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.

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EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

ADDITIONAL INFORMATION IS CONVENIENTLY AVAILABLE ONLINE, 24/7

VISIT WWW.DALLASOPERA.ORG AND CHECK THE CALENDAR LISTINGS

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

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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.

THIRD CONSECUTIVE BALANCED BUDGET!

by Celeste Hart

For the First Time in Fifteen Years

TDO Records Three Balanced Budgets in a Row

Company Well-Positioned to Run the Demanding Gauntlet of Two World Premieres, Major Community Outreach Initiatives And an Innovative New Institute for Women Conductors this Fall

            DALLAS, TX, SEPTEMBER 11, 2015 – Building on two previous seasons that ended “in the black,” The Dallas Opera is very proud to announce that it has maintained a balanced operating result for a third consecutive fiscal year, as of June 30, 2015. 

            The company ended the year on firm financial footing, even as TDO continued to raise the artistic bar with such celebrated productions as Joby Talbot and Gene Scheer’s critically acclaimed 2015 world premiere, Everest, and a stunning new production of Tchaikovsky’s Iolanta.  

EVEREST Photo by Karen Almond (300x200)

            This marks the first time in fifteen years that TDO has been able to report three back-to-back balanced operating results, an outcome that positions the company for an especially inspiring 2015 Fall Season that includes two eagerly anticipated world premieres, the FIRST SIGHT/FIRST NIGHT celebrations, community engagement events, and the opera world’s first Institute for Women Conductors (Nov. 28 – Dec. 6, 2015) which drew more than a hundred applicants from around the world.

            In the season just ended, The Dallas Opera continued to put our peers on notice with a thorough re-structuring and expansion of The Dallas Opera Guild Vocal Competition.  “The results surely exceeded expectations for this newly re-envisioned competition,” wrote Gregory Sullivan Isaacs of Theater Jones.  “It won’t take long for the Dallas Opera’s vocal competition to situate itself at the top of the list of such events and become an important gold star on any young artist’s résumé.”

            Among other highlights was TDO’s release of its first Blu-Ray, Tod Machover’s Death and the Powers, recorded live on the Winspear Opera House stage during performances in February 2014.  “This is easily the most stunningly realized video production I’ve seen anywhere,” wrote Dallas Morning News Classical Music Critic Scott Cantrell, going on to describe the science-fiction opera as “a brilliant production” and a great accomplishment for the company.

            And, of course, there were the mainstage productions, including timeless classics like Mozart’s The Marriage of Figaro, conducted by Music Director Emmanuel Villaume and staged by director Kevin Moriarty of the Dallas Theater Center.  Noted Catherine Womack of D Magazine, TDO rose above the work’s inherent challenges to create performances “both musically satiating and utterly entertaining.”  The season also provided North Texas audiences with a rare opportunity to experience a Tchaikovsky opera relatively unknown in the West, Iolanta, described by David Weuste of Opera Pulse as “a brilliant ending to a wonderful season.” 

            However, the season’s high point may have been last winter’s world premiere of Joby Talbot and Gene Scheer’s Everest, garnering nearly universal critical acclaim from the likes of The Wall Street Journal, Opera News, Financial Times, American Record Guide, Opera, Opernwelt and Outside magazines.

            TDO’s emerging leadership role was confirmed most recently by Classical Music Critic David Patrick Stearns of The Philadelphia Inquirer, who stated “opera careers are now made in Dallas” in his assessment of current trends in contemporary American Opera production. 

            An elevated public profile in the second decade of the 21st century has enabled The Dallas Opera to attract more substantial media attention, generate greater community awareness, and launch important new programs and commissions – all of which have spurred single ticket sales and encouraged a steady stream of major gifts to the company from engaged individuals, foundations, corporations and trusts.

            “Highly effective leadership from our Board and Trustees, including Board Chair Steve Suellentrop, his predecessors, and the indefatigable Holly Mayer, Board Chair-Elect, have contributed dramatically to the company’s hard-earned financial stability” explains General Director and CEO Keith Cerny.

            “Significant multi-year gifts from the Titus Family (allowing us to create the much-needed Robert E. and Jean Ann Titus Art Song Recital Series) and other generous donations, including a $2.5 million gift from Betty and Steve Suellentrop and Hunt Consolidated, Inc. in support of The Dallas Opera’s education and community outreach programs have given us an opportunity to ‘think outside the opera box’ while improving our chances for continued artistic success in this rapidly changing cultural landscape,” Cerny adds.

            Over the past season, The Dallas Opera made more than 100,000 contacts across North Texas through its mainstage opera performances, free public simulcasts, and community outreach and family performances, in addition to education programs designed for children, teens and adults. 

            “Although the company has made great strides, there is still heavy lifting to be done,” cautions Board Chair Steve Suellentrop.  “It is my hope that music lovers from throughout the area will recognize the exceptional quality of what we have accomplished onstage, and want to share in the excitement of world-class opera with their generous support, their regular patronage and their enthusiastic word of mouth.”

            In addition to the recitals, family performances and Jake Heggie and Terrence McNally’s Great Scott, the mainstage production that will kick off the 2015-2016 Season, “Seeking the Human Element,” The Dallas Opera is also in the midst of preparing for one of the most eagerly anticipated social events of the fall: FIRST SIGHT/FIRST NIGHT (chaired by Ellen and Don Winspear) taking place on Thursday, October 29th and Friday, October 30th

            Our revival of the company’s tremendously popular production of Puccini’s Tosca (Nov. 6th through the 22nd ) will be followed by the inaugural Institute for Women Conductors at The Dallas Opera culminating in a public concert on Saturday, December 5th.  The world premiere of Mark Adamo’s wise and witty Becoming Santa Claus opens that same weekend with performances scheduled for Friday, December 4th, a 2:00 p.m. matinee on Sunday, December 6th, and additional performances on December 9th and 12th conducted by Emmanuel Villaume, with direction and choreography by Paul Curran.

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Dallas Opera Perspectives: “When Art & Religion Collide”

by Suzanne Calvin

FOR IMMEDIATE RELEASE:
WEDNESDAY, SEPTEMBER 10, 2014
Contact: Suzanne Calvin 214.443.1014 Or Celeste Hart 214.443.1071
suzanne.calvin@dallasopera.org celeste.hart@dallasopera.org

ONE OF THE KEY CULTURAL ISSUES OF OUR DAY!
THE DALLAS OPERA, IN PARTNERSHIP WITH
FIRST UNITED METHODIST CHURCH, PRESENTS

DALLAS OPERA PERSPECTIVES:
“WHEN ART AND RELIGION COLLIDE”
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MONDAY, SEPTEMBER 29, 2014
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Inspired by Richard Strauss’ “Salome” but encompassing so much more! Moderated by SMU’s Dr. Christopher Anderson with a star-studded arts leadership panel featuring Dallas Museum of Art Director Maxwell Anderson, Dallas Theater Center Artistic Director Kevin Moriarty and Dallas Opera General Director and CEO Keith Cerny.

Visit dallasopera.org/conversations

DALLAS, SEPTEMBER 10, 2014 – The Dallas Opera is proud to present the first of this season’s Dallas Opera Perspectives: “When Art and Religion Collide,” a free, in-depth exploration of the role of religion in the creation of both visual and performing arts, including works like The Dallas Opera’s second production of the 2014-2015 Season, Salome by Richard Strauss. The panel will also explore how this relationship is evolving in an increasingly interactive, yet balkanized and secular world.
This lively discussion will take place in the sanctuary of First United Methodist Church at 6:30 p.m. on Monday, September 29, 2014. The Arts District landmark is located at 1928 Ross Avenue, approximately three blocks from the Margot and Bill Winspear Opera House and the public is encouraged to attend.
Moderated by Dr. Christopher Anderson, an award-winning author and Associate Professor of Sacred Music at the Perkins School of Theology at Southern Methodist University, the panel will consist of three influential leaders representing different branches of the arts: the Eugene McDermott Director of the Dallas Museum of Art Maxwell Anderson, Dallas Theater Center Artistic Director Kevin Moriarty and Dallas Opera General Director and CEO Keith Cerny.

“Although our primary means of engaging the community is through performance,” explains Keith Cerny, “I believe it is just as important for The Dallas Opera to lend our brand to meaningful public discourse on a variety of timely and important topics. The complex relationship between art and religion throughout human history gives us much to analyze and discuss from the perspective of three hugely influential art forms—and we are eager for the audience to share their thoughts on the subject as well.”

“What is the underlying purpose of art?” asks Dr. Christopher Anderson. “How do secular or even anti-religious currents in the community affect the role of the artist? Is there a place for transcendence in art divorced from religion? How successfully has religion guided the artistic expression of society and family values? What about those occasions when art or religion are misappropriated in order to suppress?”
“These are just a few of the questions that will fuel our conversation,” he adds, “in an evening that may spark deeply personal responses.”

The evening will conclude with an open Q and A with members of the audience. No question is too controversial.
Walk-ups are welcome; however, we recommend that you reserve your seat now by going to www.dallasopera.org/conversations.
Parking is available in Bryan Tower at the corner of San Jacinto and Harwood, diagonally opposite the church, with a special event price of $3. Paid parking may also be found in one of several surface lots nearby and on the street. Handicapped parking is available at the church.

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The Dallas Opera’s 2014-2015 Season is sponsored by
Texas Instruments Foundation

Flex subscriptions begin at $75 for the 2014-2015 Season. Full Subscriptions begin at $95. 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.

~~~~
EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

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 Talk begins 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

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 Rath
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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Keith Cerny on “Turning the Tide”

by Suzanne Calvin

Our General Director and CEO’s latest monthly column for “Theater Jones” delves into the questions raised for the industry by the dramatic turn of events at San Diego Opera.  No arts organization is immune to financial difficulties, whether caused by uncontrollable outside circumstances or unforeseen internal challenges; however, there’s a lot to be said about how a company responds or fails to respond when the “going gets tough.”

An article well worth your attention.

Suzanne Calvin, Dir. of Media and Public Relations

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 →

Dallas Opera and Dallas Holocaust Museum explore Korngold

by Suzanne Calvin

It’s a panel discussion next week that shouldn’t be missed! The Dallas Opera and Dallas Holocaust Museum are the proud partners of what promises to be an extraordinary panel discussion on the life, the work and the legacy of exiled twentieth-century composer Erich Wolfgang Korngold. Details follow. Continue reading →

DEATH AND THE POWERS at The Dallas Opera

by Suzanne Calvin

Looking for the lowdown on the Dallas Opera’s upcoming presentation of “Death and the Powers”?  The Global Interactive Simulcast?  Wild lobby displays and cool apps?  
Continue reading →

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”
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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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In Conversation with Senior Classical Music & Opera Critic
Gregory Sullivan Isaacs of Theater Jones.com
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Thursday, November 14, 2013 at 6:30 p.m.
Nasher Hall, Nasher Sculpture Center
Dallas Arts District
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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.
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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.

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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

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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

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Or for additional information
Please contact Suzanne Calvin, Manager/Director Media & PR
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The Dallas Opera’s 2013-2014 “By Love Transformed” Season
Is Sponsored by Texas Instruments Foundation

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

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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