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”
~~~~
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
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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

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.

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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

2B or Not 2B – Off the Cuff

by Suzanne Calvin

Here’s General Director and CEO Keith Cerny’s latest edition of “Off the Cuff” from “Theater Jones” in which he tackles the split between the subscribing and single-ticket-buying public and its historical roots, as well as the short-term and long-term impact of evolving buying habits on the performing arts.

Read it all right here.

Suzanne Calvin, Director Media and Public Relations

Dallas Opera Perspectives at the Meadows Museum

by Suzanne Calvin

Count me in! Coming to the Meadows Museum, a conversation not to be missed between Dallas Opera General Director and CEO Keith Cerny and the company’s esteemed new music director, Emmanuel Villaume. Details to follow:

FOR IMMEDIATE RELEASE:
Friday, September 6, 2013
Contact: Suzanne Calvin 214.443.1014 Or Megan Meister 214.443.1071
suzanne.calvin@dallasopera.org megan.meister@dallasopera.org

THE DALLAS OPERA PRESENTS

“DALLAS OPERA PERSPECTIVES”

With Dallas Opera General Director and CEO Keith Cerny
And Dallas Opera Music Director Emmanuel Villaume
In Partnership with the Meadows Museum of Art
~~~~
Discussion of Spanish Art and Bizet’s Carmen
Followed by Special Free Gallery Tour
~~~~
Tuesday, October 8, 2013 at 6:30 p.m.
The Meadows Museum at SMU
~~~~
Free Covered Parking Available On-Site

DALLAS, SEPTEMBER 6, 2013 – The Dallas Opera, in partnership with the Meadows Museum at Southern Methodist University, is delighted to introduce the first in a series of new programs hosted by Dallas Opera General Director and CEO Keith Cerny and designed to present informed personal perspectives on the arts.
Our first edition of “Dallas Opera Perspectives” taking place on Tuesday, October 8, 2013 at 6:30 p.m. in the Meadows Museum, will introduce Dallas to TDO’s acclaimed new music director, Maestro Emmanuel Villaume, who will apply his keen interest in the visual arts to works in the Spanish collection that “speak to him” in a special way as he prepares to conduct our season-opening production of Georges Bizet’s CARMEN.
“I look forward to October 25th with a sense of anticipation and excitement tempered by a comfortable sense of the familiar,” explains Maestro Villaume.
“The pressure will be on in my first podium appearance as Music Director of the Dallas Opera. However, Carmen, as a mainstay of the French repertoire, is a work I have conducted throughout my career. Over the years, familiarity with Bizet’s masterpiece has generated within me an even greater respect for his musical vision, and I always seek something fresh and revelatory in my approach to the score to bring to every performance.
“One of the great privileges of this career is the ability to travel and discover new cities—in particular, their museums. Dallas, fortunately, is endowed with several world class collections and I am eager to explore them all.
“Studying visual arts is a stimulating activity for me, as it touches on some of the same fundamental artistic and spiritual issues as music, although from a totally different angle. It’s a pastime I find to be as refreshing as it is enlightening.” Continue reading →

Mark Twain’s Wagnerian Adventures

by Suzanne Calvin

What did American literary icon Mark Twain and German music titan Richard Wagner have in common? If you said “Wavy hair,” you are correct! If you said anything else, you’re probably mistaken. Desite the lack of common ground, Twain’s deeply personal impressions of the Bayreuth experience form the basis for this month’s “Off the Cuff” column by General Director and CEO Keith Cerny for “Theater Jones.” You can enjoy it all right here.

Suzanne Calvin, Director of Media and Public Relations

Keith’s latest “Off the Cuff”

by Suzanne Calvin

Why do I have the distinct feeling that eighteenth-century artist William Hogarth was a “glass half-empty” kinda guy? Even so, nobody served up social commentary like this influential Brit and he’s the subject--no, more like the catalyst--of General Director and CEO Keith Cerny’s latest “Off the Cuff” for Theater Jones.

Enjoy it right here.

Suzanne Calvin, Manager/Director of Media and PR

Managing the Opera Company of the Future

by Suzanne Calvin

Keith & Jennifer

 

There’s a lot of talk these days about how arts organizations are going to survive the impact of staggering economies, government cuts, and a lack of consumer confidence. But, frankly, if survival is the ultimate goal--why bother? Arts organizations need to think beyond the immediate pressures we face and begin implementing ways to make the performing arts smart, relevant and thriving rather than focused on surviving. Dallas Opera General Director and CEO Keith Cerny shares his thoughts on the direction opera may be headed in his latest installment of “Off the Cuff” from Theater Jones.

Read it right here.  (Photo of Keith and Jennifer Cerny on opening night of the 2012-13 Season outside the Winspear Opera House)

Suzanne Calvin, Manager/Director Media & PR

Even Three-Dimensional Chess Needs a Red Queen

by Suzanne Calvin

The latest installment of Dallas Opera General Director and CEO Keith Cerny’s “Off the Cuff” feature for “Theater Jones” explores the strategy behind the push for subscriptions and renewals, and how twenty-first century marketers may be able to stem the tide that propels us towards what some are already calling “the post-subscription era.”

Read Keith’s analysis right here, courtesy of “Theater Jones.”

Suzanne Calvin, Manager/Director Media & PR

14,000 Attend 2nd Dallas Opera Cowboys Stadium Simulcast

by Suzanne Calvin

Even when you’ve seen as much opera as we have, there’s no doubt that an event like the one held last Saturday night at Cowboys Stadium is extraordinary--by any yardstick you measure it with. The release below contains the attendance/request numbers which, although impressive, barely begin to tell the tale of this night’s impact on the people of North Texas. Read on!

FOR IMMEDIATE RELEASE:
Friday, April 19, 2013
Contact: Suzanne Calvin 214.443.1014  suzanne.calvin@dallasopera.org

Or Megan Meister 214.443.1071  megan.meister@dallasopera.org

THE DALLAS OPERA’S
2nd SUCCESSFUL COWBOYS STADIUM SIMULCAST DRAWS MORE THAN

29,000 RSVPs
~~~~
A Diverse Crowd of 14,000
Experiences Puccini’s Turandot Live
Last Saturday Evening – Free of Charge
~~~~
With Lee Hoiby’s Julia Child One-Act Opera as an Appetizer
And the World’s Largest Cartoon Screening of the Hilarious
1957 Chuck Jones Masterpiece, “WHAT’S OPERA, DOC?”
~~~~
PRESENTED BY THE DALLAS FOUNDATION

DALLAS, TX, APRIL 19, 2013 – The Dallas Opera, in partnership with Cowboys Stadium, conducted its second successful simulcast at the sports venue on Saturday, April 13th, attracting a crowd of approximately 14,000 from across North Texas and beyond. The simulcast of Giacomo Puccini’s final twentieth-century masterpiece, Turandot, presented by The Dallas Foundation live from the Shannon and Ted Skokos Stage of the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center, earned rave reviews from both attending critics and an extraordinarily diverse crowd of patrons.

Punch Shaw of the Star-Telegram wrote, “The quality was excellent, conveying the grandeur of the opera production well in its wide shots and made good choices about when close-ups were needed….The sound, however, was far better than one might expect.”

Those who attended enjoyed a free unabridged performance on the world’s largest high-definition video board structure, consisting of four massive viewing screens (the largest, 72 feet tall and 160 feet wide) suspended directly above the playing field.

Prior to the live performance, the Dallas Opera presented the world’s largest cartoon screening (based on screen size): Warner Brothers Classics 1957 masterpiece, “What’s Opera, Doc?” starring Bugs Bunny and Elmer Fudd and voted the #1 cartoon ever produced (in 1994, by a thousand working animators). Directed by animation legend Chuck Jones, the cartoon pokes fun at opera’s most persistent stereotypes, Wagnerian heft, and Elmer Fudd’s never-ending pursuit of that “wascally wabbit!”

The Dallas Opera also set the tone for a fun-filled evening with a recording of the Dallas Opera’s recent live presentation of composer Lee Hoiby’s Bon Appétit! starring acclaimed mezzo-soprano Susan Nicely as Julia Child, the chef-who-became-an-international culinary icon.

Based on segments of Julia Child’s popular cooking show, The French Chef (winner of the first Emmy Award given to an educational program), and incorporating Child’s actual dialogue as shaped by librettist Mark Shulgasser, who attended the stadium simulcast, this laugh-out-loud modern opera was originally performed in English at the Dallas Farmer’s Market Demonstration Kitchen.

Miss Nicely was accompanied by pianist Mary Dibbern, Music Director for Education and Family Programs at the Dallas Opera in performances supported by The Perot Foundation Education and Community Outreach Programs.

“In 2012, The Dallas Foundation helped the Dallas Opera bridge the distance between two very different cultures: the world of professional opera and the world of professional football,” explained Mary Jalonick, President of The Dallas Foundation. “The Dallas Foundation was proud to again be the presenting sponsor of the Dallas Opera’s 2013 simulcast of Turandot.”

“We were excited to partner with the Dallas Opera for a second Cowboys Stadium Simulcast,” said Dallas Cowboys Executive Vice President of Brand Management Charlotte Anderson. “Our organization greatly admires and respects The Dallas Opera’s original thinking and stewardship in making ground-breaking events like these a reality because we truly value the importance of the arts in our community.”

“It’s been a personal goal of mine to bring tremendous artists and unforgettable entertainment to the widest possible audience here in North Texas,” commented Dallas Opera General Director and CEO Keith Cerny, “and nothing does that better than opera, as shown by the many thousands who attended last spring’s Cowboys Stadium Simulcast of Mozart’s The Magic Flute, as well as this year’s spectacular production of Turandot.

“The Dallas Opera is extremely honored that The Dallas Foundation chose to support this event for a second consecutive year and we are equally grateful for the generosity of the Jones Family, who encouraged this extraordinary collaboration with the Cowboys organization from the moment we made our dream known to them.
“I can hardly imagine a smoother, more compelling simulcast than the one we experienced together on Saturday night and it has fired my conviction that this is the kind of audience outreach that redefines the art form—in reality, as well as perception—for a new generation of audiences.”

Gregory Sullivan Isaacs of Theater Jones expounded: “Lise Lindstrom as Turandot sent out laser-like high Cs that rang the rafters. Antonello Palombi as Calaf reminded us why we liked him in Aida earlier in the season. Hei-Kyung Hong, as Liù, produced a shimmering sound that entranced a stadium and surely a hushed opera house as well. Christian Van Horn, as Timur, impressed all over again with his rich and resonant bass voice… It was wonderful to hear this Turandot performance sparkle and crackle with electricity.

“The audience in the stadium behaved as if they were in the opera house. No one got up and walked around during the performance and, to these eyes at least, few if any left until the curtain calls were finished. There was as big an ovation in the stadium as we heard in the opera house.”

However, the greatest reviews of all came from the families, friends, and young couples who attended the simulcast and experienced the excitement of opera – many, for the very first time. A selection of typical comments includes:

• “I would just like to thank the people that made the Turandot Simulcast available at the Cowboys Stadium and to applaud the actor/singers. This was the first time for me and my children to be exposed to opera, and our only regret was not be at the real presentation and live the whole experience! We were impressed how “opera” could have so much impact, how we were drawn to experience the characters emotions. It is hard to believe how clearly music can communicate. Thank you for making art available to everybody” – Raúl Morales

• “I attended the simulcast and was very impressed. Such a great venue for a family event. There were children all around and they were really paying attention. Thank you so much for doing this. I am unemployed and would never have been able to go to something so great at this time. I thank you so much.”

From Facebook:

• Wow! I loved every minute of my time at Cowboys Stadium simulcast last night. Do it again!
• Fantastic simulcast production at Cowboys Stadium. Congratulations to the Dallas Opera and the performers. It was just splendid! -- And thanks for making this a truly family friendly event! I would have never thought we could make it through Turandot with our 5 youngest kids (age 4-14). But at the Cowboys Stadium it worked great!
• I had never seen an opera before tonight. I was at the stadium enjoying Turandot on the big screen. I do wish I could have been at the Winspear to watch this live. It was absolutely beautiful. I was completely captivated from the beginning. The lighting, the set design (LOVED the massive dragon and the elements of the pearls everywhere), the elaborate costumes and makeup, not the mention the wonderful array of talent. Thank you for making my first operatic experience magical. Be blessed!
• Unofficial poll from the seats around me, Pang wins for best moves and facial expression.
• wow!!! what an experience Turandot at the Cowboys Stadium…backstage action and all!! kids love it!! thank u Dallas Foundation!!!! and Dallas Opera!!

• Brought my children for their first opera! They loved seeing the “pit” with all the instruments and have been glued to the show. Thank you!
• This is great! Date night with my hubby. This is our first opera. Thank you!
• I am enthralled in my first opera experience via the simulcast! Watching opera on the “big screen” as the sun sets around the stadium was a great start!
• Amazing experience at the simulcast!!! Thank you Gene and Jerry Jones!!!!

Twitter:

• Great performance at Cowboy Stadium; get to see close-up details you miss in opera house.
• Having a great time. First time seeing the opera.
• STUNNING!!!!! COULD NOT BE HAPPIER w/ the performance thus far!! ?
• It is fun to experience @thedallasopera #turandot @cowboysstadium with @kevinroberts07 …and for free!
• enjoying Turandot at Cowboy Stadium. Thanks to the Dallas Opera and the Dallas Foundation
• @TheDallasOpera @CowboysStadium simulcast of Puccini Turandot, fantastic Act1 #HeikYungHong has an amazing voice Wow!
• Watching @thedallasopera Turandot Simulcast! This cast is fabulous
• Thanks for the dramatic evening, @thedallsopera @dallasfound and @dallascowboys ! Spectacular!
• Such a magnificent production of Turandot, @TheDallasOpera! Simply majestic and gorgeous.
• wrt #Turandot, I told my daughter that she should pick riddles s.t. she’ll want to marry whoever can solve them. @TheDallasOpera
~~~~
Single tickets for the remaining mainstage performances of the Dallas Opera’s “Pursuits of Passion” Season are on sale now, starting at just $19, through the Dallas Opera Ticket Services Office at 214.443.1000 or online at www.dallasopera.org. Student Rush best-available tickets can be purchased at the lobby box office for $25 (one per valid Student I.D.) ninety minutes prior to each performance.
~~~~

EVENTS AND GUEST ARTISTS SUBJECT TO CHANGE

ADDITIONAL INFORMATION ABOUT THE “PURSUITS OF PASSION” SEASON
IS CONVENIENTLY AVAILABLE ONLINE, 24/7
VISIT WWW.DALLASOPERA.ORG

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 2012-2013 “Pursuits of Passion Season”
Is Presented 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 2012-2013 Dallas Opera Season

All performances are in the new Margot and Bill Winspear Opera House at the AT&T Performing Arts Center. Single Tickets for TURANDOT, THE ASPERN PAPERS and family performances are on sale now. Tickets for the mainstage productions start for a new low price of $19! For more information, contact The Dallas Opera Ticket Services Office at 214.443.1000 or visit us online at www.dallasopera.org.

THE DALLAS OPERA 2012-2013 SPRING SEASON INFORMATION
The Dallas Opera celebrates its Fifty-Sixth International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in downtown Dallas. Evening performances will begin at 7:30 p.m. and Sunday matinees will begin at 2:00 p.m. English translations will be projected above the stage at every performance. Assistance is available for the hearing impaired.

TURANDOT by Giacomo Puccini
April 5, 7(m), 10, 13, 19 & 21(m), 2013
Puccini’s Last Masterpiece—Riddled with Passionate Romance and Unforgettable Music!
An opera in three acts first performed in Milan at La Scala, April 25, 1926
Text by Giuseppe Adami and Renato Simoni, based on Carlo Gozzi’s fable, Turandot.
Time: Legendary times
Place: Peking, China
Conductor: Marco Zambelli
Stage Director: Garnett Bruce
Production Design: Allen Charles Klein
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Starring: Lise Lindstrom* (Princess Turandot), Antonello Palombi (Calaf), Hei-Kyung Hong (Liu), Christian Van Horn* (Timur), Jonathan Beyer (Ping), Joseph Hu (Pang), Daniel Montenegrio* (Pong), Ryan Kuster* (A Mandarin), Steven Haal (Emperor Altoum).

THE ASPERN PAPERS by Dominick Argento
April 12, 14(m), 17, 20, 28(m), 2013
The Games People Play—Both Young and Old—To Achieve Their Twisted Desires!
An opera in two acts first performed in Dallas, November 19, 1988.
Text by Dominick Argento, based on a Henry James novella.
Time: Legendary
Place: Lake Como, Italy
Conductor: Graeme Jenkins
Stage Director: Tim Albery
Scenic Design: Andrew Lieberman*
Costume Design: Constance Hoffman*
Lighting Design: Thomas Hase
Wig & make-up Design: David Zimmerman
Assistant Director: Michael Mori
Chorus Master: Alexander Rom
Starring: Susan Graham* (Tina), Alexandra Deshorties (Julianna Bordereau), Nathan Gunn (The Lodger), Joseph Kaiser* (Aspern), Dean Peterson (Barelli), Sasha Cooke* (Sonia), Eric Jordan* (A painter), Jennifer Youngs* (Olimpia).

* Dallas Opera Debut
** American Debut
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The Dallas Opera is supported, in part, by funds from: City of Dallas, Office of Cultural Affairs; TACA; 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 Mrs. William W. Winspear and the Elsa von Seggern Foundation for their continuing support.

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