Brian Zeger to Chair Judges Panel at 2015 Dallas Opera Guild Vocal Competition

by Suzanne Calvin

There are major changes afoot at the Dallas Opera Guild Vocal Competition for 2015 -- starting with the Judges Panel.  Read on!

FOR IMMEDIATE RELEASE:
Tuesday, August 26, 2014
Contact: Suzanne Calvin 214.443.1014 Or Celeste Hart 214.443.1071
suzanne.calvin@dallasopera.org celeste.hart@dallasopera.org

THE DALLAS OPERA IS PLEASED TO ANNOUNCE
ACCLAIMED PIANIST, ARTS ADMINISTRATOR, ADJUDICATOR AND EDUCATOR
BRIAN ZEGER
Has Been Appointed to Chair Judging of
The 2015 Dallas Opera Guild Vocal Competition
Now, Bigger Than Texas!
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Expanded format to Include National Applicant Pool and Finals Round Performed with The Dallas Opera Orchestra
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Conducted by Internationally Renowned
TDO Music Director Emmanuel Villaume

DALLAS, TX, AUGUST 26, 2014 -- The Dallas Opera is proud to announce the appointment of Brian Zeger as Chair of the Judges Panel for the 2015 Dallas Opera Guild Vocal Competition. This season’s competition will take place on Saturday, April 18, 2015 and Sunday, April 19, 2015 in the elegant setting of the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center. The event is free and open to the public.
On the faculty of The Juilliard School since 1993 and Artistic Director of Vocal Arts at Juilliard since 2004, Dr. Zeger is also the Executive Director of the Metropolitan Opera Lindemann Young Artist Development Program.
As a performer, Dr. Zeger is a frequent recital partner and artistic collaborator to leading vocal artists including Deborah Voigt, Anna Netrebko, Marilyn Horne, René Pape, Dame Kiri Te Kanawa, Joyce DiDonato, Bryn Terfel and Susan Graham.
Dr. Zeger has lent a distinguished musical presence to a variety of recordings for EMI Classics, Delos, Naxos, New World and Koch.
A polished broadcast professional and frequent guest on the Metropolitan Opera radio broadcasts, Dr. Zeger has also contributed critical essays for publications such as Opera News, Chamber Music Magazine and The Yale Review. He has participated in countless summer festivals: Ravinia, Santa Fe, Caramoor, Aldeburgh and Aspen, as well as the Cape Cod Chamber Music Festival where he served as artistic director from 1993-2000. This native New Yorker has also adjudicated the Metropolitan Opera National Council Auditions, the Concert Artists Guild Auditions and the Walter W. Naumberg Vocal Competition.
Judges for the expanded 27th Annual Dallas Opera Guild Vocal Competition will be drawn from distinguished performers and opera administrators and will also include General Director & CEO Keith Cerny, Music Director Emmanuel Villaume and newly-appointed Artistic Administrator Ian Derrer.
The Dallas Opera Guild Vocal Competition, historically, has been focused on singers with Texas roots or academic connections, and its many distinguished alumni include Latonia Moore, Clifton Forbis, Marjorie Owens, Weston Hurt, Steven LaBrie and Jesus Garcia.
As the competition seeks to gain even greater prominence and significance, The Dallas Opera and The Dallas Opera Guild are making two significant changes:

• First, in order to attract the most talented applicant pool, with the greatest potential, the eligibility criteria for applicants to the 2015 competition has changed. It will be open to residents of all 50 states and U.S. Territories. Competitors must be individuals aged 18 to 32 on the dates of the actual competition.

• Second, the Finals Round of the competition, which will take place on Sunday, April 19, 2015 at 7:30 pm in the Winspear Opera House, will be accompanied for the first time by The Dallas Opera Orchestra, conducted by TDO’s acclaimed Music Director, Emmanuel Villaume. Up to six finalists will participate, singing two arias each.

Responding to his appointment as Chair of the Judges Panel, Dr. Zeger noted, “I am delighted to be collaborating with General Director and CEO Keith Cerny and Music Director Emmanuel Villaume on this new expanded format. We are already working to engage a distinguished panel of judges, and I know these changes will allow The Dallas Opera Guild Vocal Competition to reach even greater heights.”

Commented General Director & CEO Keith Cerny: “The Dallas Opera is delighted to be working with Dr. Zeger and partnering closely with The Dallas Opera Guild. Dr. Zeger brings an enviable reputation as a pianist, coach, and arts administrator, and we are honored to have him work with us to enhance the competition and to chair the judges’ panels for preliminary, semi-final, and final rounds.”

“Having known Brian Zeger for many years, I am looking forward to collaborating with him on this newly expanded competition,” said Music Director Emmanuel Villaume. “It will be a particular delight to work with TDO’s excellent orchestra to accompany the competition finalists next April.”

Dallas Opera Guild President Susan Fleming explained that “The Guild has long been proud of the annual Vocal Competition, and our members who work countless hours behind the scenes to bring the competition to life. We are pleased to be working together with General Director & CEO Keith Cerny, Maestro Emmanuel Villaume, and Brian Zeger to build on our past success and to increase the national prominence of this competition.”

Dallas Opera Guild 2015 Vocal Competition Chair Ketty Fitzgerald added, “Building on the foundation of all those who came before us, we have a unique opportunity to restructure this competition to enable it to do even more to advance the careers of the best young singers in opera. That is our ultimate goal, in taking this event to the next level.”

ABOUT THE 2015 DALLAS OPERA GUILD VOCAL COMPETITION

Potential applicants are encouraged to check TDO’s website for more information about the application process, as well as YAP Tracker. The Dallas Opera will begin accepting applications for the 2015 competition on September 15, 2014. The entry fee is $35. Applications must be submitted exclusively through YAP Tracker — no later than 11:59 p.m. on November 15, 2014. Semifinalists will be notified on January 15, 2015. Additional details regarding the changes to the competition may be found at www.dallasopera.org/vocal.

The Margot and Bill Winspear Opera House is conveniently located in the heart of the Arts District at 2403 Flora Street, Dallas, TX 75201.
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EVENTS, GUESTS AND ARTISTS ARE SUBJECT TO CHANGE

TEXAS INSTRUMENTS FOUNDATION, SEASON SPONSOR
FOR THE DALLAS OPERA’S “HEIGHTS OF PASSION” 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.

ADDITIONAL INFORMATION ABOUT THE DALLAS OPERA
IS CONVENIENTLY AVAILABLE ONLINE, 24/7
VISIT WWW.DALLASOPERA.ORG AND CHECK THE CALENDAR LISTINGS

Ticket Information for the 2014-2015 Dallas Opera Season

All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise described. Single Tickets range from $19 to $275 and Flex Subscriptions are on sale 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 2014-2015 SEASON INFORMATION
The Dallas Opera celebrates its Fifty-Eighth 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 Talks begin one hour prior to curtain, at most performances excluding FIRST NIGHT of the season.

THE MARRIAGE OF FIGARO by Wolfgang Amadeus Mozart
October 24, 26(m), 29, November 1, 7 and 9(m), 2014
In a single crazy, romantic day, doors will be locked and unlocked, disguised donned, kisses exchanged and innermost hearts revealed—to some of the most memorable music Mozart ever composed.
An opera in four acts first performed in Vienna on May 1, 1786
Text by Lorenzo Da Ponte after the 1784 play La folle journée, ou Le mariage de Figaro by Pierre-Augustin Caron de Beaumarchais
Time: The late 18th century
Place: Aguasfrescas near Seville, Spain, the Almaviva’s country house
Conductor: Emmanuel Villaume
Stage Director: Kevin Moriarty
Production Design: John Bury*
Lighting Design: Mark McCullough
Wig & make-up Design: David Zimmerman
Choreography: Joel Ferrell*
Chorus Master: Alexander Rom
Starring: Mirco Palazzi (Figaro) , Beate Ritter** (Susanna), Joshua Hopkins (Count Almaviva), Nicole Car** (Countess Almaviva), Emily Fons (Cherubino), Diana Montague* (Marcellina), Kevin Langan (Doctor Bartolo), Doug Jones (Don Basilio), Angela Mannino (Barbarina), Adam Lau* (Antonio) and Jon Kolbet (Don Curzio).
Production Owned by Lyric Opera of Chicago

SALOME by Richard Strauss
October 30, November 2(m), 5, 8, 2014
Once in a great while, the term “over the top” doesn’t seem nearly high enough.
An opera in one act first performed in Dresden, Germany on December 9, 1905
Hedwig Lachmann’s German translation of Oscar Wilde’s French language play
Time: During the time of Jesus Christ
Place: King Herod’s palace on the Sea of Galilee
Conductor: Evan Rogister*
Stage Director: Francesca Zambello
Original Production: Francesca Zambello
Scenic Design: Peter J. Davison*
Costume Design: Anita Yavich
Lighting Design: Mark McCullough
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Choreography: Yael Levitin*
Starring: Deborah Voigt* (Salome), Robert Brubaker (Herod), Greer Grimsley* (Jokanaan), Susan Bickley* (Herodias), Scott Quinn (Narraboth), Heather Johnson* (Herodias’Page), Bradley Garvin (First Nazarene), Grigory Soloviov* (First Soldier), Jason Grant (Second Soldier), Joseph Hu (First Jew), Jay Gardner (Second Jew), John Robert Lindsey (Third Jew), Steven Haal (Fourth Jew), Patrick Guetti* (Fifth Jew), Tyler Simpson* (Second Nazarene), NaGuanda Nobles (A Slave) and Matthew Stump* (A Cappadocian).
Production Owned by Washington National Opera

WINTER 2015 -- A RARE DALLAS OPERA DOUBLE BILL:

LA WALLY by Alfredo Catalani
January 30, February 1(m), 4 and 7, 2015
The Climactic Final Act!
First performed in Milan, Italy on January 20, 1892
Text by Luigi Illica after Wilhelmine von Hillern’s story, Die Geyer-Wally
Time: Around the year 1800
Place: The Austrian Alps
Conductor: Anthony Barrese
Stage Director: Candace Evans
Scenic Design: Robert Brill
Costume Design: David C. Woolard
Lighting Design: Christopher Akerlind
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Starring: Latonia Moore (Wally), Carl Tanner* (Giuseppe Hagenbach) and Jennifer Chung (Walter)
A Brand-New Dallas Opera Production!

With EVEREST by Joby Talbot
January 30, February 1(m), 4 and 7, 2015
A Dallas Opera World Premiere!
Text by Gene Scheer
Time: Modern Day
Place: In the Death Zone on Mount Everest
Conductor: Nicole Paiement
Stage Director: Leonard Foglia
Scenic Design: Robert Brill
Costume Design: David C. Woolard
Video Design: Elaine J. McCarthy
Lighting Design: Christopher Akerlind
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Starring: Andrew Bidlack (Rob Hall), Sasha Cooke (Jan Arnold), Kevin Burdette* (Beck Weathers) and Craig Verm* (Doug Hansen).

LA BOHÈME by Giacomo Puccini
March 13, 15(m), 18, 21, 27 and 29(m), 2015
A passionate and timeless masterpiece in a beloved period production
An opera in four acts first performed in Turin, Italy on February 1, 1896
Text by Giuseppe Giacosa and Luigi Illica after Henry Murger’s novel Scènes de la vie de bohème
Time: mid-19th century
Place: The Latin Quarter of Paris, France
Conductor: Riccardo Frizza*
Stage Director: Peter Kazaras
Scenic Design: Jean-Pierre Ponnelle
Costume Design: Peter J. Hall
Lighting Design: Thomas C. Hase
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Children’s Chorus Master: Melinda Cotton
Starring: Ana Maria Martinez (Mimi), Bryan Hymel (Rodolfo), Davinia Rodriguez* (Musetta), Jonathan Beyer (Marcello), Alexander Vinogradov* (Colline), Stephen LaBrie (Schaunard) and Stefan Szkafarowsky (Benoit).
One of the Dallas Opera’s Most Popular!

IOLANTA by Pyotr Ilyich Tchaikovsky
April 10, 12(m), 15 and 18, 2015
A rarely performed Tchaikovsky gem, set in Medieval Provence!
First performed in St. Petersburg, Russia on December 18, 1892
Text by Modest Tchaikovsky based on the Danish play King Rene’s Daughter by Henrik Hertz
Time: The 15th century
Place: Provence, a mountainous region in Southern France
Conductor: Emmanuel Villaume
Stage Director: Christian Räth
Scenic Design: Christian Räth
Costume Design: Susan Cox
Video Design: Elaine J. McCarthy
Lighting Design: Thomas C. Hase
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Starring: Ekaterina Scherbachenko* (Iolanta), Sergey Skorokhodov* (Count Vaudémont), Joanna Mongiardo* (Brigitta), Lauren McNeese (Laura), Tamara Mumford* (Marta), Andrei Bondarenko** (Robert, Duke of Burgandy), Mikhail Kolelishvili (Renè, King of Provence), Andrew Bidlack (Alméric), Vladislav Sulimsky** (Ibn-Hakia) and Jordan Bisch (Bertrand).
Another New Dallas Opera Production

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

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Iain Bell in “Conversation” at Booker T. Washington High

by Suzanne Calvin

Not for the public, because this time, we’re bringing one of the world’s most important living composers to the students at Booker T. Washington High School.  Continue reading →

Winners Announced at Dallas Opera Guild Vocal Competition

by Suzanne Calvin

The daylong competition has dazzled and delighted. Here are this year’s results of the 2014  Dallas Opera Guild Vocal Competition:

FOR IMMEDIATE RELEASE:
Saturday, March 15, 2014
Contact: Suzanne Calvin 214.443.1014 Or Celeste Hart 214.443.1071
suzanne.calvin@dallasopera.org celeste.hart@dallasopera.org

The 26th Annual
“Dallas Opera Guild Vocal Competition”
Awards $25,200 in Hard-Earned Cash!
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27-Year-Old Soprano Audra Methvin
Takes Top Prize and $10,000 Cash!

Baritone Reginald Smith, Jr.
Wins the Hearts of the Audience and
“The People’s Choice Award” for $1,500
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Second Place ($7,500) Goes to 30-Year-Old
Tenor Brent Reilly Turner
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Third Place ($5,000) Awarded to 24-Year-Old
Bass-Baritone Matthew Stump
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Event Honors Cecile and Dr. Fred Bonte
For Their Generous Support
Of Science Education and the Arts, including The Dallas Opera Guild, The Women’s Board of the Dallas Opera, The Science Place, and the Dallas Arboretum

Continue reading →

Dallas Opera’s National Anthem Competition

by Suzanne Calvin

Now’s your chance to sing in front of a crowd at AT&T Stadium!

Just in time for the 200th Anniversary of “The Star-Spangled Banner,” The Dallas Opera is thrilled to announce a brand-new competition designed to encourage the inner opera diva – or divo – in you! The “Oh, Say, Can You Sing?” National Anthem Competition™ offers men, women and children the opportunity to compete – via YouTube submissions – for the unique chance to bring down the house at AT&T Stadium in Arlington.

The winner, who must be available on Friday, April 11, 2014, will make a live appearance at the stadium to sing the national anthem – a cappella – prior to that evening’s performance of Rossini’s 1816 masterpiece, The Barber of Seville at 7:30 p.m.

Children above the age of nine (with the consent of a parent or guardian) are permitted to compete but must be accompanied by a responsible adult at all times.

Gargle and read on! Continue reading →

Ian Bostridge at City Performance Hall

by Suzanne Calvin

All I can tell you is, people came up to us afterwards telling us they wanted to buy tickets--immediately--to whatever was scheduled next. The reviewers revealed generally favorable reactions to the “imaginative” program and a few quibbles with the way we presented the artist. Read on to get Classical Music Critic Gregory Sullivan Isaac’s perspective for “Theater Jones” and Classical Music  Critic Scott Cantrell’s review of  Saturday evening’s recital  for “The Dallas Morning News.”

Suzanne Calvin, Director of Media and Public Relations

Bostridge

Mark Adamo Commissioned to Write 2015 World Premiere

by Suzanne Calvin

A little something extra in your holiday stocking -- come December 2015 (and courtesy of composer-librettist Mark Adamo and the Dallas Opera)…read on!

FOR IMMEDIATE RELEASE:
Thursday, November 14, 2013
Contact: Suzanne Calvin 214.443.1014
suzanne.calvin@dallasopera.org

THE DALLAS OPERA IS PROUD TO ANNOUNCE

A NEW COMMISSION FOR A HOLIDAY OPERA BY

AMERICAN COMPOSER MARK ADAMO

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The Renowned American Composer/Librettist of the operas
Little Women, Lysistrata and The Gospel of Mary Magdalene
As well as other acclaimed works
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This Dallas Opera World Premiere Scheduled for
December, 2015
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Publically Announced at This Evening’s “Composing Conversation” at the Nasher Sculpture Center in Dallas

DALLAS, NOVEMBER 14, 2013 – The Dallas Opera thrilled audience members at this evening’s “Composing Conversation” at the Nasher Sculpture Center in Dallas, when Dallas Opera General Director and CEO Keith Cerny made the surprise announcement that Mark Adamo, one of America’s most successful and accomplished composer-librettists has agreed to create a new holiday opera for the 2015-2016 Season.
Mr. Adamo is the artist behind a host of orchestral, chamber and choral works, in addition to several compelling operas including Little Women, one of the most frequently performed American operas of our time. His most recent composition, The Gospel of Mary Magdalene, successfully premiered earlier this season at San Francisco Opera and was described by The Huffington Post as a “feast for the ears, eyes and mind.” His 2005 opera Lysistrata, based on the comedy by Aristophenes, prompted Alex Ross of The New Yorker to write, “I relaxed a minute after the music began, knowing that I was in the hands of a brilliant theatre composer.”

Mr. Adamo expressed his pleasure with the new commission, stating, “I couldn’t be happier to be making my debut with the Dallas Opera: this has long been one of the most distinguished companies in this country, and I am honored to join its roster of artists.”

Adamo’s commission is the latest in a series of recently commissioned world premieres, beginning with Jake Heggie and Gene Scheer’s Moby-Dick (2010) and their song cycle “A Question of Light” (the latter presented in partnership with the Dallas Museum of Art).
Under the guidance of Keith Cerny, the list has grown to include Great Scott, reuniting Heggie with librettist Terrence McNally (Dead Man Walking) to create a star vehicle for mezzo-soprano Joyce DiDonato (premiere date: October 2015); and Everest, scheduled to be unveiled in February 2015, marking the first opera by British composer Joby Talbot (A Hitchhiker’s Guide to the Galaxy) working with librettist Gene Scheer.

“I’ve been keenly interested in Mark Adamo’s work for some time,” explains Mr. Cerny. “As a composer-librettist, Mark has shown profound insights into the workings of the human heart and psyche coupled with an ability to create operas and orchestral works that are carefully thought out, meticulously crafted and complex.
“I find Mark’s music as intellectually and emotionally satisfying as it is beautiful.”

The new opera will be conducted by Dallas Opera Music Director Emmanuel Villaume.
Mr. Adamo is a Philadelphia native who served as Composer-in-Residence at New York City Opera from 2001 through 2006. Adamo began his education in the Tisch School of the Arts at New York University, where, as a freshman in the Dramatic Writing Program, he received the Paulette Goddard Remarque Scholarship for outstanding undergraduate achievement in playwriting. He went on to earn a Bachelor of Music Degree cum laude in composition in 1990 from the Catholic University of America in Washington, D.C.
A brief-yet-highly successful career as a music journalist and scholar was eventually overtaken by Adamo’s desire to compose his own works. He was catapulted to the top ranks of American composers by the critically acclaimed 1998 world premiere of Little Women (based on the novel by Louisa May Alcott) at Houston Grand Opera and he continues to compose outstanding orchestral, choral and ballet music—in addition to full-scale operas—for leading arts organizations in the U.S. and throughout the world.

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COMPOSER-LIBRETTIST MARK ADAMO:

American composer-librettist Mark Adamo recently premiered his third full-length opera, the “densely rhapsodic” (Joshua Kosman, San Francisco Chronicle) The Gospel of Mary Magdalene, at San Francisco Opera—following a busy season of opera and chamber premières. In May 2012, Fort Worth Opera opened its first production of his second opera, Lysistrata; that September, the Constella Festival in Cincinnati opened their season with August Music, for flute duo and string quartet, commissioned by Sir James and Lady Jeanne Galway: in December, Sasha Cooke and the New York Festival of Song introduced The Racer’s Widow, a cycle of five American poems for mezzo-soprano, cello, and piano; and, in April 2013, baritone Thomas Hampson and the Jupiter String Quartet introduced Aristotle, after the poem by Billy Collins, in concerts at the Mondavi Center in Davis, California before continuing to Boston and New York under the auspices of the Chamber Music Society of Lincoln Center.

Adamo first attracted national attention with his uniquely celebrated début opera, Little Women, after the Alcott novel. Introduced by Houston Grand Opera in 1998 and revived there in 2000, Little Women is one of the most frequently performed American operas of the last fifteen years, with more than 80 national and international engagements in cities ranging from New York to Minneapolis, Toronto, Chicago, San Francisco, Adelaide, Perth, Mexico City, Bruges, Banff, Calgary, and Tokyo, where it served as the official U.S. cultural entrant to the 2005 World Expo. The Houston Grand Opera revival (2000) was telecast by PBS/WNET on Great Performances in 2001 and released on CD by Ondine that same year; in fall 2010, Naxos released this performance on DVD and on Blu-ray. (Little Women was the first American opera recorded in high-definition television.) Comparable enthusiasm greeted the début of the larger-scaled Lysistrata, Adamo’s second opera, adapted from Aristophanes’ comedy but also including elements from Sophocles’ Antigone. Lysistrata was commissioned by Houston Grand Opera for its 50th anniversary and introduced in March 2005: its New York City Opera debut in March 2006 led to concert performances by Washington National Opera (May 2006) and Music at the Modern by the Van Cliburn Foundation (May 2007) before the new staging of the work at Fort Worth Opera in spring 2012, which was included on the best-of-2012 lists of both D Magazine and the Fort Worth Star-Telegram.

While Adamo’s principal work continues to be for the opera house, over the past 5 years he has ventured not only into chamber music but also into symphonic and choral composition. Adamo’s first concerto, Four Angels, for harp and orchestra, was commissioned by the National Symphony Orchestra and debuted in June 2007: the Utah Symphony, led by their Music Director Emeritus, Keith Lockhart, presented Four Angels in January 2011. In May 2007, Washington’s Eclipse Chamber Orchestra, for which Adamo served as its first composer-in-residence, performed the revised version of Adamo’s Late Victorians, a cantata for singing voice, speaking voice, and orchestra: Naxos released Late Victorians in 2009 on Eclipse’s all-Adamo CD, which also included Alcott Music, from Little Women, for strings, harp, celesta, and percussion; “Regina Coeli,” an arrangement of the slow movement of Four Angels for harp and strings alone; and the Overture to Lysistrata for medium orchestra. In April of 2010, Harold Rosenbaum’s New York Virtuoso Singers paired six of Adamo’s newly-published choral scores with the complete chamber-choral work of John Corigliano. This concert featured the New York premières of Cantate Domino (after Psalm 91,) Pied Beauty and God’s Grandeur (Gerard Manley Hopkins; commissioned by the Gregg Smith Singers,) Matewan Music(Appalachian folk-tune variations,) Supreme Virtue (Stephen Mitchell’s translation of the Tao te Ching,) and The Poet Speaks of Praising (Rilke: commissioned and introduced by Chanticleer.)
Composer-in-residence at New York City Opera from 2001 through 2006, where he led the VOX: Showcasing American Composers program, Adamo also served as Master Artist at Atlantic Center for the Arts in May 2003. Since 2007 he has served as the principal teacher of American Lyric Theatre’s Composer-Librettist Development Program in New York, in which he coaches teams of composers and librettists in developing their work for the stage.

Adamo began his education in the Tisch School of the Arts at New York University, where, as a freshman in the Dramatic Writing Program, he received the Paulette Goddard Remarque Scholarship for outstanding undergraduate achievement in playwriting. He went on to earn a Bachelor of Music Degree cum laude in composition in 1990 from the Catholic University of America. His music is published exclusively by G. Schirmer, Inc.

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EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

ADDITIONAL INFORMATION ABOUT “NOVEMBER AT THE DALLAS OPERA”
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 for additional information
Please contact Suzanne Calvin, Manager/Director Media & PR
214.443.1014 or suzanne.calvin@dallasopera.org

The Dallas Opera’s 2013-2014 “By Love Transformed” Season
Is Sponsored by Texas Instruments Foundation

THE DALLAS OPERA WISHES TO EXPRESS ITS GRATITUDE TO OUR EXCLUSIVE PARTNERS:

AMERICAN AIRLINES – OFFICIAL AIRLINE OF THE DALLAS OPERA
LEXUS – OFFICIAL VEHICLE OF THE DALLAS OPERA

Ticket Information for the 2013-2014 Dallas Opera Season

All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center. Single Tickets start at $19 and Flex Subscriptions are also on sale from $50 to $720. Family performances tickets are $5 apiece or $12 for three family productions or concerts. For more information or to make your purchases, contact The Dallas Opera Ticket Services Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.

THE DALLAS OPERA 2013-2014 SEASON INFORMATION
The Dallas Opera celebrates its Fifty-Seventh 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 will 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.

CARMEN by Georges Bizet
October 25 (special time, 8:00 p.m.), October 27(m), 30, November 2, 8 & 10(m), 2013
The most irresistible bad girl in opera—How can you possibly say “non”?
An opera in four acts first performed in Paris on March 3, 1875
Text by Henri Meilhac and Ludovic Halévy based on the novella by Prosper Mérimée
Time: 19th century
Place: Seville, Spain
Conductor: Emmanuel Villaume
Stage Director: Chris Alexander
Scenic Design: Jean-Pierre Ponnelle
Costume Design: Werner Iverke
Lighting Design: Thomas Hase
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Children’s Chorus Master: Melinda Cotten
Starring: Clémentine Margaine**(Carmen), Brandon Jovanovich (Don José Oct. 25, 27, 30), Bruno Ribeiro* (Don José Nov. 2, 8, 10), Mary Dunleavy (Micaëla), Dwayne Croft (Escamillo), Danielle Pastin*(Frasquita), Audrey Babcock*(Mercédès), Kyle Albertson*(Zuniga), Steven LaBrie (Le Dancaïre), William Ferguson* (Remendado), John David Boehr*(Moralès).

DEATH AND THE POWERS by Tod Machover
February 12, 14, 15 & 16(m), 2014
Science fiction and poignant family drama combine in a major regional premiere!
An opera in one act first performed in Monte Carlo, Monaco at the Salle Garnier on September 24, 2010.
Text by Robert Pinsky, based on a story by Pinsky and Randy Weiner
Time: Unknown time in the future
Place: Earth, the home of billionaire Simon Powers
Conductor: Nicole Paiement
Stage Director: Diane Paulus*
Associate Director: Andrew Eggert*
Scenic Design: Alex McDowell*
Costume Design: David Woolard*
Lighting Design: Don Holder
Choreography: Karole Armitage*
Wig & make-up Design: David Zimmerman
Starring: Robert Orth (Simon Powers/Robot One), Joélle Harvey (Miranda/Robot Four), Patricia Risley(Evvy/Robot Three), Hal Cazalet*(Nicholas/Robot Two), Frank Kelley*(The United Way), David Kravitz*(The United Nations), Tom McNichols*(The Administration).

DIE TOTE STADT (“THE DEAD CITY”) by Erich Wolfgang Korngold
March 21, 23(m), 26, 29 and April 6(m), 2014
The Hitchcock-like tale of one man’s dark obsession with the woman he loved and lost.
An opera in three acts first performed in Hamburg & Cologne, Germany on December 4, 1920
Text by Erich Wolfgang Korngold and Paul Schott based on a novel by Georges Rodenbach, Bruges la morte
Time: End of the 19th century
Place: The city of Bruges in northwestern Belgium
Conductor: Sebastian Lang-Lessing*
Stage Director: Mikael Melbye
Scenic Design: Mikael Melbye*
Costume Design: Dierdre Clancy*
Video Design: Wendall Harrington*
Lighting Design: Mark McCullough
Wig & make-up Design: David Zimmerman
Choreography: Matthew Ferraro*
Chorus Master: Alexander Rom
Starring: Anne Petersen**(Marietta) , Jay Hunter Morris (Paul), Morgan Smith (Fritz), Weston Hurt (Frank), Katherine Tier*(Brigitta), Andrew Bidlack (Albert), Jan Lund**(Victorin), Jennifer Chung (Juliette), Angela Turner Wilson (Lucienne).

THE BARBER OF SEVILLE by Gioachino Rossini
March 28, 30(m), April 2, 5, 11 & 13(m), 2014
Figaro, a scheming barber and jack-of-all-trades plots to release a headstrong girl from her gilded cage!
An opera in two acts first performed in Rome on February 20, 1816
Text by Pierre-Augustin de Beaumarchais, from his comedy Le Barbier de Séville
Time: 18th century
Place: Seville, Spain
Conductor: Giuliano Carella*
Stage Director: Herb Kellner
Original Production: John Copley
Scenic Design: John Conklin
Costume Design: Michael Stennet
Lighting Design: TBD
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Starring: Nathan Gunn (Figaro), Isabel Leonard*(Rosina), Alek Shrader*(Count Almaviva), Donato DiStefano (Dr. Bartolo), Burak Bilgili*(Don Basilio), Nathan De’Shon Myers (Fiorello), Christian Teague*(Ambrogio).

DALLAS OPERA FAMILY PERFORMANCES
Jack and the Beanstalk: October 26, 2013 and April 5, 2014
Family Concerts: November 3, 2013 and February 1, 2014
The Elixir of Love: November 9, 2013 and April 12, 2014

* 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.

###

The Man Behind the Music

by Suzanne Calvin

Composer-Librettist Mark Adamo is coming Thursday night to talk about his life, work and career. Will you be there?

FOR IMMEDIATE RELEASE:
Monday, November 11, 2013
Contact: Suzanne Calvin 214.443.1014
suzanne.calvin@dallasopera.org

THE DALLAS OPERA PRESENTS A NEW

“COMPOSING CONVERSATION
WITH MARK ADAMO”
~~~~
The Renowned American Composer/Librettist of the operas
Little Women, Lysistrata and The Gospel of Mary Magdalene

As well as other acclaimed works
~~~~
In Conversation with Senior Classical Music & Opera Critic
Gregory Sullivan Isaacs of Theater Jones.com
~~~~
Thursday, November 14, 2013 at 6:30 p.m.
Nasher Hall, Nasher Sculpture Center
Dallas Arts District
~~~~
Free Event, No Admission Required

DALLAS, NOVEMBER 11, 2013 – The Dallas Opera is proud to present the latest in our free public series of “Composing Conversations” on Thursday, November 14, 2013 in Nasher Hall at the internationally acclaimed Nasher Sculpture Center (2001 Flora St., Dallas). The conversation, beginning at 6:30 p.m., will focus on the multifaceted career of one of America’s most successful and accomplished composer-librettists, Mark Adamo.
Mr. Adamo is the creator of three compelling operas, including Little Women, one of the most frequently performed new American operas of our day. His most recent composition, The Gospel of Mary Magdalene, successfully premiered earlier this season at San Francisco Opera and was described by The Huffington Post as a “feast for the ears, eyes and mind.” His 2005 opera Lysistrata, based on the comedy by Aristophenes, prompted Alex Ross of The New Yorker to write, “I relaxed a minute after the music began, knowing that I was in the hands of a brilliant theatre composer.”
The other half of this conversation, hosted by Dallas Opera General Director and CEO Keith Cerny, will be the Senior Classical Music and Opera Critic for the performing arts website Theater Jones.com, Gregory Sullivan Isaacs.
Mr. Isaacs is a composer in his own right (nominated for a Pulitzer Prize for composition), as well as an award-winning singer, conductor, musician and arts journalist who has written and reviewed for a variety of Texas publications. The conversation will explore all aspects of Adamo’s working career, as well as his ideas about music, drama and theater.
~~~~

Seating for the Nasher Sculpture Center event is limited. To secure your spot, call 214.443.1000 or reserve your seats online, 24/7, at dallasopera.org/rsvp.

~~~~

KEY BIOS

AMERICAN COMPOSER-LIBRETTIST MARK ADAMO:

American composer-librettist Mark Adamo recently premiered his third full-length opera, the “densely rhapsodic” (Joshua Kosman, San Francisco Chronicle) The Gospel of Mary Magdalene, at San Francisco Opera—following a busy season of opera and chamber premières. In May 2012, Fort Worth Opera opened its first production of his second opera, Lysistrata; that September, the Constella Festival in Cincinnati opened their season with August Music, for flute duo and string quartet, commissioned by Sir James and Lady Jeanne Galway: in December, Sasha Cooke and the New York Festival of Song introduced The Racer’s Widow, a cycle of five American poems for mezzo-soprano, cello, and piano; and, in April 2013, baritone Thomas Hampson and the Jupiter String Quartet introduced Aristotle, after the poem by Billy Collins, in concerts at the Mondavi Center in Davis, California before continuing to Boston and New York under the auspices of the Chamber Music Society of Lincoln Center.

Adamo first attracted national attention with his uniquely celebrated début opera, Little Women, after the Alcott novel. Introduced by Houston Grand Opera in 1998 and revived there in 2000, Little Women is one of the most frequently performed American operas of the last fifteen years, with more than 80 national and international engagements in cities ranging from New York to Minneapolis, Toronto, Chicago, San Francisco, Adelaide, Perth, Mexico City, Bruges, Banff, Calgary, and Tokyo, where it served as the official U.S. cultural entrant to the 2005 World Expo. The Houston Grand Opera revival (2000) was telecast by PBS/WNET on Great Performances in 2001 and released on CD by Ondine that same year; in fall 2010, Naxos released this performance on DVD and on Blu-ray. (Little Women was the first American opera recorded in high-definition television.) Comparable enthusiasm greeted the début of the larger-scaled Lysistrata, Adamo’s second opera, adapted from Aristophanes’ comedy but also including elements from Sophocles’ Antigone. Lysistrata was commissioned by Houston Grand Opera for its 50th anniversary and introduced in March 2005: its New York City Opera debut in March 2006 led to concert performances by Washington National Opera (May 2006) and Music at the Modern by the Van Cliburn Foundation (May 2007) before the new staging of the work at Fort Worth Opera in spring 2012, which was included on the best-of-2012 lists of both D Magazine and the Fort Worth Star-Telegram.

While Adamo’s principal work continues to be for the opera house, over the past 5 years he has ventured not only into chamber music but also into symphonic and choral composition. Adamo’s first concerto, Four Angels, for harp and orchestra, was commissioned by the National Symphony Orchestra and debuted in June 2007: the Utah Symphony, led by their Music Director Emeritus, Keith Lockhart, presented Four Angels in January 2011. In May 2007, Washington’s Eclipse Chamber Orchestra, for which Adamo served as its first composer-in-residence, performed the revised version of Adamo’s Late Victorians, a cantata for singing voice, speaking voice, and orchestra: Naxos released Late Victorians in 2009 on Eclipse’s all-Adamo CD, which also included Alcott Music, from Little Women, for strings, harp, celesta, and percussion; “Regina Coeli,” an arrangement of the slow movement of Four Angels for harp and strings alone; and the Overture to Lysistrata for medium orchestra. In April of 2010, Harold Rosenbaum’s New York Virtuoso Singers paired six of Adamo’s newly-published choral scores with the complete chamber-choral work of John Corigliano. This concert featured the New York premières of Cantate Domino (after Psalm 91,) Pied Beauty and God’s Grandeur (Gerard Manley Hopkins; commissioned by the Gregg Smith Singers,) Matewan Music(Appalachian folk-tune variations,) Supreme Virtue (Stephen Mitchell’s translation of the Tao te Ching,) and The Poet Speaks of Praising (Rilke: commissioned and introduced by Chanticleer.)
Composer-in-residence at New York City Opera from 2001 through 2006, where he led the VOX: Showcasing American Composers program, Adamo also served as Master Artist at Atlantic Center for the Arts in May 2003. Since 2007 he has served as the principal teacher of American Lyric Theatre’s Composer-Librettist Development Program in New York, in which he coaches teams of composers and librettists in developing their work for the stage.

Adamo began his education in the Tisch School of the Arts at New York University, where, as a freshman in the Dramatic Writing Program, he received the Paulette Goddard Remarque Scholarship for outstanding undergraduate achievement in playwriting. He went on to earn a Bachelor of Music Degree cum laude in composition in 1990 from the Catholic University of America. His music is published exclusively by G. Schirmer, Inc.

GREGORY SULLIVAN ISAACS,
SENIOR CLASSICAL MUSIC AND OPERA CRITIC FOR THEATER JONES.COM:

Gregory is a professional musician and music journalist who has held numerous musical directorships of opera, choral and symphonic organizations. In 2009, he was honored by being chosen as a fellow for the sixth annual NEA Arts Journalism Institute in Classical Music and Opera. Other honors include a Pulitzer Prize nomination in composition, a Peabody award for performance, and an ASCAP award for his commitment to American Music. He holds a Master’s degree in music from the prestigious music program at Indiana University in Bloomington. He also writes for other publications including Arts+Culture Magazine, The Fort Worth Star-Telegram and The Dallas Voice. He is a member of the Music Critics Association of North America and ASCAP. Email: gregoryisaacs@theaterjones.com

~~~~

EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

ADDITIONAL INFORMATION ABOUT “NOVEMBER AT THE DALLAS OPERA”
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 for additional information
Please contact Suzanne Calvin, Manager/Director Media & PR
214.443.1014 or suzanne.calvin@dallasopera.org

The Dallas Opera’s 2013-2014 “By Love Transformed” Season
Is Sponsored by Texas Instruments Foundation

THE DALLAS OPERA WISHES TO EXPRESS ITS GRATITUDE TO OUR EXCLUSIVE PARTNERS:

AMERICAN AIRLINES – OFFICIAL AIRLINE OF THE DALLAS OPERA
LEXUS – OFFICIAL VEHICLE OF THE DALLAS OPERA

Ticket Information for the 2013-2014 Dallas Opera Season

All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center. Subscriptions are now on sale to the general public, starting at just $76. Single Tickets starting at $19 and Flex Subscriptions are also on sale. Family performances are $5 (Family Performance Subs are $12 for three family performances) and are on sale now. 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 2013-2014 SEASON INFORMATION
The Dallas Opera celebrates its Fifty-Seventh 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 will 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.

CARMEN by Georges Bizet
October 25 (special time, 8:00 p.m.), October 27(m), 30, November 2, 8 & 10(m), 2013
The most irresistible bad girl in opera—How can you possibly say “non”?
An opera in four acts first performed in Paris on March 3, 1875
Text by Henri Meilhac and Ludovic Halévy based on the novella by Prosper Mérimée
Time: 19th century
Place: Seville, Spain
Conductor: Emmanuel Villaume
Stage Director: Chris Alexander
Scenic Design: Jean-Pierre Ponnelle
Costume Design: Werner Iverke
Lighting Design: Thomas Hase
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Children’s Chorus Master: Melinda Cotten
Starring: Clémentine Margaine**(Carmen), Brandon Jovanovich (Don José Oct. 25, 27, 30), Bruno Ribeiro* (Don José Nov. 2, 8, 10), Mary Dunleavy (Micaëla), Dwayne Croft (Escamillo), Danielle Pastin*(Frasquita), Audrey Babcock*(Mercédès), Kyle Albertson*(Zuniga), Steven LaBrie (Le Dancaïre), William Ferguson* (Remendado), John David Boehr*(Moralès).

DEATH AND THE POWERS by Tod Machover
February 12, 14, 15 & 16(m), 2014
Science fiction and poignant family drama combine in a major regional premiere!
An opera in one act first performed in Monte Carlo, Monaco at the Salle Garnier on September 24, 2010.
Text by Robert Pinsky, based on a story by Pinsky and Randy Weiner
Time: Unknown time in the future
Place: Earth, the home of billionaire Simon Powers
Conductor: Nicole Paiement
Stage Director: Diane Paulus*
Associate Director: Andrew Eggert*
Scenic Design: Alex McDowell*
Costume Design: David Woolard*
Lighting Design: Don Holder
Choreography: Karole Armitage*
Wig & make-up Design: David Zimmerman
Starring: Robert Orth (Simon Powers/Robot One), Joélle Harvey (Miranda/Robot Four), Patricia Risley(Evvy/Robot Three), Hal Cazalet*(Nicholas/Robot Two), Frank Kelley*(The United Way), David Kravitz*(The United Nations), Tom McNichols*(The Administration).

DIE TOTE STADT (“THE DEAD CITY”) by Erich Wolfgang Korngold
March 21, 23(m), 26, 29 and April 6(m), 2014
The Hitchcock-like tale of one man’s dark obsession with the woman he loved and lost.
An opera in three acts first performed in Hamburg & Cologne, Germany on December 4, 1920
Text by Erich Wolfgang Korngold and Paul Schott based on a novel by Georges Rodenbach, Bruges la morte
Time: End of the 19th century
Place: The city of Bruges in northwestern Belgium
Conductor: Sebastian Lang-Lessing*
Stage Director: Mikael Melbye
Scenic Design: Mikael Melbye*
Costume Design: Dierdre Clancy*
Video Design: Wendall Harrington*
Lighting Design: Mark McCullough
Wig & make-up Design: David Zimmerman
Choreography: Matthew Ferraro*
Chorus Master: Alexander Rom
Starring: Anne Petersen**(Marietta) , Jay Hunter Morris (Paul), Morgan Smith (Fritz), Weston Hurt (Frank), Katherine Tier*(Brigitta), Andrew Bidlack (Albert), Jan Lund**(Victorin), Jennifer Chung (Juliette), Angela Turner Wilson (Lucienne).

THE BARBER OF SEVILLE by Gioachino Rossini
March 28, 30(m), April 2, 5, 11 & 13(m), 2014
Figaro, a scheming barber and jack-of-all-trades plots to release a headstrong girl from her gilded cage!
An opera in two acts first performed in Rome on February 20, 1816
Text by Pierre-Augustin de Beaumarchais, from his comedy Le Barbier de Séville
Time: 18th century
Place: Seville, Spain
Conductor: Giuliano Carella*
Stage Director: Herb Kellner
Original Production: John Copley
Scenic Design: John Conklin
Costume Design: Michael Stennet
Lighting Design: TBD
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Starring: Nathan Gunn (Figaro), Isabel Leonard*(Rosina), Alek Shrader*(Count Almaviva), Donato DiStefano (Dr. Bartolo), Burak Bilgili*(Don Basilio), Nathan De’Shon Myers (Fiorello), Christian Teague*(Ambrogio).

DALLAS OPERA FAMILY PERFORMANCES
Jack and the Beanstalk: October 26, 2013 and April 5, 2014
Family Concerts: November 3, 2013 and February 1, 2014
The Elixir of Love: November 9, 2013 and April 12, 2014

* 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.

###

Mark Adamo at the Nasher

by Suzanne Calvin

Renowned American composer-librettist Mark Adamo invites you to the Nasher Sculpture Center for a “Composing Conversation” with Gregory Sullivan Isaacs, Senior Classical Music and Opera Critic for “Theater Jones” -- and it’s free!

FOR IMMEDIATE RELEASE:
Monday, November 11, 2013
Contact: Suzanne Calvin 214.443.1014
suzanne.calvin@dallasopera.org

THE DALLAS OPERA PRESENTS A NEW

“COMPOSING CONVERSATION
WITH MARK ADAMO”
~~~~
The Renowned American Composer/Librettist of the operas
Little Women, Lysistrata and The Gospel According to
Mary Magdalene as well as other acclaimed works
~~~~
In Conversation with Senior Classical Music & Opera Critic
Gregory Sullivan Isaacs of Theater Jones.com
~~~~
Thursday, November 14, 2013 at 6:30 p.m.
Nasher Hall, Nasher Sculpture Center
Dallas Arts District
~~~~
Free Event, No Admission Required

DALLAS, NOVEMBER 11, 2013 – The Dallas Opera is proud to present the latest in our free public series of “Composing Conversations” on Thursday, November 14, 2013 in Nasher Hall at the internationally acclaimed Nasher Sculpture Center (2001 Flora St., Dallas). The conversation, beginning at 6:30 p.m., will focus on the multifaceted career of one of America’s most successful and accomplished composer-librettists, Mark Adamo.
Mr. Adamo is the creator of three compelling operas, including Little Women, one of the most frequently performed new American operas of our day. His most recent composition, The Gospel of Mary Magdalene, successfully premiered earlier this season at San Francisco Opera and was described by The Huffington Post as a “feast for the ears, eyes and mind.” His 2005 opera Lysistrata, based on the comedy by Aristophenes, prompted Alex Ross of The New Yorker to write, “I relaxed a minute after the music began, knowing that I was in the hands of a brilliant theatre composer.”
The other half of this conversation, hosted by Dallas Opera General Director and CEO Keith Cerny, will be the Senior Classical Music and Opera Critic for the performing arts website Theater Jones.com, Gregory Sullivan Isaacs.
Mr. Isaacs is a composer in his own right (nominated for a Pulitzer Prize for composition), as well as an award-winning singer, conductor, musician and arts journalist who has written and reviewed for a variety of Texas publications. The conversation will explore all aspects of Adamo’s working career, as well as his ideas about music, drama and theater.
~~~~

Seating for the Nasher Sculpture Center event is limited. To secure your spot, call 214.443.1000 or reserve your seats online, 24/7, at dallasopera.org/rsvp.

~~~~

KEY BIOS

AMERICAN COMPOSER-LIBRETTIST MARK ADAMO:

American composer-librettist Mark Adamo recently premiered his third full-length opera, the “densely rhapsodic” (Joshua Kosman, San Francisco Chronicle) The Gospel of Mary Magdalene, at San Francisco Opera—following a busy season of opera and chamber premières. In May 2012, Fort Worth Opera opened its first production of his second opera, Lysistrata; that September, the Constella Festival in Cincinnati opened their season with August Music, for flute duo and string quartet, commissioned by Sir James and Lady Jeanne Galway: in December, Sasha Cooke and the New York Festival of Song introduced The Racer’s Widow, a cycle of five American poems for mezzo-soprano, cello, and piano; and, in April 2013, baritone Thomas Hampson and the Jupiter String Quartet introduced Aristotle, after the poem by Billy Collins, in concerts at the Mondavi Center in Davis, California before continuing to Boston and New York under the auspices of the Chamber Music Society of Lincoln Center.

Adamo first attracted national attention with his uniquely celebrated début opera, Little Women, after the Alcott novel. Introduced by Houston Grand Opera in 1998 and revived there in 2000, Little Women is one of the most frequently performed American operas of the last fifteen years, with more than 80 national and international engagements in cities ranging from New York to Minneapolis, Toronto, Chicago, San Francisco, Adelaide, Perth, Mexico City, Bruges, Banff, Calgary, and Tokyo, where it served as the official U.S. cultural entrant to the 2005 World Expo. The Houston Grand Opera revival (2000) was telecast by PBS/WNET on Great Performances in 2001 and released on CD by Ondine that same year; in fall 2010, Naxos released this performance on DVD and on Blu-ray. (Little Women was the first American opera recorded in high-definition television.) Comparable enthusiasm greeted the début of the larger-scaled Lysistrata, Adamo’s second opera, adapted from Aristophanes’ comedy but also including elements from Sophocles’ Antigone. Lysistrata was commissioned by Houston Grand Opera for its 50th anniversary and introduced in March 2005: its New York City Opera debut in March 2006 led to concert performances by Washington National Opera (May 2006) and Music at the Modern by the Van Cliburn Foundation (May 2007) before the new staging of the work at Fort Worth Opera in spring 2012, which was included on the best-of-2012 lists of both D Magazine and the Fort Worth Star-Telegram.

While Adamo’s principal work continues to be for the opera house, over the past 5 years he has ventured not only into chamber music but also into symphonic and choral composition. Adamo’s first concerto, Four Angels, for harp and orchestra, was commissioned by the National Symphony Orchestra and debuted in June 2007: the Utah Symphony, led by their Music Director Emeritus, Keith Lockhart, presented Four Angels in January 2011. In May 2007, Washington’s Eclipse Chamber Orchestra, for which Adamo served as its first composer-in-residence, performed the revised version of Adamo’s Late Victorians, a cantata for singing voice, speaking voice, and orchestra: Naxos released Late Victorians in 2009 on Eclipse’s all-Adamo CD, which also included Alcott Music, from Little Women, for strings, harp, celesta, and percussion; “Regina Coeli,” an arrangement of the slow movement of Four Angels for harp and strings alone; and the Overture to Lysistrata for medium orchestra. In April of 2010, Harold Rosenbaum’s New York Virtuoso Singers paired six of Adamo’s newly-published choral scores with the complete chamber-choral work of John Corigliano. This concert featured the New York premières of Cantate Domino (after Psalm 91,) Pied Beauty and God’s Grandeur (Gerard Manley Hopkins; commissioned by the Gregg Smith Singers,) Matewan Music(Appalachian folk-tune variations,) Supreme Virtue (Stephen Mitchell’s translation of the Tao te Ching,) and The Poet Speaks of Praising (Rilke: commissioned and introduced by Chanticleer.)
Composer-in-residence at New York City Opera from 2001 through 2006, where he led the VOX: Showcasing American Composers program, Adamo also served as Master Artist at Atlantic Center for the Arts in May 2003. Since 2007 he has served as the principal teacher of American Lyric Theatre’s Composer-Librettist Development Program in New York, in which he coaches teams of composers and librettists in developing their work for the stage.

Adamo began his education in the Tisch School of the Arts at New York University, where, as a freshman in the Dramatic Writing Program, he received the Paulette Goddard Remarque Scholarship for outstanding undergraduate achievement in playwriting. He went on to earn a Bachelor of Music Degree cum laude in composition in 1990 from the Catholic University of America. His music is published exclusively by G. Schirmer, Inc.

GREGORY SULLIVAN ISAACS,
SENIOR CLASSICAL MUSIC AND OPERA CRITIC FOR THEATER JONES.COM:

Gregory is a professional musician and music journalist who has held numerous musical directorships of opera, choral and symphonic organizations. In 2009, he was honored by being chosen as a fellow for the sixth annual NEA Arts Journalism Institute in Classical Music and Opera. Other honors include a Pulitzer Prize nomination in composition, a Peabody award for performance, and an ASCAP award for his commitment to American Music. He holds a Master’s degree in music from the prestigious music program at Indiana University in Bloomington. He also writes for other publications including Arts+Culture Magazine, The Fort Worth Star-Telegram and The Dallas Voice. He is a member of the Music Critics Association of North America and ASCAP. Email: gregoryisaacs@theaterjones.com

~~~~

EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

ADDITIONAL INFORMATION ABOUT “NOVEMBER AT THE DALLAS OPERA”
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 for additional information
Please contact Suzanne Calvin, Manager/Director Media & PR
214.443.1014 or suzanne.calvin@dallasopera.org

The Dallas Opera’s 2013-2014 “By Love Transformed” Season
Is Sponsored by Texas Instruments Foundation

THE DALLAS OPERA WISHES TO EXPRESS ITS GRATITUDE TO OUR EXCLUSIVE PARTNERS:

AMERICAN AIRLINES – OFFICIAL AIRLINE OF THE DALLAS OPERA
LEXUS – OFFICIAL VEHICLE OF THE DALLAS OPERA

Ticket Information for the 2013-2014 Dallas Opera Season

All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center. Subscriptions are now on sale to the general public, starting at just $76. Single Tickets starting at $19 and Flex Subscriptions are also on sale. Family performances are $5 (Family Performance Subs are $12 for three family performances) and are on sale now. 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 2013-2014 SEASON INFORMATION
The Dallas Opera celebrates its Fifty-Seventh 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 will 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.

CARMEN by Georges Bizet
October 25 (special time, 8:00 p.m.), October 27(m), 30, November 2, 8 & 10(m), 2013
The most irresistible bad girl in opera—How can you possibly say “non”?
An opera in four acts first performed in Paris on March 3, 1875
Text by Henri Meilhac and Ludovic Halévy based on the novella by Prosper Mérimée
Time: 19th century
Place: Seville, Spain
Conductor: Emmanuel Villaume
Stage Director: Chris Alexander
Scenic Design: Jean-Pierre Ponnelle
Costume Design: Werner Iverke
Lighting Design: Thomas Hase
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Children’s Chorus Master: Melinda Cotten
Starring: Clémentine Margaine**(Carmen), Brandon Jovanovich (Don José Oct. 25, 27, 30), Bruno Ribeiro* (Don José Nov. 2, 8, 10), Mary Dunleavy (Micaëla), Dwayne Croft (Escamillo), Danielle Pastin*(Frasquita), Audrey Babcock*(Mercédès), Kyle Albertson*(Zuniga), Steven LaBrie (Le Dancaïre), William Ferguson* (Remendado), John David Boehr*(Moralès).

DEATH AND THE POWERS by Tod Machover
February 12, 14, 15 & 16(m), 2014
Science fiction and poignant family drama combine in a major regional premiere!
An opera in one act first performed in Monte Carlo, Monaco at the Salle Garnier on September 24, 2010.
Text by Robert Pinsky, based on a story by Pinsky and Randy Weiner
Time: Unknown time in the future
Place: Earth, the home of billionaire Simon Powers
Conductor: Nicole Paiement
Stage Director: Diane Paulus*
Associate Director: Andrew Eggert*
Scenic Design: Alex McDowell*
Costume Design: David Woolard*
Lighting Design: Don Holder
Choreography: Karole Armitage*
Wig & make-up Design: David Zimmerman
Starring: Robert Orth (Simon Powers/Robot One), Joélle Harvey (Miranda/Robot Four), Patricia Risley(Evvy/Robot Three), Hal Cazalet*(Nicholas/Robot Two), Frank Kelley*(The United Way), David Kravitz*(The United Nations), Tom McNichols*(The Administration).

DIE TOTE STADT (“THE DEAD CITY”) by Erich Wolfgang Korngold
March 21, 23(m), 26, 29 and April 6(m), 2014
The Hitchcock-like tale of one man’s dark obsession with the woman he loved and lost.
An opera in three acts first performed in Hamburg & Cologne, Germany on December 4, 1920
Text by Erich Wolfgang Korngold and Paul Schott based on a novel by Georges Rodenbach, Bruges la morte
Time: End of the 19th century
Place: The city of Bruges in northwestern Belgium
Conductor: Sebastian Lang-Lessing*
Stage Director: Mikael Melbye
Scenic Design: Mikael Melbye*
Costume Design: Dierdre Clancy*
Video Design: Wendall Harrington*
Lighting Design: Mark McCullough
Wig & make-up Design: David Zimmerman
Choreography: Matthew Ferraro*
Chorus Master: Alexander Rom
Starring: Anne Petersen**(Marietta) , Jay Hunter Morris (Paul), Morgan Smith (Fritz), Weston Hurt (Frank), Katherine Tier*(Brigitta), Andrew Bidlack (Albert), Jan Lund**(Victorin), Jennifer Chung (Juliette), Angela Turner Wilson (Lucienne).

THE BARBER OF SEVILLE by Gioachino Rossini
March 28, 30(m), April 2, 5, 11 & 13(m), 2014
Figaro, a scheming barber and jack-of-all-trades plots to release a headstrong girl from her gilded cage!
An opera in two acts first performed in Rome on February 20, 1816
Text by Pierre-Augustin de Beaumarchais, from his comedy Le Barbier de Séville
Time: 18th century
Place: Seville, Spain
Conductor: Giuliano Carella*
Stage Director: Herb Kellner
Original Production: John Copley
Scenic Design: John Conklin
Costume Design: Michael Stennet
Lighting Design: TBD
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Starring: Nathan Gunn (Figaro), Isabel Leonard*(Rosina), Alek Shrader*(Count Almaviva), Donato DiStefano (Dr. Bartolo), Burak Bilgili*(Don Basilio), Nathan De’Shon Myers (Fiorello), Christian Teague*(Ambrogio).

DALLAS OPERA FAMILY PERFORMANCES
Jack and the Beanstalk: October 26, 2013 and April 5, 2014
Family Concerts: November 3, 2013 and February 1, 2014
The Elixir of Love: November 9, 2013 and April 12, 2014

* 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.

###

FIRST SIGHT Earns Rave Reviews

by Suzanne Calvin

As we always hoped, it was love at FIRST SIGHT. Now, it looks as though pros like Jeanne Prejean of “My Sweet Charity” were equally impressed with this brand-new fashion component to the Dallas Opera’s Opening Weekend. Check out her comments here, as well as the terrific photos she took of the participating designers and their gorgeous designs gracing the runway.

Suzanne Calvin, Director of Media and Public Relations

Tech-Heads Take Notice

by Suzanne Calvin

Keith Cerny’s latest edition of “Off the Cuff” on “Theater Jones” explores the technical ins-and-outs of opera simulcasts. Everything you ever wanted to know but were afraid to ask. Read on.  Be sure not to miss Luke McKenzie’s incredible photos.

Suzanne Calvin, Director of Media and Public Relations