our season finale is a high watermark in this season’s altogether extraordinary journey. 

            The Dallas Opera’s AT&T Stadium Simulcast is one of six performances of the opera that will take place on April 15, 17(m), 20, 23, 29 and May 1(m), 2016 in the Winspear Opera House at the AT&T Performing Arts Center.

            Free general admission tickets to The Dallas Opera’s SHOW BOAT simulcast at AT&T Stadium can be obtained right now through the Dallas Opera website: www.dallasopera.org/simulcast.

            To register your child for the free pre-performance workshop at 5 p.m., which explores the components of opera and how opera is made, as well as “opera etiquette” and the story of SHOW BOAT, go to www.dallasopera.org/simulcast.

~~~~

            “It’s been a personal goal of mine to engage the finest world-class artists to create an unforgettable entertainment experience for people from all walks of life,” explains Keith Cerny, Kern Wildenthal General Director and CEO of The Dallas Opera, “and nothing does this better than opera—a spectacular art form made even more so when viewed on the largest high-definition screens in the country.

            “The Dallas Opera is deeply honored that our founding sponsor, The Dallas Foundation, is supporting this event for a fifth consecutive year and we are equally grateful for the generosity of the Jones Family, who encouraged this extraordinary collaboration with the Cowboys organization from the moment we made our dream known to them.

 “I am certain that the centralized location of AT&T Stadium will—once again—prove to be a tremendous draw,” Mr. Cerny added.  “With free parking, a wear-what-you-want dress code, a brilliant cast that underscores the diversity of today’s opera audience, on-screen supertitles and plenty of available concessions—this night will continue to redefine 21st century opera as a family-friendly entertainment experience.”

~~~~

            “The partnership between AT&T Stadium and The Dallas Opera has continued to grow, and we are beyond thrilled that this tradition will continue at our stadium for a fifth year with yet another amazing presentation,” said Dallas Cowboys Chief Brand Officer Charlotte Jones Anderson.  “In joining art, technology and music through these simulcasts, we are honored to share this experience once more with our fans in North Texas.

~~~~

EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

ADDITIONAL INFORMATION ABOUT “JANUARY AT THE DALLAS OPERA”

IS CONVENIENTLY AVAILABLE ONLINE, 24/7

VISIT WWW.DALLASOPERA.ORG

 

For high-resolution digital photographs suitable for print

To arrange an interview or obtain additional information

Please contact

Suzanne Calvin, Director of Media and Public Relations

214.443.1014 or suzanne.calvin@dallasopera.org

Or Celeste Hart, Communications Manager

214-443-1071 or celeste.hart@dallasopera.org.

 

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

Ticket Information for the 2015-2016 Dallas Opera Season

All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise described.  Single Tickets range from $19 to $275.  Season subscriptions for 2016-2017 go on sale April 1, 2016 (starting at just $95) and single tickets for the 60th Season go on sale to the general public on July 11, 2016.  Family performance tickets are just $5.  For more information or to make your purchase for the current season, contact The Dallas Opera Ticket Services Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.

Announcing Our Dazzling 2016-2017 Season!

by Celeste Hart

THE DALLAS OPERA PROUDLY PRESENTS ITS

60TH INTERNATIONAL SEASON

~~~~

FIVE DAZZLING PRODUCTIONS

INCLUDING THREE CLASSIC PRODUCTIONS: TCHAIKOVSKY’S EUGENE ONEGIN,

PUCCINI’S MADAME BUTTERFLY

AND BELLINI’S NORMA

 

2016-2017 MARKS THE RETURN OF HEGGIE AND SCHEER’S 2010 TRIUMPH, MOBY-DICKAND TDO’S FIRST PRODUCTION OF BRITTEN’S 1954 MASTERPIECE, THE TURN OF THE SCREW

~~~~

OPENING NIGHT OF THE SEASON:

FRIDAY, OCTOBER 28, 2016 AT 8:00 PM

THE MARGOT AND BILL WINSPEAR OPERA HOUSE

AT THE AT&T PERFORMING ARTS CENTER

            DALLAS, JANUARY 21, 2016 –The Dallas Opera is proud to announce its spectacular 2016-2017 Season, consisting of five brilliant mainstage productions, including two repertoire classics never before performed by this company. 

            The Dallas Opera’s Keith Cerny, the Kern Wildenthal General Director and CEO, announced the 2016-2017 Season Schedule this afternoon in Hamon Hall, with additional comments from Dallas Opera Board Chairman Steve Suellentrop, the Martha R. and Preston A. Peak Principal Guest Conductor Nicole Paiement, Director of Marketing and Ticket Sales Carrie Ellen Adamian and Mary M. Jalonick, the President and CEO of The Dallas Foundation.

            The 60th Season of The Dallas Opera features three extraordinary classics by some of the greatest composers in the Western Canon, and two mesmerizing psychological dramas from the 20th and 21st centuries—offering a superb range of works certain to inspire and entertain.

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

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

           Back by popular demand, this season also marks the return of at 21st century phenomenon: Moby-Dick, The Dallas Opera’s 2010 world premiere that has continued to earn both critical and popular acclaim in revivals across the U.S. and abroad.

            “It is my very great pleasure to bring the beauty of opera to all the people of North Texas,” explains The Dallas Opera’s Kern Wildenthal General Director and CEO Keith Cerny. “To that end, The Dallas Opera has scoured the globe for the best productions and the finest artists the world has to offer. We have enlisted the talents of singularly gifted conductors, directors and designers; enabling us to create emotionally truthful, visionary productions for patrons of every age and background; reflecting every personal taste.

            “Great opera is timeless, whether composed in the 18th century or in the new millennium.  It is my aim to give our audiences the opportunity to better understand their world through the powerful mediums of music and drama,” adds Mr. Cerny.  “Our 60th International Season, filled with remarkable storytelling and unforgettable performances, undoubtedly, will have lasting and profound impact.”

            The Dallas Opera continues to expand and increase its reputation for producing world class opera with each successful season. The 2016-2017 season will be no exception as each production will feature artists expertly interpreting their roles, supported by the top skills of The Dallas Opera Orchestra and Chorus, and production teams.

            The season will also present internationally renowned conductors: Music Director Emmanuel Villaume at the podium for three operas, Principal Guest Conductor Nicole Paiement and Donato Renzetti.  Staged by prominent international directors, including Leonard Foglia, with debuts by Jean-Claude Auvray and Francesca Gilpin.         

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


2016-2017 DALLAS OPERA SEASON

EUGENE ONEGIN

By Pyotr I. Tchaikovsky

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

 

MOBY-DICK

By Jake Heggie and Gene Scheer

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

 

MADAME BUTTERFLY

By Giacomo Puccini

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

 

THE TURN OF THE SCREW

By Benjamin Britten

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

 

NORMA

By Vincenzo Bellini

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

 

            Season subscriptions go on sale April 1, 2016 and prices start at $95 for all five opera productions. The benefits of becoming a Dallas Opera subscriber include substantial savings off single ticket prices, priority seating, lost ticket replacement, ticket exchanges and invitations to special events. For more information, please contact the friendly staff in The Dallas Opera Ticket Services Office at 214-443-1000 or visit us online at www.dallasopera.org.

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

~~~~

            The Dallas Opera’s 2016-2017 Season, begins with The Linda and Mitch Hart Season Opening Night Performance on Friday, October 28, 2016 at 8:00 p.m. (note the special time). Pyotr Ilyich Tchaikovsky’s powerful and passionate EUGENE ONEGIN will kick off the season with a dynamic cast headed by baritone Andrei Bondarenko in the title role.

            This classic period production from Tel Aviv also features a fabulous creative team including Stage Director Jean-Claude Auvray in his Dallas Opera debut.

            Set in late 19th century Russia, innocence and passion collide as a country girl, Tatyana, becomes smitten by the aristocratic Eugene Onegin.  She naively confesses her love in a letter, but is swiftly rejected by the arrogant nobleman. 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 is obsessed with the woman whose love he had scorned.

            How will his love letter be received?

            Ukranian baritone Andrei Bondarenko, who made his exciting American debut as Robert in Dallas Opera’s 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 Eskenazi, of musicOMH.

           Ailyn Pérez, returns to grace The Dallas Opera stage after recently appearing as another “Tatyana” in the world premiere of Great Scott. “Soprano Ailyn Pérez nearly steals the show… Her voice is everything you’d want…powerful, clear and capable of landing all the high notes,” raved Catherine Womack of D Magazine. Scott Cantrell of the Dallas Morning News labeled the same performance “brilliant and glorious.”  She also portrays the title role in TDO’s Manon, Jules Massenet’s timeless tale of thwarted romance, in March 2016.

            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.”

            Tenor Stephen Costello, an audience favorite, will portray the role of Onegin’s friend, 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.” He also stars in Manon this spring as the smitten des Grieux.

            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 GodunovDallas 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.

            Mrs. Eugene McDermott Music Director Emmanuel Villaume will conduct Tchaikovsky’s most lushly romantic opera in this classic production from Tel Aviv.  He conducted Manon for the Metropolitan Opera to rave reviews sparking Zachary Woolfe of The New York Times to write: “Emmanuel Villaume, paces it with vigor and a sense of movement in the most delicate, reflective passages. (He) makes the score feel lean and agile.” 

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

            Performances continue on October 30(m), November 2, and 5, 2016 at the Margot and Bill Winspear Opera House. Evening performances are at 7:30 p.m., (other than opening night), and the matinee begins at 2:00 p.m. EUGENE ONEGIN will be performed in its original language, Russian, with English translations projected above the stage.

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

~~~~

            Back by popular demand, the second production of The Dallas Opera’s 2016-2017 Season is Jake Heggie and Gene Scheer’s riveting MOBY-DICK opening on Friday, November 4, 2016 at 7:30 p.m.

            Performed in English with English supertitles projected above the stage, the excitement continues with additional performances November 6(m), 9, 12, 18 and 20(m), 2016 with evening performances beginning promptly at 7:30 p.m. and matinees at 2:00 p.m.

            MOBY-DICK, which “opened in a blaze of glory” in 2010, has been met with thunderous applause and critical acclaim in ports of call around the world since its maiden voyage at The Dallas Opera. Composer Jake Heggie, and librettist Gene Scheer based their work on Herman Melville’s epic tale of Captain Ahab’s obsession with the great white whale, Moby-Dick. The opera splendidly illustrates the danger, tensions, and exhilaration of life aboard a 19th century whaling ship, as crew members battle the forces of nature in addition to Ahab’s brewing madness. George Loomis of the Financial Times 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.”

            Starring is tenor Jay Hunter Morris in the role of Captain Ahab, which has become a signature role for the Dallas Opera favorite, and a native of Paris, Texas. Hailed as a force of nature “…he sang with pressurized fury that practically shook the seats of the…Opera House,” exclaimed Richard Scheinin of the San Jose Mercury News of Morris’ portrayal.  “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.

            Stephen Costello, “bright-toned, sympathetic” returns to The Dallas Opera to reprise his role as Greenhorn. David Patrick Stearns of Grammophone  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 significant critical acclaim. Joshua Kosman of the San Francisco Chronicle touted his performance; “whose Starbuck joined 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.”           

            Music Director Emmanuel Villaume, who conducts this revival, recently 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,” regarding another contemporary work, the world premiere of Mark Adamo’s Becoming Santa Claus.

            MOBY-DICK is directed by Leonard Foglia who returns to The Dallas Opera after his recent success directing 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.”

~~~~

            The third production of The Dallas Opera’s 60th Season is Giacomo Puccini’s unforgettable MADAME BUTTERFLY with a libretto by Giuseppe Giacosa & Luigi Illica. BUTTERFLY opens on Friday, March 10, 2017 at 7:30 p.m. at the Winspear Opera House.

            With poignant melodies, memorable characters and a heart-wrenching storyline in what was then a “contemporary” new opera, MADAME BUTTERFLY has captivated audiences and dampened handkerchiefs for more than a hundred years. Loosely based on true events in Nagasaki, Japan; MADAME BUTTERFLY tells the tale of a naïve Japanese girl, Cio-Cio-San (portrayed by Hui He), blinded by her love for a callous American naval officer.

            Lt. B.F. Pinkerton (Gianluca Terranova) rents a wife, as well as a house, in a false marriage of convenience.  Although he abandons her not long after their wedding, Pinkerton has promised to return.  Despite interest from worthy suitors and numerous pleas from her devoted maid Suzuki to give up her vigil, the woman nicknamed “Butterfly” remains steadfast (“One Beautiful Day”) during his three-year absence.

            This lovely, period production designed by Michael Yeargan (sets) and Anita Yavich (costumes) for San Francisco Opera, will be led by renowned Italian conductor Donato Renzetti.

            Regarded as one of the most famous new interpreters of the role, exciting Chinese soprano Hui He makes her Dallas Opera debut as Cio-Cio-San. “The debut of Hui He in the role of Butterfly was sensational: she has convinced not only with her big voice, her wonderful technique and her marvelous timbre, but also she touched with a deep and emotional interpretation. The best Butterfly that you can wish,” (Wiener Zeitung, Austria).

            The role of “love ‘em and leave ‘em” Pinkerton will be performed by Italian lyric tenor Gianluca Terranova in his eagerly anticipated company debut.  Andrew Alexander of the Atlanta Journal Constitution, recently described the charismatic Italian in another role saying his “youthful, heroic and clear voice perfectly suggests the poetic, dreamy nature of the character…but it can also just as beautifully convey the later anguish and troubled self-awareness that come to the character…”

            Internationally acclaimed Italian mezzo-soprano Manuela Custer stars as Suzuki, Butterfly’s confidant and devoted maid. “Vocally, she displayed an impeccable line of signing, with a pleasing and refreshing timbre that contains an ample range of rich colors,” raved Ramon Jacques, Opera Click, of her role as Isabella in our 2009 production of Rossini’s The Italian Girl in Algiers.

            American baritone Lucas Meachem stars as Sharpless, the American consul in Nagasaki.  “A natural on stage, he…dazzled the audience with the power and beauty of his voice,” (Broadway World).

            Winner of multiple international awards, conductor Donato Renzetti has achieved much critical acclaim from around the globe. Robert J. Farr of MusicWeb International “The singers do not have to force, particularly when accompanied by a maestro of such experience and sympathy as Donato Renzetti.” George Loomis of The New York Times wrote that the Maestro “conducted a warm, expansive performance,” of a recent production of Tosca (Puccini) for Rome Opera.

            Performed in Italian with English translations projected above the stage, this classic period production will receive five additional performances on March 12(m), 15, 18, 24 and 26(m), 2017.  Tickets are likely to go quickly; renew your subscription today!

~~~~

            The fourth production of The Dallas Opera’s 60th year is THE TURN OF THE SCREW by Benjamin Britten with libretto by Myfanwy Piper. This production opens on Friday, March 17, 2017, at 7:30 p.m. at the Winspear Opera House.

            Based on the novella by Henry James, this Jonathan Kent production from Glyndebourne will be performed in English with English supertitles projected above the stage.

           This dark and gripping 19th century tale (updated to the 1950’s in this acclaimed production from Glyndebourne) is based on the atmospheric novel by Henry James.

            A governess is hired to care for two children at Bly, an English country house. The position, which initially seemed promising, soon turns puzzling when the governess sees what she believes to be a ghost. The housekeeper reveals a sordid series of events involving two former employees, now dead, who may have had inappropriate relationships with the children. The children themselves, Miles and Flora, display bizarre and often troubling behavior. The ghosts torment the children and the governess to such an extreme that she must decide whether to leave Bly House or stay in order to protect the children. Principal Guest Conductor Nicole Paiement conducts Britten’s enthralling twentieth-century score, mixing tonality and dissonance with the recurrent use of a twelve-note theme.

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

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

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

            THE TURN OF THE SCREW will be conducted by Dallas Opera Principal Guest Conductor Nicole Paiement, who has developed an international reputation as a conductor of contemporary music and opera.

            Wayne Lee Gay of D Magazine’s Front Row wrote of The Dallas Opera’s 2015 world premiere of Everest: “(Paiement) combined old-fashioned precision and discipline with up-to-the-minute insight into the complex modernity of the score.”

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

            Three additional performances of Benjamin Britten’s THE TURN OF THE SCREW will take place on March 19(m), 22, and 25, 2017.  Seating is limited.  Season subscriptions will go on sale April 1, 2016.  Season subscribers may renew at any time by contacting the friendly professionals in The Dallas Opera Ticket Services Office, at 214.443.1000.

~~~~

            The final production of the 60th International Season is Vincenzo Bellini’s thrilling and suspenseful 1831 masterpiece, NORMA, with a libretto by Felice Romani, which opens Friday, April 21, 2017 at 7:30 p.m. at the Margot and Bill Winspear Opera House.

            Performed in Italian with English translations projected above the stage, this towering period production continues with four additional performances, April 23(m), 26, 29 and May 7(m), 2017.  

            In this outstanding John Conklin production from Cincinnati Opera, set during the Roman occupation of Gaul in 50 B.C., a passionate love triangle in the midst of a deepening culture clash leads to dangerous consequences.  A Druid high priestess, Norma, is in the throes of despair after discovering that her lover, a Roman proconsul with whom she has two children, may have been unfaithful.  Pollione confesses to a friend that he no longer loves Norma. His amorous attentions are now focused on Adalgisa, a young novice priestess, who returns his love—and he brushes aside a warning about Norma’s capacity for rage.  Amidst the turmoil of the occupation and impending revolution, Norma is driven to the brink of insanity, convinced of her betrayal and fearing disgrace for her fatherless children.

            The dazzling South African soprano Elza van den Heever stars as Norma, her first appearance on The Dallas Opera stage since her acclaimed 2003 Dallas debut in Mozart’s Così fan tutte.  This versatile artist describes her vocal style as a ‘voyage of discovery.” Christophe Rizoud, of Forum Opéra recently described her virtuosity: “Elza van den Heever moves us deeply, enthralls and captivates…she delighted us with her powerful and controlled voice, with a splendid midrange that does not exclude high notes. But those extreme notes are never sung without purpose; they are used to convey meaning the same way as volume or colour offer expression.”

            Superb South Korean tenor, Yonghoon Lee—one of opera’s busiest performers according to Bachtrack—stars as Norma’s lover, the Roman proconsul Pollione. According to Anthony Tommasini of The New York Times, “He is an outstanding tenor. Handsome and youthful, he is a natural onstage and a sensitive listener during duets and ensembles.”

            Nicole Car, the lovely Australian soprano who thrilled audiences and critics alike with her recent appearances in The Dallas Opera’s The Marriage of Figaro, stars as “the other woman,” Adalgisa.

            “The vocal standout is Australian soprano Nicole Car, in her U.S. debut, as Countess Almaviva.  With a lustrous shine on a warm core of sound, and generous amplitude and expressivity, she could be a wonderful Straussian, although she never overdoes anything here. She also has a strikingly expressive face, registering the painful emotional ambiguities of her relationship with the Count,” wrote Scott Cantrell of The Dallas Morning News.
            American bass Christian Van Horn, acclaimed for his “sturdy voice and commanding presence…” (Anthony Tommasini, The New York Times) will portray the role of Oroveso.

            Critically acclaimed Mrs. Eugene McDermott Music Director Emmanuel Villaume leads The Dallas Opera Orchestra in one of Bellini’s greatest contributions to the bel canto repertoire.

            “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,” says Music Director Emmanuel Villaume.

            “We invite everyone to join us in the Winspear Opera House next season, to thrill to the world-class productions, as well as the unique musicianship and incomparable artistry that can only be fully appreciated in a live performance.

            “I certainly hope I will see you there!”

~~~~

            Evening performances during the 2016-2017 Season will begin at 7:30 p.m., unless otherwise stated (including an 8:00 p.m. curtain for the Linda and Mitch Hart Season Opening Night Performance).  All Sunday matinees are slated to begin at 2:00 p.m.

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

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

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

 

            Flex subscriptions begin at $75 for the 2016-2017 Season.  Full Subscriptions begin at $95. Single Tickets range from $19 to $275.

            For additional information about the coming season, call The Dallas Opera Ticket Services Office at 214-443-1000 or visit us online at www.dallasopera.org.

~~~~

            Put aside those computers, tablets, and smart phones—and grab the kiddoes—in order to take advantage of budget-minded, kid-friendly performances offered by The Dallas Opera in the 2016-2017 Season!

            In addition to presenting world-class opera, and to providing support for outstanding young artists, established stars, and up-and-coming female conductors; The Dallas Opera is also committed to introducing the joys of opera to as many people as possible, and to provide budget-minded, kid-friendly performances that can be enjoyed by North Texans of every age, educational level and background.

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

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

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


2016-2017 Family Performance Series

Presenting Sponsor, Texas Instruments

 

THE THREE LITTLE PIGS

Sunday, October 23, 2016

Sunday, February 26, 2017

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

 

VERDI AND COMPANY

Sunday, November 13, 2016

Sunday, March 5, 2017

A delightful production that introduces families to the most popular hits of Italian composer Giuseppe Verdi.  Audiences will recognize magnificent pieces from the Italian composer’s brilliant operas: La traviata, Rigoletto and Aida. This captivating presentation also features the acclaimed Dallas Opera Orchestra and a charismatic narrator who highlights fascinating facts about Verdi!

 

BASTIEN AND BASTIENNE

Saturday, November 19, 2016

Saturday, April 22, 2017

One of Mozart’s earliest works, written at age twelve, Bastien and Bastienne is a one-act comic opera that tells the tale of a pretty young shepherdess, Bastienne, and her boyfriend, Bastien. Bastienne believes her beau has fallen in love with a wealthy girl from the big city. The heart-broken girl encounters Colas, the town “magician,” who has a few ideas of his own on how to reunite the young couple.

Single tickets are just $5 apiece and may be purchased at the door

Or online at www.dallasopera.org/family

~~~~

EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

ADDITIONAL INFORMATION ABOUT “JANUARY AT THE DALLAS OPERA”

IS CONVENIENTLY AVAILABLE ONLINE, 24/7

VISIT WWW.DALLASOPERA.ORG

 

For high-resolution digital photographs suitable for print

To arrange an interview or obtain additional information

Please contact Suzanne Calvin, Director of Media and Public Relations

214.443.1014 or suzanne.calvin@dallasopera.org

Or Celeste Hart, Communications Manager

214-443-1071 or celeste.hart@dallasopera.org.

 

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

Ticket Information for the 2015-2016 Dallas Opera Season

All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise described.  Single Tickets range from $19 to $275.  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.

AUDITION NOTICE – SHOW BOAT!

by Celeste Hart

THE DALLAS OPERA  SEEKS DANCERS, ACTORS

and SUPERNUMERARIES FOR GREAT AMERICAN MUSICAL

~~~~

AUDITION DATES:

January 15, 16, and 17, 2016

            DALLAS, TX, January 8, 2016 – The Dallas Opera is pleased to invite talented local dancers, actors and supernumeraries to audition for SHOW BOAT, which opens Friday, April 15 and runs through Sunday, May 1, 2016.  This a wonderful opportunity to perform with magnificent opera stars and work with excellent directors at the amazing Margot and Bill Winspear Opera House at the AT&T Performing Arts Center!

SHOW BOAT

Performers needed are Caucasian ensemble dancers, the acting roles of Mrs. O’Brien, Sheriff/Maitre D’, and Young Kim and supernumeraries (non-singing, non-speaking roles). Auditions will be held as follow:

Friday, January 15, 2016

7:00-10:00 p.m.                         Caucasian Ensemble Dancer auditions/barre class


Saturday, January 16, 2016

10:00 a.m.–1:00 p.m.              Actor audition: Mrs. O’Brien, Sheriff/Maitre D’, Young Kim

2:30-4:30 p.m.                           Caucasian Ensemble Dancers call backs

4:30-5:30 p.m.                           Supernumeraries

 

Sunday, January 17, 2016

11:00 a.m.-2:00 p.m.               TBD

 

The Dallas Opera is presenting the Francesca Zambello production of SHOW BOAT, with music by Jerome Kern and book and lyrics by Oscar Hammerstein II. SHOW BOAT will be conducted by Dallas Opera Music Director Emmanuel Villaume with Alexander Rom, chorus master.

There are six performances of SHOW BOAT scheduled for April 15, 17, 20, 23, 29 & May 1, 2016. The performers (supernumeraries excluded) will be compensated for rehearsal time, as well as a per-performance fee.

 CASTING DETAILS

 ACTORS:

  • Young Kim: Caucasian, Child Actor/Singer. Looks 8-10 yrs old, speaks and sings in a duet with Ravenal and a trio with Ravenal and Magnolia.
  • O’Brien: Mature Caucasian female with a good Irish accent. No singing required
  • Sheriff Vallon/Maître D’: 30-40 yrs old. Good Ol’ boy, imposing “bubba” type. Caucasian male. No singing required.

SUPERNUMERARIES:

  • Older Kim: Caucasian Female
  • Foreman/Hotel Worker: 40 yrs old. A conventionally handsome, strong, Caucasian leading-man type. Helpful to have stage combat skills; fights with Pete. No singing required.
  • African American Children: 5 Boys, 4 Girls
  • Caucasian Children: 2 Boys, 1 Girl


HOW TO AUDITION

DANCERS/ACTORS
To schedule an audition, send your headshot and resume to Ahne Schield at ahne.schield@dallasopera.org. Audition times will be determined on a first-come, first-served basis.


Dancer Requirements:
Applicants should have a technical ballet background who can perform the Charleston, musical theater, and vaudeville styles of dance. Women, please bring ballet shoes and character heels. Men, please bring ballet shoes and character/jazz shoes. Dancers should come prepared to take a ballet barre and audition with a ballet combo. The choreography will be taught as a whole group with small groups to follow.


Actor Requirements:

Young Kim: Prepared monologue and a song that demonstrates range and ability. Call backs for this role should be prepared to learn “Why Do I Love You,” taught by one of the music staff.

Mrs. O’Brien & Sheriff Vallon/Maître D’: Two contrasting monologues for the audition. Reading from sides for the call back.

 

SUPERNUMERARIES

Visit www.dallasopera.org/supers and complete the online application. Upon receiving your application, Ahne Schield will contact you to confirm your audition.

Supernumerary requirements:

Adults: Men and Women together, improvisational scene with Stage Director.

Children: May split into groups, general audition/improv.

           

AUDITION LOCATION:

Auditions will be held at the Karayanis Rehearsal Production Center in Room A. Please arrive at least 15-20 minutes prior to your scheduled time. Further access instructions will be provided upon audition confirmation.

Karayanis Rehearsal Production Center

4301 South Fitzhugh Avenue

Dallas, TX 75210

 

REHEARSALS:

Rehearsals begin on March 21, 2016 and continue through opening week. There are occasional weekend-day rehearsals and matinee performances; however, rehearsals are generally conducted in the evening.

TDO is a signatory to a collective bargaining agreement with the American Guild of Musical Artists.

~~~~

ADDITIONAL INFORMATION ABOUT THE DALLAS OPERA IS ACCESSIBLE ONLINE,

24/7 – VISIT WWW.DALLASOPERA.ORG

~~~~

TEXAS INSTRUMENTS, 2015-2016 SEASON SPONSOR

FOR THE DALLAS OPERA’S

“SEEKING THE HUMAN ELEMENT” SEASON

______________________________________________________________________________________

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.

 

###

 

 

What We Learned from the Women Conductors Institute

by Celeste Hart

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


published Sunday, January 3, 2016

 

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

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

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

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

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

 

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

 

 

Pleasant surprises

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

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

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

 

 

Future Opportunities

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

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

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

 

One Possible “Confidence Gap”

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

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

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

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

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

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

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

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

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

It has been a rare pleasure and privilege.

 

New Major Gifts Announcement!

by Celeste Hart

THE DALLAS OPERA IS THE PROUD RECIPIENT OF EXTRAORDINARY GIFTS FROM

Mrs. Eugene McDermott

And  The Eugene McDermott Foundation

Honoring Kern Wildenthal

~~~~

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

Two-Time TDO Board Chair

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

ADDITIONAL INFORMATION IS CONVENIENTLY AVAILABLE ONLINE, 24/7

VISIT WWW.DALLASOPERA.ORG

~~~~

For high-resolution digital photographs suitable for print

To arrange an interview or obtain additional information

Please contact Suzanne Calvin, Director of Media and Public Relations

214.443.1014 or suzanne.calvin@dallasopera.org

 

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

Ticket Information for the 2015-2016 Dallas Opera Season

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

THE DALLAS OPERA 2015-2016 SPRING SEASON INFORMATION

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

 

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

 

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

* Dallas Opera Debut

** American Debut

_____________________________________________________________________________________

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

 

###

Opera Great Frederica von Stade to Appear in Titus Recital!

by Celeste Hart

The Dallas Opera Proudly Presents

LEGENDARY MEZZO-SOPRANO FREDERICA VON STADE

IN AN EXCLUSIVE RECITAL

WITH ACCLAIMED COMPOSER AND PIANIST JAKE HEGGIE

SUNDAY, JANUARY 31, 2016, 2:00 P.M. AT CITY PERFORMANCE HALL

~~~~

THE ROBERT E. AND JEAN ANN TITUS ART SONG RECITAL SERIES

TICKETS START AT $20

            DALLAS, TX, December 8, 2015 – The Dallas Opera will present opera legend Frederica von Stade, mezzo-soprano, for another magnificent performance in The Robert E. and Jean Ann Titus Art Song Recital Series. The one-time-only recital will be presented Sunday, January 31, 2016 at 2:00 p.m. at City Performance Hall (a 749-seat venue located at 2520 Flora Street in the Arts District, Dallas, TX 75201). Also featured at the exclusive event will be Jake Heggie, composer (Great Scott, Moby-Dick) and accomplished pianist, who has had a long-standing artistic collaboration with Miss von Stade.

             The program titled “A Life In Song” is a compilation of autobiographical pieces personally chosen by Miss von Stade. It will feature art songs (works composed for a single voice with piano accompaniment) by composers; William Bolcom, Aaron Copland, Jake Heggie, Francis Poulenc, Maurice Ravel, Ned Rorem, Virgil Thomson and others. The recital series was created about three years ago to showcase well-established artists in programs dedicated to preserving the fine art of art song. Frederica von Stade - Portraits - Sept. 28, 2005

            Described by the New York Times as “one of America’s finest artists and singers,” Miss von Stade continues to be extolled as one of the music world’s most beloved figures. Known to family, friends, and fans by her nickname “Flicka,” the mezzo-soprano has enriched the world of classical music for four decades. She has created the roles of Winnie Flato, to critical acclaim in the world premiere production of Heggie’s Great Scott, and Tina in The Aspern Papers (a work written for her) both for The Dallas Opera, and Mrs. Patrick De Rocher in Heggie’s Dead Man Walking for San Francisco Opera.

            Jake Heggie is one of the most in-demand American composers in classical music today who recently premiered Great Scott at The Dallas Opera (Terrence McNally, librettist) and will premiere It’s a Wonderful Life for the Houston Grand Opera in 2016. He is the composer of the operas Moby-Dick (The Dallas Opera premiere 2010), Dead Man Walking, Three Decembers, The End of the Affair and more. He has also composed more than 250 art songs, as well as concerti, chamber music, choral and orchestral works. He frequently collaborates with some of the world’s most loved singers including Ms. von Stade and sopranos Renée Fleming, Ailyn Pérez, and Kiri Te Kanawa.

            “Jake Heggie’s extraordinary new opera Great Scott that premiered in October in Dallas made an extremely positive impression on our patrons, and Miss von Stade dazzled all of us with her creation of the role of Winnie Flato. This Robert E. and Jean Ann Titus Art Song Recital is a spectacular opportunity to experience Flicka’s vocal artistry and Jake’s sensitive accompanying in an intimate setting,” says Dallas Opera General Director and CEO Keith Cerny.

            We are extremely grateful to the Titus family for its incredible generosity in continuing to bring these magnificent recitals to North Texas. This the third in the series that began with tenor Ian Bostridge in 2014, and Matthew Polenzani last January.”           

            Seating is limited, but through the generosity of the Titus Family, the ticket prices are $20 or $40 each. Seating is reserved and all tickets will be held at Will Call.  Student tickets are available at $10 each.

            “Heading into our third year, The Dallas Opera has exceeded our expectations. This year’s recital brings together two exceptionally gifted artists, Frederica von Stade and Jake Heggie, who could not illustrate the uniqueness of art song better. The intimacy of a singer and pianist on stage is unlike any other art form. We look forward to many more recitals and the growing Dallas audience to share these experiences with. As a way to celebrate and honor our parents, my sister Amy and I continue to look forward to the future of this series with The Dallas Opera,” says Dallas Opera Executive Committee Member Sarah Titus.

            Tickets are now on sale and may be purchased either online at www.dallasopera.org or by contacting the friendly professionals in The Dallas Opera Ticket/Patron Services Office at 214.443.1000.

 FREDERICA VON STADE BIOGRAPHY

Miss von Stade’s career has taken her to the stages of the world’s great opera houses and concert halls. She began at the top, when she received a contract from Sir Rudolf Bing during the Metropolitan Opera auditions, and since her debut in 1970 she has sung nearly all of her great roles with that company. In January 2000, the company celebrated the 30th anniversary of her debut with a new production of The Merry Widow specifically for her, and in 1995, as a celebration of her 25th anniversary, the Metropolitan Opera created for her a new production of Pelléas et Mélisande. In addition, Miss von Stade has appeared with every leading American opera company, including San Francisco Opera, Lyric Opera of Chicago, and Los Angeles Opera. Her career in Europe has been no less spectacular, with new productions mounted for her at Teatro alla Scala, Royal Opera Covent Garden, the Vienna State Opera, and the Paris Opera. She is invited regularly by the finest conductors, among them Claudio Abbado, Charles Dutoit, James Levine, Kurt Masur, Riccardo Muti, Seiji Ozawa, André Previn, Leonard Slatkin, and Michael Tilson Thomas, to appear in concert with the world’s leading orchestras, including the Boston Symphony Orchestra, Chicago Symphony, Cleveland Orchestra, New York Philharmonic, Philadelphia Orchestra, San Francisco Symphony, London Symphony Orchestra, Washington’s National Symphony, and the Orchestra of La Scala. 

With impressive versatility, she has effortlessly traversed an ever-broadening spectrum of musical styles and dramatic characterizations. A noted bel canto specialist, she excelled as the heroines of Rossini’s La cenerentola and Il barbiere di Siviglia and Bellini’s La sonnambula. She is an unmatched stylist in the French repertoire: a delectable Mignon or Périchole, a regal Marguerite in Berlioz’ La damnation de Faust, and, in one critic’s words, “the Mélisande of one’s dreams.” Her elegant figure and keen imagination have made her the world’s favorite interpreter of the great trouser roles, from Strauss’ Octavian and Composer to Mozart’s Sesto, Idamante and -- magically, indelibly -- Cherubino. Miss von Stade’s artistry has inspired the revival of neglected works such as Massenet’s Cherubin, Thomas’ Mignon, Rameau’s Dardanus, and Monteverdi’s Il ritorno d’Ulisse in patria. Her ability as a singing actress has allowed her to portray wonderful works in operetta and musical theater including the title role in The Merry Widow and Desirée Armfeldt in A Little Night Music. Her repertoire is continually expanding with the works of contemporary composers. She also created the role of Madame de Merteuil in the Conrad Susa’s Dangerous Liaisons for San Francisco Opera.

Frederica von Stade is the holder of honorary doctorates from Yale University, Boston University, the San Francisco Conservatory of Music (which holds a Frederica von Stade Distinguished Chair in Voice), the Georgetown University School of Medicine, and her alma mater, the Mannes School of Music. In 1998 Miss von Stade was awarded France’s highest honor in the Arts when she was appointed as an officer of L’Ordre des Arts et des Lettres, and in 1983 she was honored with an award given at The White House by President Reagan in recognition of her significant contribution to the arts.

JAKE HEGGIE BIOGRAPHY

Mr. Heggie’s operas, most created with the distinguished writers Terrence McNally and Gene Scheer, have been produced on five continents. Dead Man Walking has received more than 40 productions worldwide since its San Francisco Opera premiere in 2000 and has been recorded live twice (Erato Records in 2000 and Virgin Classics in 2011). Moby-Dick has received six international productions since its 2010 premiere at The Dallas Opera and was telecast nationally in 2014 as part of Great Performances’ 40th Anniversary Season. Moby-Dick received its East Coast premiere at the Kennedy Center in February 2014 with the Washington National Opera; a production from the San Francisco Opera has been released on DVD (EuroArts). It is also the subject of a book by Robert Wallace titled Heggie & Scheer’s Moby-Dicka Grand Opera for the 21st Century (UNT Press).

Mr. Heggie was recently awarded the prestigious Eddie Medora King prize from the UT Austin Butler School of Music. A Guggenheim Fellow, he served for three years as a mentor for Washington National Opera’s American Opera Initiative. He is also a frequent guest artist and master teacher at universities and conservatories including Boston University, Bucknell, Cornell, The Royal Conservatory in Toronto, University of Northern Iowa, University of North Texas, University of Colorado, USC’s Thornton School, Vanderbilt University, and at festivals such as SongFest at the Colburn School, Ravinia Festival, and VISI in Vancouver.

Mr. Heggie frequently collaborates as composer and pianist with some of the world’s most loved singers including the afore mentioned sopranos, mezzo-sopranos Joyce DiDonato, Susan Graham, and Jamie Barton; Broadway stars Patti LuPone and Audra McDonald; tenors William Burden, Stephen Costello and Jay Hunter Morris; and baritones Nathan Gunn, Morgan Smith and Bryn Terfel. Directors who have championed his work include Leonard Foglia, Joe Mantello and Jack O’Brien. All of Mr. Heggie’s major opera premieres have been led by conductor Patrick Summers; he has also worked closely with John DeMain, Joseph Mechavich and Nicole Paiement.

In addition to two new operas, upcoming works include The Work at Hand: Symphonic Songs for mezzo-soprano Jamie Barton and cellist Anne Martindale Williams (Carnegie Hall and the Pittsburgh Symphony); new songs for Susan Graham (Vocal Arts DC); a new orchestration of the song cycle Camille Claudel: Into the Fire for mezzo-soprano Sasha Cooke and the Berkeley Symphony led by Joana Carneiro; and Stop This Day and Night With Me for The King’s Singers, the 2015 Brock Commission for the American Choral Directors Association Conference.

For more information please visit www.jakeheggie.com

EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

ADDITIONAL INFORMATION IS CONVENIENTLY AVAILABLE ONLINE, 24/7

VISIT WWW.DALLASOPERA.ORG AND CHECK THE CALENDAR LISTINGS

 

For high-resolution digital photographs suitable for print

To arrange an interview or obtain additional information

Please contact Suzanne Calvin, Director of Media and Public Relations

214.443.1014 or suzanne.calvin@dallasopera.org.

 

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

Ticket Information for the 2015-2016 Dallas Opera Season

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

THE DALLAS OPERA 2015-2016 FALL SEASON INFORMATION

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

 

BECOMING SANTA CLAUS by Mark Adamo

December 4, 6(m), 9 & 12, 2015

An Eagerly Awaited Dallas Opera World Premiere!

Libretto by the composer, Mark Adamo.

Time: Now

Place: An Elven kingdom in the far, far north; also, the stable of the first Christmas

Conductor: Emmanuel Villaume

Stage Director and Choreographer: Paul Curran

Set and Costume Designer: Gary McCann*

Lighting Designer: Paul Hackenmueller*

Projections Designer: Driscoll Otto*

Wig & make-up Designer: David Zimmerman

Chorus Master: Alexander Rom

Starring: Jennifer Rivera* (Queen Sophine), Jonathan Blalock* (Prince Claus) (Charron and Peter Denker Rising Star), Matt Boehler* (Donkey), Hila Plitmann* (Yan), Lucy Schaufer* (Ib), Keith Jameson (Yab), Kevin Burdette (Ob).

Another New Dallas Opera Production!

 

 

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

 

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

* Dallas Opera Debut

** American Debut

_____________________________________________________________________________________

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

 

IWC Receives Mellon Foundation Grant

by Celeste Hart

THE DALLAS OPERA IS PROUD TO ANNOUNCE

A $500,000 Grant from

The Andrew W. Mellon Foundation

~~~~

In Support of a New Initiative:

“The Linda and Mitch Hart Institute for

Women Conductors at The Dallas Opera”

Inaugural Session, Nov. 28-Dec. 6, 2015

            DALLAS, NOVEMBER 18, 2015 – The Dallas Opera has been awarded a $500,000 grant over a three-year period from The Andrew W. Mellon Foundation in support of the company’s new initiative, “The Linda and Mitch Hart Institute for Women Conductors at The Dallas Opera.” This innovative program is designed to support the career aspirations and advancement of women conductors in the field of opera, while addressing the thorny problems resulting from ingrained gender inequality at the top of the profession. 

            The inaugural institute is scheduled to take place in Dallas from November 28th through December 6, 2015 with participants (six institute fellows, four additional American observers) selected from more than a hundred qualified applicants originating in 27 countries around the globe.  There is no comparable program today for addressing the needs of talented young female conductors seeking to make their mark on the world’s top opera organizations.

            Although “Level One” opera companies in North America (as defined by OPERA America) produce approximately a hundred different opera productions each year, women conductors will stand at the podium for only around 5% of the total number of productions during the 2015-2016 Season. 

            The situation is equally dire in the symphonic world: of the top symphony orchestras in the U.S., only one is led by a female music director (the Baltimore Symphony’s Marin Alsop).

            Recent trends indicate the gender gap may, in fact, be widening.  Data from the National Center for Education Statistics show that over the past decade, 44% of Masters Degrees and 30% of all doctorates in conducting went to women.  Nevertheless, a mere dozen female conductors are positioned to lead the top 103 high-budget orchestras on this continent (League of American Orchestras report, 2013).  “To some extent,” opined The Independent (U.K.) in 2010, “the scarcity of female conductors is a vicious circle.  With so few women…in high-profile posts, the role models have not existed to inspire more, so the situation becomes self-perpetuating.”

            “The Institute for Women Conductors” was created under the auspices of Dallas Opera General Director and CEO Keith Cerny to identify and support emerging major women conductors and provide an intensive residential program that combines master classes, coaching, and distinguished guest lecturers with hands-on podium time in front of a full-sized orchestra. 

            The Institute, launched with catalyst funding from the Richard and Enika Schulze Foundation, will culminate on Saturday, December 5th, in a public concert “showcase” expected to attract high-ranking industry influencers and decision makers to the Margot and Bill Winspear Opera House to experience these artists at work. 

            Additionally, Mr. Cerny is keen to develop a national “center for excellence” for women conductors, hosted by The Dallas Opera, as well as an ongoing support network consisting of peer-to-peer discussions, experienced mentoring, regular career consultations on specific media and management issues, and steps to encourage other music organizations to develop solutions that address the ongoing gender imbalance.

            “The under-representation of women at the top of our profession is a complex problem that will require more than a single solution,” explains Mr. Cerny.  

            “Even where overt discrimination isn’t a factor, women conductors in the field often aren’t as visible as their male counterparts.  In this business, ‘out of sight’ is ‘out of mind’ to a very real extent,” Cerny adds, “and talented women conductors are too-often passed over for important positions and opportunities because they haven’t caught the attention of artist management agencies, board search committees and the people most involved in an opera company’s day-to-day hiring decisions. 

            “By raising their profiles and increasing the visibility of outstanding women conductors through programs like the IWC, we have a chance to influence the future of this art form—and an opportunity to bring even more talented leaders to the conducting field.”

            The Andrew W. Mellon Foundation grant, combined with additional major gifts, underscores the importance of programs designed to uncover solutions to longstanding inequities in the arts, such as the gender imbalance at the podium addressed by the “Linda and Mitch Hart Institute for Women Conductors at The Dallas Opera.”

2015 IWC FELLOWS:

JENNIFER CONDON (Australia/Germany)

Jennifer Condon has been passionate about opera from an absurdly young age -- since her teens she has been fortunate to have fellow Australian, Simone Young, as mentor.  Jennifer studied piano in Sydney, and conducting in Melbourne and Vienna before commencing work as a souffleuse at the Hamburg State Opera in 2008.  She now has a repertoire of over 55 operas.  During her time in Hamburg, Jennifer also brought Peggy Glanville-Hicks’ opera Sappho (1963) from the composer’s hand-written manuscript to the recording studio.  The CD, with an eminent cast including Deborah Polaski, Sir John Tomlinson and Wolfgang Koch with the Gulbenkian Orchestra, has been released to considerable critical acclaim.  Jennifer lives in Berlin and works as a free-lance vocal coach and prompt as she pursues a conducting career.  Assistant conducting engagements to date include Lohengrin in Zurich and Salome in Vienna.  Future engagements include Reimann’s Lear in Budapest and Ariadne auf Naxos in Tokyo.

JESSICA GETHIN (Australia)

Conductor Jessica Gethin, winner of the prestigious Brian Stacey Australian Emerging Conductor Award, has won praise from audiences and critics alike for her dynamic energy, outstanding musicianship and abounding presence on the podium.  A graduate of the exclusive Symphony Australia Conductor Development Program, Ms. Gethin commenced her official appointment as Chief Conductor of the Perth Symphony Orchestra (Perth, Australia) in 2011.  Jessica Gethin has performed on stages throughout Europe, USA, UK, Canada, Asia and Australia as conductor, concert presenter, program writer, orchestrator, guest lecturer, music educator and adjudicator.  With a diverse background working across a variety of genres ranging from classical, jazz, opera and ballet to musical theatre, contemporary and film score; Jessica has recorded for numerous CDs, television documentaries, live radio broadcasts and television commercials.  She was recently named one of the “100 Most Influential Women in Australia” for 2015 by the Australian Financial Review.  Artist collaborations include conducting Welsh bass baritone Bryn Terfel, Divinyl’s Chrissy Amphlette, The Ten Tenors, soprano Rachelle Durkin, Australian screen star Lisa McCune, soprano Marina Prior, tenor David Hobson, jazz trumpeter James Morrison and Dutch violinist Rudolf Koelman, to name a few.  Ms. Gethin currently resides in Western Australia with her husband and two children.

NATALIE MURRAY BEALE (UK)

Conductor Natalie Murray Beale is a BBC Performing Arts Fund Fellow and is being mentored by Esa-Pekka Salonen. She has performed with the Welsh National Opera, Opera Holland Park, Spitalfields Festival, Chamber Orchestra of London and the City of London Sinfonia.  Ms. Murray Beale has also gained valuable experience as Assistant Conductor for the Théâtre des Champs-Elysées, Festival d’Aix, Wiener Festwochen and Den Nye Opera with the Philharmonia, Bergen Philharmonic, B’Rock Orchestra, Le Cercle de l’Harmonie and the Freiburger Barockorchester.  Previous positions include serving on the music staff of Welsh National Opera; as coach at the Royal Opera House, Young Artist Programme; and as Guest Chorus Director of London Symphony Chorus. 

Ms. Murray Beale enjoys collaborating with composers and recently conducted the soundtracks to the video game Alien:Isolation (BAFTA nominated) and the British film Robot Overlords. Her performances of the new opera, We are Shadows, received a Royal Philharmonic Society award.  This year she will make her debuts with the Royal Liverpool Philharmonic and Malta Philharmonic Orchestra.

STEPHANIE RHODES (USA)

Stephanie Rhodes is a renowned opera collaborator, having served on the music staff of the Bolshoi Theatre of Russia, The Dallas Opera, Houston Grand Opera, LA Opera, San Francisco Opera, Washington National Opera and Wolf Trap Opera, amongst others. She has garnered experience as a conductor, assistant conductor, prompter, chorus master, rehearsal pianist, orchestral keyboardist and diction coach.  This summer she joins the Miami Summer Music Festival as the Studio Program Director and conductor of Purcell’s Dido and Aeneas, additionally participating as a fellow in the festival’s Orchestral Conducting Institute. As a Fulbright award recipient, Ms. Rhodes spent the 2012/13 season in Moscow specializing in Russian repertoire and pronunciation for non-native singers. She was recently commissioned by The Dallas Opera to transliterate Tchaikovsky’s Iolanta and is currently working on a book to standardize Russian diction for singers. An alum of the Houston Grand Opera Studio and San Francisco’s Merola Opera program, she holds degrees from the University of Michigan and Utah State University in Collaborative Piano and Piano Performance.

ANNA SKRYLEVA (Russia/Germany)

Russian conductor Anna Skryleva has lived and worked in Germany for the past 15 years.  Currently, Ms. Skryleva is engaged as principal resident conductor at The State Theatre, Darmstadt, in addition to performing as a concert pianist and a chamber musician in Russia, other European nations and Mexico.  Anna Skryleva’s career as a conductor began in 2002 in Karlsruhe, where she was engaged at the Music College as music assistant of the conductor Prof. Alicja Mounk.  From 2007 to 2012, Anna Skryleva was engaged at the State Opera Hamburg as musical assistant of Simone Young, where she acquired a wide repertoire, from German Romanticism to Italian bel canto to modern music of the 20th century.  After successfully conducting Richard Strauss’ Salome at the State Theatre Darmstadt in 2013, Anna Skryleva was named Darmstadt’s Principal Resident Conductor.  Since then, she has conducted new productions and revivals of works including Otello, Tristan und Isolde, Il trittico, Madame Butterfly, La traviata and many more.  The German publication Main-Echo named Anna Skryleva “Person of the Year 2013.”  Earlier this year, she was nominated for the “Emotion Award 2015” in the Category “Women in Leadership”; winners will be announced later this month.

LIDIYA YANKOVSKAYA (USA)

Lidiya Yankovskaya’s recent work as a symphonic and opera conductor has been hailed as “superb,” “expert,” and “coax[ing] every possible expressive note from the instrumentalists.”  Currently, Ms. Yankovskaya serves as Music Director of Harvard University’s Lowell House Opera, Artistic Director of Juventas New Music Ensemble, and Music Director with Commonwealth Lyric Theater.  She also works regularly with Gotham Chamber Opera, Center for Contemporary Opera, and New York Lyric Opera.  Last summer, Ms. Yankovskaya served as a conducting fellow under renowned conductor Lorin Maazel at the Castleton Festival, where she had the privilege of assisting Maestro Maazel and filled in for him regularly in rehearsal and performance.  Recent productions have received multiple awards ranging from The American Prize to the National Opera Association Award.  In addition to her work as a conductor, Lidiya is a pianist and coach, recently serving as Music Director for Opera Boston’s education tours.  Presently, she is working as a Russian Diction Coach and occasional rehearsal conductor for Tanglewood Festival Chorus (the chorus of the Boston Symphony). www.LidiyaYankovskaya.com

2015 IWC OBSERVERS:

ARIANNE ABELA (USA)

Known for her work promoting charitable organizations, conductor Arianne Abela has appeared on NBC’s Today Show and America’s Got Talent as artistic director of “3 Penny,” a non-profit chorus and orchestra, and co-founder of “House of Clouds.”  Arianne served as music director of Saybrook College Orchestra and has conducted the Yale Symphony Orchestra, Wesleyan University Orchestra and the Vidin State Philharmonic Orchestra in Bulgaria.  As a chorusmaster, Abela has prepared choirs for Michael Tilson Thomas, Leonard Slatkin, Rafael Payare, and Martin Katz, as well as for the University of Michigan Opera in productions of Mozart’s The Magic Flute and Rossini’s The Barber of Seville.  As a soloist and professional ensemble singer, Abela has performed with major ensembles across North America, Europe and Asia.  Abela is currently a doctoral candidate in conducting at the University of Michigan under the tutelage of Jerry Blackstone. She holds a master’s degree in conducting from Yale University and a bachelor’s degree from Smith College.

LUÇIK APRAHÄMIAN (USA)

Luçik Aprahämian’s versatility as a conductor makes her equally at home in front of an orchestra, leading a vocal ensemble, or guiding outstanding performances on the opera stage.  With her profound passion for opera, Dr. Aprahämian has served as co-artistic director of Southern Arizona Opera, worked with Opera Parallèle and Bayshore Lyric Opera (both located in the Bay area), and served as assistant conductor and director of the Opera Theatre Program at the University of California at Santa Cruz.  She is an avid exponent of new music and has commissioned and premiered works for choir, orchestra, and opera with ensembles in the Bay Area and Arizona.  Recent premieres include Andrew Pascoe’s opera, God: The Opera and David Evan Jones’s chamber opera, The Rehearsal.   Dr. Aprahämian received her bachelor’s degree in fortepiano performance practice, as well as a master’s degree in conducting, from the University of California at Santa Cruz.  She pursued additional graduate studies to earn her doctorate in conducting from the University of Arizona. 

AVLANA EISENBERG (USA)

Music Director of the Boston Chamber Symphony, Avlana Eisenberg has conducted orchestras throughout the United States and in France, Germany, Austria, Scotland, Spain, Bulgaria, the Czech Republic, and Hungary. Her debut CD, with soloist Zina Schiff and the Budapest Symphony Orchestra MAV, features violin concertos by Sibelius and Barber and the world premiere orchestral recording of Ben-Haim’s Three Songs without Words.  Eisenberg received a Fulbright Fellowship for conducting study in Paris and apprenticeship at the Paris National Opera and was one of Glamour magazine’s “Top Ten College Women of the Year.”  As an undergraduate at Yale University, she founded and directed the Silliman Symphony and was honored with Yale’s “V. Browne Irish Award for Excellence in the Performing Arts.”  An alumna of Interlochen Arts Camp and the Aspen Music Festival, Eisenberg holds a Master’s Degree from the University of Michigan and a Graduate Performance Diploma from the Peabody Institute.

CO BOI NGUYEN (USA)

Ms. Co Boi Nguyen has been on the faculty of the University of Redlands, School of Music since 2006, serving as music director of the University of Redlands Orchestra and Opera.  From 2005 to 2007, Ms. Nguyen was conductor and faculty member of the C.W. Post Chamber Music Festival at Long Island University, New York.  At the same time, she also worked as assistant conductor to Oscar-winning composer Tan Dun in New York.  As an alumna of the Vietnam National Academy of Music, Ms. Nguyen returns to Hanoi regularly to perform and to give master classes.  She made her highly acclaimed debut with the Vietnam National Symphony Orchestra at the Hanoi Opera House in July 2002, making her the first woman ever to lead the ensemble.  Ms. Nguyen is a graduate of the conducting programs at the Curtis Institute of Music in Philadelphia and the Juilliard School in New York.

 ~~~~

EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

ADDITIONAL INFORMATION ABOUT THE DALLAS OPERA

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

Thrilling Inaugural Concert – Women Conductors!

by Celeste Hart

THE DALLAS OPERA IS PROUD TO PRESENT

The Inaugural Concert of the Linda and Mitch Hart Institute for Women Conductors

~~~~

SATURDAY, DECEMBER 5, 2015

7:30 p.m. in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center, Dallas, TX

Single Tickets $10

~~~~

IWC Underwriting Support from

Linda and Mitch Hart

The Andrew W. Mellon Foundation

And the Richard and Enika Schulze Foundation

~~~~

Concert Support from Baker Botts and Cindy Feld

PHOTO CREDIT: Lidiya Yankovskaya Conducts at Harvard; Photo by Scott Bump

            DALLAS, NOVEMBER 30, 2015 – The Dallas Opera is thrilled to present six women conductors of international stature making music with The Dallas Opera Orchestra and a host of outstanding young artists in one great evening designed to showcase the work of the inaugural Linda and Mitch Hart Institute for Women Conductors at The Dallas Opera.

            This extraordinary concert will take place on Saturday, December 5, 2015 at 7:30 p.m. in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center located in the Dallas Arts District.  Tickets are $10 and may be purchased in advance at 214.443.1000 or at dallasopera.org (under “Upcoming Events” on the home page).

LIDIYA YANKOVSKAYA Lowell Opera House - photo by Scott Bump

            The on-stage concert will feature music by a wide variety of composers including Giacomo Puccini, Maurice Ravel, Georg.Friedrich Händel, Gian Carlo Menotti, Jake Heggie, W.A. Mozart, Gioachino Rossini, Mark Adamo, Giuseppe Verdi, Carlisle Floyd, Gaetano Donizetti, Jules Massenet, and Johann Strauss II.

            Conducting these selections will be the 2015 Institute Fellows Jennifer Condon (Australia/Germany), Jessica Gethin (Australia), Natalie Murray Beale (United Kingdom), Stephanie Rhodes (USA), Anna Skryleva (Russia/Germany), and Lidiya Yankovskaya (USA).

            Seven accomplished singers will share the spotlight with the conductors that evening.  They are: baritone Theador Carlson, mezzo-soprano Heather Johnson, tenor Alasdair Kent, bass Adam Lau, tenor Don O’Neal LeBlanc, soprano Sarah Jane McMahon, and soprano Stacey Tappan.

~~~~

            Crucial underwriting support for the institute comes from Linda and Mitch Hart and The Andrew W. Mellon Foundation.  Catalyst funding for the Women Conductors Institute comes from the Richard and Enika Schulze Foundation

            Concert support is from Baker Botts and Cindy Feld.

            Conductor sponsors for the 2015 Institute are Patti Cody, Susan Geyer, Joy Mankoff, Joyce Mitchell, Lynn Mock and a sponsor who prefers to remain anonymous.

 ~~~~

2015 IWC FELLOWS:

JENNIFER CONDON (Australia/Germany)

Jennifer Condon has been passionate about opera from an absurdly young age -- since her teens she has been fortunate to have fellow Australian, Simone Young, as mentor.  Jennifer studied piano in Sydney, and conducting in Melbourne and Vienna before commencing work as a souffleuse at the Hamburg State Opera in 2008.  She now has a repertoire of over 55 operas.  During her time in Hamburg, Jennifer also brought Peggy Glanville-Hicks’ opera Sappho (1963) from the composer’s hand-written manuscript to the recording studio.  The CD, with an eminent cast including Deborah Polaski, Sir John Tomlinson and Wolfgang Koch with the Gulbenkian Orchestra, has been released to considerable critical acclaim.  Jennifer lives in Berlin and works as a free-lance vocal coach and prompt as she pursues a conducting career.  Assistant conducting engagements to date include Lohengrin in Zurich and Salome in Vienna.  Future engagements include Reimann’s Lear in Budapest and Ariadne auf Naxos in Tokyo.

 JESSICA GETHIN (Australia)

Conductor Jessica Gethin, winner of the prestigious Brian Stacey Australian Emerging Conductor Award, has won praise from audiences and critics alike for her dynamic energy, outstanding musicianship and abounding presence on the podium.  A graduate of the exclusive Symphony Australia Conductor Development Program, Ms. Gethin commenced her official appointment as Chief Conductor of the Perth Symphony Orchestra (Perth, Australia) in 2011.  Jessica Gethin has performed on stages throughout Europe, USA, UK, Canada, Asia and Australia as conductor, concert presenter, program writer, orchestrator, guest lecturer, music educator and adjudicator.  With a diverse background working across a variety of genres ranging from classical, jazz, opera and ballet to musical theatre, contemporary and film score; Jessica has recorded for numerous CDs, television documentaries, live radio broadcasts and television commercials.  She was recently named one of the “100 Most Influential Women in Australia” for 2015 by the Australian Financial Review.  Artist collaborations include conducting Welsh bass baritone Bryn Terfel, Divinyl’s Chrissy Amphlette, The Ten Tenors, soprano Rachelle Durkin, Australian screen star Lisa McCune, soprano Marina Prior, tenor David Hobson, jazz trumpeter James Morrison and Dutch violinist Rudolf Koelman, to name a few.  Ms. Gethin currently resides in Western Australia with her husband and two children.

NATALIE MURRAY BEALE (UK)

Conductor Natalie Murray Beale is a BBC Performing Arts Fund Fellow and is being mentored by Esa-Pekka Salonen. She has performed with the Welsh National Opera, Opera Holland Park, Spitalfields Festival, Chamber Orchestra of London and the City of London Sinfonia.  Ms. Murray Beale has also gained valuable experience as Assistant Conductor for the Théâtre des Champs-Elysées, Festival d’Aix, Wiener Festwochen and Den Nye Opera with the Philharmonia, Bergen Philharmonic, B’Rock Orchestra, Le Cercle de l’Harmonie and the Freiburger Barockorchester.  Previous positions include serving on the music staff of Welsh National Opera; as coach at the Royal Opera House, Young Artist Programme; and as Guest Chorus Director of London Symphony Chorus.  Ms. Murray Beale enjoys collaborating with composers and recently conducted the soundtracks to the video game Alien:Isolation (BAFTA nominated) and the British film Robot Overlords. Her performances of the new opera, We are Shadows, received a Royal Philharmonic Society award.  This year she will make her debuts with the Royal Liverpool Philharmonic and Malta Philharmonic Orchestra.

STEPHANIE RHODES (USA)

Stephanie Rhodes is a renowned opera collaborator, having served on the music staff of the Bolshoi Theatre of Russia, The Dallas Opera, Houston Grand Opera, LA Opera, San Francisco Opera, Washington National Opera and Wolf Trap Opera, amongst others. She has garnered experience as a conductor, assistant conductor, prompter, chorus master, rehearsal pianist, orchestral keyboardist and diction coach.  This summer she joins the Miami Summer Music Festival as the Studio Program Director and conductor of Purcell’s Dido and Aeneas, additionally participating as a fellow in the festival’s Orchestral Conducting Institute. As a Fulbright award recipient, Ms. Rhodes spent the 2012/13 season in Moscow specializing in Russian repertoire and pronunciation for non-native singers. She was recently commissioned by The Dallas Opera to transliterate Tchaikovsky’s Iolanta and is currently working on a book to standardize Russian diction for singers. An alum of the Houston Grand Opera Studio and San Francisco’s Merola Opera program, she holds degrees from the University of Michigan and Utah State University in Collaborative Piano and Piano Performance.

ANNA SKRYLEVA (Russia/Germany)

Russian conductor Anna Skryleva has lived and worked in Germany for the past 15 years.  Currently, Ms. Skryleva is engaged as principal resident conductor at The State Theatre, Darmstadt, in addition to performing as a concert pianist and a chamber musician in Russia, other European nations and Mexico.  Anna Skryleva’s career as a conductor began in 2002 in Karlsruhe, where she was engaged at the Music College as music assistant of the conductor Prof. Alicja Mounk.  From 2007 to 2012, Anna Skryleva was engaged at the State Opera Hamburg as musical assistant of Simone Young, where she acquired a wide repertoire, from German Romanticism to Italian bel canto to modern music of the 20th century.  After successfully conducting Richard Strauss’ Salome at the State Theatre Darmstadt in 2013, Anna Skryleva was named Darmstadt’s Principal Resident Conductor.  Since then, she has conducted new productions and revivals of works including Otello, Tristan und Isolde, Il trittico, Madame Butterfly, La traviata and many more.  The German publication Main-Echo named Anna Skryleva “Person of the Year 2013.”  Earlier this year, she was nominated for the “Emotion Award 2015” in the Category “Women in Leadership”; winners will be announced later this month.

LIDIYA YANKOVSKAYA (USA)

Lidiya Yankovskaya’s recent work as a symphonic and opera conductor has been hailed as “superb,” “expert,” and “coax[ing] every possible expressive note from the instrumentalists.”  Currently, Ms. Yankovskaya serves as Music Director of Harvard University’s Lowell House Opera, Artistic Director of Juventas New Music Ensemble, and Music Director with Commonwealth Lyric Theater.  She also works regularly with Gotham Chamber Opera, Center for Contemporary Opera, and New York Lyric Opera.  Last summer, Ms. Yankovskaya served as a conducting fellow under renowned conductor Lorin Maazel at the Castleton Festival, where she had the privilege of assisting Maestro Maazel and filled in for him regularly in rehearsal and performance.  Recent productions have received multiple awards ranging from The American Prize to the National Opera Association Award.  In addition to her work as a conductor, Lidiya is a pianist and coach, recently serving as Music Director for Opera Boston’s education tours.  Presently, she is working as a Russian Diction Coach and occasional rehearsal conductor for Tanglewood Festival Chorus (the chorus of the Boston Symphony). www.LidiyaYankovskaya.com

 

SINGERS, IWC INAUGURAL CONCERT

Theodor Carlson, baritone

Theodor Carlson sings operas of Verdi, Puccini, Wagner and Richard Strauss. Rigoletto, and The Flying Dutchman are among roles he’s sung in Munich, Hamburg, Berlin, Dresden, and Baden Baden, He earned a University of Michigan Bachelor in Music, studied at Juilliard, and earned a diploma from the Rome-Accademia-Musicale Ottorino Respighi. He took First Prize in Verviers and New York competitions and earned MET and Puccini Foundation prizes. He toured Germany with Schubert’s Die Winterreise. He was Soloist in Handel’s Messiah and Mendelssohn’s Elijah. Carlson gave a Liceu Opera recital and presented lectures on Franz Schubert for the German-College in Barcelona. Carlson is featured in Beethoven’s Ninth Symphony with the Thüringen Philharmonic in December and Galas with the Frankfurt Symphony in the coming year.

Heather Johnson, mezzo-soprano

Heather Johnson made her Metropolitan Opera debut in 2013 as the Flower Maiden in the new production of Parsifal. She has sung with Sarasota Opera as Cenerentola, and in The Crucible, L’Amico Fritz, Rigoletto and Hansel and Gretel. With Boston Lyric Opera she has sung Don Giovanni, A Midsummer Night’s Dream and title role of Lizzie Borden in her Tanglewood Festival debut in 2014. Past and future engagements are Carmen with Volkstheater Rostock, Madama Butterfly and Hansel with PORT Opera, The Long Walk with Opera Saratoga, Little Women in Madison Opera, Salome and Becoming Santa Claus at The Dallas Opera. She has also been a regular with Opera Orchestra of New York and New York Choral Society in Carnegie Hall and with New York City Opera.

Alasdair Kent, tenor

 Tenor Alasdair Kent is a Resident Artist at The Academy of Vocal Arts in Philadelphia, where his performances have included L’italiana in Algeri, Così fan tutte and Don Giovanni. Mr. Kent made his professional debut as Don Ramiro in La Cenerentola for Opera Queensland in his native Australia. As an Emerging Artist with Opera Philadelphia, he has performed in recital and will make his company debut in Cold Mountain in 2016. Mr. Kent has been part of the prestigious Merola Opera Program and the Martina Arroyo Foundation. In 2015, Mr. Kent won First Prize in the Violetta DuPont Vocal Competition. In 2016, Mr. Kent will perform Rinuccio in Gianni Schicchi with The Academy of Vocal Arts and as a Filene Young Artist with Wolf Trap Opera.

Adam Lau, bass

In the 2015-2016 season Adam Lau will debut with the San Francisco Symphony as the bass soloist in Händel’s Messiah. On the opera stage Mr. Lau will return to North Carolina Opera in il Barbiere di Siviglia and the Dallas Opera’s World Premiere of Mark Adamo’s Becoming Santa Claus. In the 2014-15 season, Mr. Lau made debuts with the Dallas Opera, and Opera Theater of St. Louis as Berardo in the American Premiere of Handel’s Riccardo Primo. In summer 2015, he created the role of Papa San in the World Premiere of Jack Perla’s opera, An American Dream with Seattle Opera. Mr. Lau has appeared with some of the nation’s leading festivals including The Hollywood Bowl with Los Angeles Philharmonic, Merola Opera Center, Aspen Opera Theater Center and Santa Fe Opera.

Don O’Neal LeBlanc, tenor

 After a twenty-year hiatus, tenor Don O’Neal LeBlanc has returned to his life-long passion for singing. The San Benito, Texas native studied Vocal Performance at The University of North Texas. A 1990 regional finalist in the Metropolitan Opera National Council Auditions, Don performed leading roles in Gianni Schicchi, L’elisir d’Amore, Carmina Burana and numerous oratorios. Since returning to the stage, Don has been a frequent featured soloist with the UNT orchestra and chorus, Arlington-based Timeless Concerts, and various churches and arts organizations around the DFW area, including Opera on Tap, a non-profit of which he is co-manager. In 2015, in addition to joining The Dallas Opera chorus, Don was selected as a semi-finalist in the Professional Men’s Division of The American Prize in Vocal Performance.

Sarah Jane McMahon, soprano

Hailed by Opera News for her “golden sound,” Sarah Jane McMahon has sung on opera and concert stages throughout the U.S. and abroad, recently performing opposite Plácido Domingo, who selected her to join the Los Angeles Opera. A Masters graduate of Yale University, the many companies and orchestras she has performed with include the San Francisco Symphony, Munich Philharmonic, Washington Concert Opera, and New York City Opera. Her performances have also taken her to Carnegie Hall, Avery Fisher Hall, the Vienna Concert House, and the Santo Domingo Festival. Her recent and upcoming engagements include performances with New Orleans Opera, Portland Symphony, Winston-Salem Symphony, Minnesota Orchestra, Charlotte Symphony, Jacksonville Symphony, Rochester Philharmonic, Cleveland Pops, Dallas Opera, and Tulsa Opera.

Stacey Tappan, soprano

Stacey Tappan has distinguished herself as an exceptional musical artist in the United States and abroad. Recent engagements include the world premiere of Adamo’s The Gospel of Mary Magdalene with San Francisco Opera; Lucia di Lammermoor with Arizona Opera; Clorinda in Cinderella and Miss Wordsworth in Albert Herring with LA Opera; the Charmeuse in Thaïs at the Edinburgh Festival; and The Ring Cycle with San Francisco Opera and Lyric Opera of Chicago. Current engagements include Stella in A Streetcar Named Desire and Florestine in The Ghosts of Versailles with LA Opera; Adamo’s Becoming Santa Claus and Susanna in The Marriage of Figaro with Jacksonville Symphony. In addition, she will be heard in Carmina Burana with Los Angeles Master Chorale and Omaha Symphony.

 ~~~~

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

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

~~~~

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 2015-2016 Dallas Opera Season

All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise indicated.  Single Tickets range from $19 to $275.  Full Subscriptions start at $99, 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.

Keith Cerny and Emmanuel Villaume Extend TDO Contracts to June 2022!

by Celeste Hart

THE DALLAS OPERA IS PLEASED TO ANNOUNCE 

CONTRACT EXTENSIONS TO JUNE 30, 2022

FOR KEITH CERNY AND EMMANUEL VILLAUME

DALLAS, NOVEMBER 19, 2015 – The Dallas Opera is pleased and proud to announce contract extensions for its two most senior leaders: General Director & CEO Keith Cerny, and Music Director Emmanuel Villaume.  Both contracts have been extended to June 30, 2022.

General Director & CEO Cerny, who joined The Dallas Opera in 2010, will continue to lead the artistic, fund-raising, and operational activities of the company.  Working with the Board of Directors, Mr. Cerny will maintain his responsibilities for programming and casting, in addition to the selection of productions, directors, designers, guest artists and conductors. 

Music Director Villaume, now beginning his third season with the company, will conduct three productions each year.  Maestro Villaume will also continue to work closely with the general director on season planning, as well as their ongoing efforts to bring the world’s finest performing artists to North Texas. 

In making today’s announcement, Board Chair Steve Suellentrop noted the following: “Over the past five years, Keith Cerny has demonstrated exemplary leadership.  His artistic accomplishments include the commissioning of three world premieres in 2015, the launch of the Robert E. and Jean Ann Titus Art Song Recital Series to fill a vital musical niche in the North Texas performing arts scene, the expansion of The Dallas Opera Guild Vocal Competition to the rank of a major national program, and the creation of the Linda and Mitch Hart Institute for Women Conductors

“He brought a number of neglected operatic “gems” to North Texas for the first time, including Tod Machover’s Death and the Powers, Korngold’s Die tote Stadt, Peter Maxwell-Davies’s The Lighthouse and Tchaikovsky’s Iolanta

“Keith has also reimagined the company’s relationship with the community, in all its diversity, by creating a free public simulcast program that has reached over 60,000 patrons in the U.S. and abroad. 

“With an eye on the next generation of opera audiences, he led the development of an ambitious education program that presents nearly 100 performances and concerts each year to schools, community centers, and in other non-traditional locations. 

“Working closely with the Board, Keith has also played a major role in achieving three consecutive balanced budgets – the first time in fifteen years that The Dallas Opera has achieved this result.”

Mr. Suellentrop went on to say, “Music Director Emmanuel Villaume has accomplished a great deal in his first two years with the company.  In addition to conducting several outstanding productions, he has made Dallas his musical home; using his considerable intelligence and charm to forge extremely positive relationships with the community, our Board, and our supporters.  We are incredibly fortunate to have Maestro Villaume as our Music Director, considering the constant demand for his services from the world’s leading opera companies and symphonies.”

Keith Cerny commented on the announcement: “Leading the Dallas Opera over the last five years has unquestionably been the highlight of my professional career, and I am greatly looking forward to leading the company in exciting directions in the future. 

“As an opera company, we are extraordinarily blessed to have the Margot and Bill Winspear Opera House as our musical home; a magnificent, acoustically acclaimed performance space in the AT&T Performing Arts Center that provides us with an opportunity to build on The Dallas Opera’s long and distinguished musical history—and take it to new heights. 

“I am equally ecstatic that Maestro Villaume has been willing to make The Dallas Opera a central part of his musical life for the next seven years.  With the Board’s strong support, I appointed him as Music Director in 2013, and have been delighted with his work for the company, both on and off the podium.  He is a remarkable musician and colleague, and he and I have many ambitious plans for the future of the company.”

Music Director Emmanuel Villaume also responded to the news: “I am absolutely delighted to have extended my commitment to The Dallas Opera.  Since the day I began as Music Director, I have been warmly welcomed into this community by everyone I have met.  This city has created a remarkable Arts District; we are especially fortunate that Margot and Bill Winspear gave so generously for the design and construction of one of the world’s finest opera houses. 

“I look forward to working with the excellent Dallas Opera Orchestra and the Dallas Opera Chorus throughout the coming years, while collaborating closely with Keith to continue to bring significant artistic projects, thrilling performances, and the world’s leading artists to audiences here in North Texas.”

“The promise of a new era in opera,” Mr. Cerny added, “that began with the company’s successful move in 2009 from Fair Park to the purpose-built Winspear Opera House and the creation of the Cultural Renaissance Endowment Fund, is in the process of being fulfilled today. 

“When I think back on what we, as a company, have accomplished during the fast-paced years since, it makes me look forward—with greater anticipation than ever—to the innovative and exhilarating seasons to come.”

BIOGRAPHIES

Keith Cerny, General Director and CEO

Keith Cerny’s career spans music, technology and business. He began studying piano at the age of 10, and performed extensively in his teens as a solo pianist and accompanist. He subsequently studied Music and Physics at the University of California at Berkeley. After graduating with highest honors in both degrees, he won a Fulbright Scholarship to London. There he studied at the English National Opera and the Guildhall School of Music and Drama, and performed and coached regularly for four years. Following his return from London, he worked for two years for the accounting firm Touche Ross & Co. in San Francisco before attending Harvard Business School. While living in Boston, Keith also accompanied voice students in the studio in the Chair of the Voice department at New England Conservatory. After graduating with honors from HBS, Keith spent nearly 15 years in management consulting, working first for McKinsey & Co. in London and Atlanta, and then as a telecom and high tech Partner with Accenture in San Francisco. During this period, Keith also completed a Ph.D. in Econometrics and Economic Development Policy from the Open University in the U.K. As a consultant, he worked on numerous pro bono projects for opera companies in parallel with his paid consulting work, including the San Francisco Opera, Washington National Opera and Spoleto Festival USA. He was hired by the Board of the San Francisco Opera in 2004 as the Executive Director (COO) and CFO. During his tenure at SF Opera, the company achieved three years of balanced operating results, following an institution-threatening downturn prior to his arrival. He then worked for Russell Reynolds in San Francisco, recruiting CEOs and senior executives for non-profits, before taking over as CEO of SheetMusicPlus.com – the largest online retailer of sheet music.

Keith joined The Dallas Opera in 2010 as General Director & CEO. There, he has worked with the Dallas Opera’s Board of Directors and opera staff to stabilize the company’s finances and grow the endowment, leading to the first three consecutive balanced operating results in 15 years; recruited an accomplished new Music Director with an international reputation, Emmanuel Villaume, and a Principal Guest Conductor, Nicole Paiement; commissioned three world premieres by Joby Talbot and Gene Scheer, Jake Heggie and Terrence McNally, and Mark Adamo; launched the company’s free public simulcast series including an international simulcast of Tod Machover’s Death and the Powers to 9 locations in the U.S., U.K. and Continental Europe; and forged new artistic collaborations with the Dallas Theater Center, the Dallas Children’s Theater, University of North Texas, the Perot Museum of Nature and Science, and Dallas Museum of Art. In 2011, he was elected to the Board of Directors of Opera America, where he also serves as Chair of the Strategy Committee.  In 2015 he was elected to the Board of Tessitura.

Emmanuel Villaume, Music Director

Now in his third season as Music Director of The Dallas Opera where he recently conducted Tosca, Iolanta and Mozart’s The Marriage of Figaro. He made his debut with the company in 1998 conducting Faust and returned to conduct The Marriage of Figaro in 2002. He is a frequent guest conductor at the world’s leading opera companies, including the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Los Angeles Opera, the Washington National Opera, Santa Fe Opera, London’s Royal Opera, the Paris Opera, Monte Carlo Opera, Venice’s La Fenice, the Munich Staatsoper, Berlin’s Deutsche Oper, the Hamburg Staatsoper, Madrid’s Teatro Real, and Buenos Aires’ Teatro Colón. He has led the Montreal Symphony in Montreal and at Carnegie Hall, the Chicago Symphony, the Boston Symphony, the orchestras of Los Angeles, San Francisco, Houston, St. Louis, Detroit, Minnesota, Orchestre de Paris, Orchestre Philharmonique de Radio France, Beethovenhalle Orchestra of Bonn, and the China National Opera Orchestra for the 2008 Olympic Games. He is currently Chief Conductor of the National Slovak Philharmonic Orchestra. He served as the Spoleto Festival USA’s Music Director for Opera and Orchestra from 2001 to 2010. Maestro Villaume has recorded for Deutsche Grammophon (including Iolanta featuring Anna Netrebko), Decca and EMI. He recently assumed a new post as Music Director and Chief Conductor of the Prague Philharmonia, in addition to his work in Dallas.

 ~~~

EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

ADDITIONAL INFORMATION IS CONVENIENTLY AVAILABLE ONLINE, 24/7

VISIT WWW.DALLASOPERA.ORG AND CHECK THE CALENDAR LISTINGS

For high-resolution digital photographs suitable for print

To arrange an interview or obtain additional information

Please contact Suzanne Calvin, Director of Media and Public Relations

214.443.1014 or suzanne.calvin@dallasopera.org

~~~~

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

Ticket Information for the 2015-2016 Dallas Opera Season

All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise described.  Single Tickets range from $19 to $275.  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.