Category Archives: About the show

Specific information about TDO productions and performances

Command Performance

by Suzanne Calvin

The rave reviews continue to pour in for the Dallas Opera’s 25th Anniversary production of Dominick Argento’s THE ASPERN PAPERS, starring Susan Graham, Alexandra Deshorties, Nathan Gunn and Joseph Kaiser at the head of an all-star cast. Here’s what Mark-Brian Sonna wrote for “The Column” and “Pegasus News”: “Stop reading and buy your tickets now! […]

Latest Reviews

by Suzanne Calvin

“A quick filler,” to quote a movie character, to catch you up on the very latest reviews. There’s this interesting personal rumination from author/critic/Renaissance Man William Madison from his blog. And The Dallas Observer’s no-holds-barred headline that THE ASPERN PAPERS is “one of The Dallas Opera’s Best Productions in Recent Memory” topping the review by […]

THE ASPERN PAPERS Leaves Critics Awestruck

by Suzanne Calvin

Yes, the reviews are in (some of them, anyway) and the critics seem to be uniformly knocked-out by the performances in the Dallas Opera’s 25th Anniversary revival of THE ASPERN PAPERS, which opened last Friday evening. Starring Grammy Award-winning mezzo-soprano  Susan Graham as Tina in her long-awaited TDO debut, French soprano Alexandra Deshorties as a […]

20K, with “T-Day” just a week away!

by Suzanne Calvin

Actually, in one sense, “T-Day” is tonight, as the Dallas Opera opens our fabulous production of “Turandot,” with irresistible music by Giacomo Puccini including the best-known aria in the repertoire: “Nessun Dorma,” sung by Italian tenor Antonello Palombi.  This production stars the marvelous American soprano Lise Lindstrom in the title role at the head of […]

Lise Lindstrom Charms WFAA’s Audience

by Suzanne Calvin

Great introduction to Puccini’s TURANDOT, opening this Friday evening in the Winspear at 7:30 p.m., when the Princess herself stopped by WFAA’s Victory Park Studios for an interview on today’s “Good Morning Texas.” Enjoy her appearance right here and get those tickets today — time is running out! Call 214.443.1000 or visit dallasopera.org. And here’s […]

Kelbert Taylor, R.I. P.

by Suzanne Calvin

Kelbert Taylor, 3rd bassonist/contrabassonist for the Dallas Opera, who contributed to many, many performances at our company in the past two decades, passed away this week. We are told that services for Kelbert will be held tomorrow: Friday, March 29, 10:00 a.m. at The Village Church, 3877 Walnut Hill Ln. 75229 (east of Marsh). All […]

The Dallas Opera’s New Production of THE ASPERN PAPERS

by Suzanne Calvin

FOR IMMEDIATE RELEASE: Tuesday, March 19, 2013 Contact: Suzanne Calvin 214.443.1014 Or Megan Meister 214.443.1071 suzanne.calvin@dallasopera.org megan.meister@dallasopera.org TDO IS THRILLED TO COMMEMORATE THE 25TH ANNIVERSARY OF THE 1988 DALLAS OPERA WORLD PREMIERE OF DOMINICK ARGENTO’S THE ASPERN PAPERS WITH A NEW PRODUCTION DIRECTED BY TIM ALBERY BASED ON A NOVELLA BY HENRY JAMES ~~~~ STARRING […]

Henry James: Stories of Style and Substance

by Olin Chism

The writer Henry James once claimed to be “unlyrical, unmusical, unrhythmical, and unmanageable.” It’s remarkable, then, that his fiction has inspired operas by several prominent composers: Dominick Argento (The Aspern Papers), Benjamin Britten (The Turn of the Screw and Owen Wingrave), Douglas Moore (The Wings of the Dove) and Thomas Pasatieri (Washington Square). Why did […]

April at the Dallas Opera

by Suzanne Calvin

April is just around the corner, bringing with it warmer temperatures and exciting days and nights of opera! Here’s the rundown for the entire month, which includes two mainstage productions and a free Dallas Opera Cowboys Stadium Simulcast! FOR IMMEDIATE RELEASE: Tuesday, March 12, 2013 Contact: Suzanne Calvin 214.443.1014 Or Megan Meister 214.443.1071 suzanne.calvin@dallasopera.org megan.meister@dallasopera.org […]

The Last of the Great Italian Operas

by Wayne Lee Gay

Audience members in Milan, Italy, attending the world premiere of Turandot on the evening of April 25, 1926, knew full well they were viewing the end of one composer’s output; Puccini had been laid to rest some seventeen months earlier with the sort of pomp and national outpouring reserved in Italy for her greatest composers. […]