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.

APPLLICATION DEADLINE NOVEMBER 21 FOR THE 2016 DALLAS OPERA GUILD VOCAL COMPETITION

by Celeste Hart

Still Bigger Than the Lone Star State!

Finals Round Scheduled for Saturday, April 30, 2016 at 6:30 p.m.

Margot and Bill Winspear Opera House

The AT&T Performing Arts Center, Dallas, Texas

DALLAS, TX, NOVEMBER 20, 2015 -- The Dallas Opera wishes to remind potential candidates that applications for the expanded and revised Dallas Opera Guild Vocal Competition, scheduled to take place on Friday, April 29, 2016 at 11:00 a.m. (Semi-Final Round) and Saturday, April 30, 2016 at 6:30 p.m. (Finals Round) will be accepted through tomorrow – Saturday, November 21, 2015 at 11:59 p.m. Pacific Time.

Applications MUST be submitted via YAP Tracker, along with a $35 entry fee: https://www.yaptracker.com/applications/dallas-opera-guild-2016.

Those chosen by preliminary round judges to advance to the Semifinals Round in the acoustically acclaimed Margot and Bill Winspear Opera House at the AT&T Performing Arts Center will be notified on February 2, 2016. 

Competitors in the critically acclaimed 2015 Competition took home prize monies totaling $18,500.  Although this competition has as its primary focus, artists in the 18 to 34 age range, singers of any age may apply and will be considered on a case-by-case basis.

As the competition sought to gain even greater prominence and significance, The Dallas Opera and The Dallas Opera Guild made two significant changes last year, prompting Dallas Morning News Classical Music Critic Scott Cantrell to write that the competition had “considerably upped its ante”:

  • In order to attract the most talented applicant pool with the greatest potential, the eligibility criteria for applicants changed. Today, it is open to residents of all 50 states and U.S. Territories (including residents with a valid Green Card or H-1, H-2, H-3, I-20, K-1, O-1, P-2 and P-3 visas). 
  • The Finals Round, taking place on Saturday, April 30, 2016 at 6:30 pm in the Winspear Opera House, will be accompanied by The Dallas Opera Orchestra, conducted by TDO’s acclaimed Music Director, Emmanuel Villaume. Up to six finalists will participate, singing two arias each.

The impact of these changes was immediately perceived.  Senior Classical Music Critic Gregory Sullivan Isaacs of theaterjones.com wrote: “The results surely exceeded expectations for this newly re-envisioned competition…It won’t take long to situate itself at the top of such events and become an important gold star on any young artist’s résumé.” 

Judges for the expanded 28th Annual Dallas Opera Guild Vocal Competition have been drawn from distinguished performers and opera administrators and will also include General Director & CEO Keith Cerny, Music Director Emmanuel Villaume and TDO Artistic Administrator Ian Derrer.

The Dallas Opera is very pleased to announce the return of renowned arts administrator, educator and adjudicator Dr. Brian Zeger as Chair of the Judges Panel for the 2016 Vocal Competition. 

Commented General Director & CEO Keith Cerny: “The Guild Competition took a bold step forward last year and the result was electrifying!  Emmanuel Villaume and The Dallas Opera Orchestra brought a tangible level of excitement to these performances and clearly inspired the finalists to do their absolute best. 

“I’m quite certain that this year’s competition will bring a whole new set of challenges and give us new opportunities to build on our previous success.  Working closely with Dr. Brian Zeger, our esteemed adjudicators, and the Guild, we are well on our way to creating an event that attracts the very finest young singers of this generation.”

Judges for the 2016 Dallas Opera Guild Vocal Competition:

Brian Zeger, Chair

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

Keith Cerny

General Director and CEO, The Dallas Opera

Emmanuel Villaume

Music Director, The Dallas Opera

Ian Derrer

Artistic Administrator, The Dallas Opera

Aidan Lang

General Director, Seattle Opera 

Leonore Rosenberg

Associate Artistic Administrator, The Metropolitan Opera

Joshua Winograde

Senior Director of Artistic Planning, Los Angeles Opera

Diane Zola

Director of Artistic Administration, Houston Grand Opera

Dallas Opera Guild Co-President Jana Irwin explained that “the life of The Dallas Opera Guild revolves around this annual competition, because all of us feel so strongly about the need to support the future of opera.  Greater prominence within the music industry can only translate into greater benefits for those lucky enough to be selected to participate, making this a win-win situation for all concerned.”

Dallas Opera Guild 2016 Vocal Competition Chair Ketty Fitzgerald explains that “the ultimate goal – now and always – is to serve the artists and this art form by creating a showcase for their talents that will help to advance their careers.  We are equally dedicated to providing financial assistance (with no strings attached) allowing the singer to determine exactly how that money should be spent.  In short, we give them room to breathe.”

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ADDITIONAL INFORMATION ABOUT THE DALLAS OPERA

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

FOR HIGH-RESOLUTION PHOTOGRAPHS

Contact Suzanne Calvin, Director of Media and PR at suzanne.calvin@dallasopera.org

Or Celeste Hart, Communications Manager at celeste.hart@dallasopera.org

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

The Dallas Opera Family Performances are generously supported by

Texas Instruments and the Betty and Steve Suellentrop Educational Outreach Fund.

TDO Family Performances are a part of the

Perot Foundation Education and Community Outreach Programs

Ticket Information for the 2015-2016 Dallas Opera Season

All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise indicated.  Single Tickets range from $19 to $275.  Full Subscriptions start at $99, Flex Subscriptions (three-performances of your choice) begin at $75.  Family performance tickets are just $5.  For more information or to make your purchase, contact The Dallas Opera Ticket Services Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.

Just One Month Left for 12 MONTHS of Kindness Activities!

by Celeste Hart

All Proceeds Benefit BECOMING SANTA CLAUS In Memory of Chloe Shea

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“PHOTOS WITH SANTA”

November 21, 2015 in the Winspear Opera House

12:30-1:30 p.m. and 3:00-4:00 p.m.

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“FASHION FOR KINDNESS”

November 29, 2015 in the Ritz Residences, Dallas

1:00-2:00 p.m. Fashion Show & Reception

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“READING FOR KINDNESS”

December 19, 2015 at 11:00 a.m.

Bookmarks Branch of Dallas Pub. Library at NorthPark

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BECOMING SANTA CLAUS Coloring Book Available at All

“12 Months of Kindness” events and world premiere performances

DALLAS, NOVEMBSC Coloring Book coverBER 16, 2015 – The Dallas Opera wants to remind you that we are approaching the final month of the “12 Months of Kindness” campaign, designed to support the upcoming world premiere production of Mark Adamo’s BECOMING SANTA CLAUS, opening on Friday, December 4th at 7:30 p.m. in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center.

Both the new holiday-themed opera and the campaign are dedicated to Chloe Shea, who passed away before her fourth birthday, following a ten-month struggle with brain cancer.

The 12 Months of Kindness Committee has focused on sharing opportunities to give back to other families, all year long, while raising awareness and support for BECOMING SANTA CLAUS.

Coat drives, sock drives, toy drives, and other philanthropic efforts have been key components of each “12 Months of Kindness” event.  These events have involved the whole family, from two-year-olds to teenagers, instilling an understanding and appreciation for philanthropy and kindness.

To date, the Committee has raised $79,000 for BECOMING SANTA CLAUS in memory of Chloe Shea, and is on track to meet its $100,000 goal.

To learn more or register for an upcoming event, visit:

www.dallasopera.org/kindness

“PHOTOS WITH SANTA”

Saturday, November 21, 2015

12:30-1:30 p.m. and 3:00-4:00 p.m.

Winspear Opera House, 2nd Floor Lounge

$20 donation for a photo with Santa to take home

Act of Kindness: A non-perishable food pantry item for the North Texas Food Bank

“FASHION FOR KINDNESS”

Sunday, November 29, 2015

1:00-2:00 p.m. Fashion Show and Reception

The Ritz Residences

$20 donation for children under 12 to participate in fashion show

(Child must arrive in favorite holiday outfit at 12:30 p.m.)

$10 donation per person to attend fashion show

Act of Kindness: An unwrapped, new toy for “Toys for Tots”

All proceeds benefit Becoming Santa Claus in memory of Chloe Shea.

“READING FOR KINDNESS: BECOMING SANTA CLAUS Coloring Book Reading”

Saturday, December 19, 2015 at 11:00 a.m.

The Bookmarks Branch of the Dallas Public Library, NorthPark

A Celebrity Guest Reads this 22-page Coloring Book, Attendance is FREE

 
The Dallas Opera has created a special coloring book, Becoming Santa Claus, to be distributed to children’s hospitals in advance of the December 6th simulcast. Dallas-area high school art students submitted designs earlier this year, to be incorporated into this unique coloring book.  Their original creations will be exhibited in the Winspear Lobby throughout these performances.  The Becoming Santa Claus coloring book will also be available at every performance of this world premiere production – and at all “12 Months of Kindness” events – for a donation of $20 per book.

THE 12 MONTHS OF KINDNESS COMMITTEE

Maile Shea, Chair

Carrie Ellen Adamian

Yasmin Bhatia

Jennifer Blankenship

Milene Carvalho

Alise Cortez

Ashley Crump

Veronica Diaz

Mimi Edmonds

Jennifer Franklin

Belinda Hancock

Molly Lang

Patricia de Leon

Sarah Little

Rhonda Marcus

Catherine Nettune

Melanie Schoenvogel

Sarah Shaw

Shenley Smith

Stacie Whitley

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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.

The Dallas Opera Gives Back with 12 Days of Kindness!

by Celeste Hart

“12 DAYS OF KINDNESS CAMPAIGN”

TDO’S NEW AMERICAN OPERA BECOMING SANTA CLAUS

INSPIRES INITIATIVE TO BENEFIT LOCAL NON-PROFITS

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EFFORTS PROMOTED ON SOCIAL MEDIA SITES TO ENCOURAGE FOLLOWER PARTICIPATION

DALLAS, NOVEMBER 16, 2015 -- The Dallas Opera is taking inspiration from the message in its world premiere of the holiday opera BECOMING SANTA CLAUS and partnering with area non-profits in a “12 DAYS OF KINDNESS CAMPAIGN” promoted through its social media outlets. The company has identified several non-profit organizations for which it will encourage support through creating exposure, coordinating donations, and other special activities in the spirit of giving back. The campaign will begin on November 21, 2015 with efforts occurring through December 4, 2015. The applicable social media outlets are The Dallas Opera’s facebook, Twitter and Instagram sites.

BECOMING SANTA CLAUS is an original new work by American composer Mark Adamo (Little Women), brimming with the true spirit of the holidays! It’s the third production of the “Seeking the Human Element” Season, opening on Friday, December 4, 2015 at
7:30 p.m. in the Winspear Opera House, with additional performances December 6, 9, and 12, 2015. 
BECOMING SANTA CLAUS promises to be a visually spectacular, musically unforgettable world premiere that tells the tale of a young spoiled Prince who learns the lesson of the most treasured gift of all.

Elf Photos - Kindness  11-10 458 SM (800x793)

The first day will benefit the North Texas Food Bank for which The Dallas Opera staff is asking readers to bring three canned items or one jar of peanut butter to the Family Performance at the Margot and Bill Winspear Opera House on Saturday, November 21, 2015. A free ticket will be provided for the donation to that day’s production of Rossini and Company at 2:00 p.m. Donations will also be accepted at the Winspear Opera House lobby on November 21, 22 and 23, 2015. The North Texas Food Bank provides access to 170,000 meals for hungry children, seniors and families through a network of more than 1,000 programs and 262 partner agencies. For more information please visit www.ntfb.org.

The second day, November 23, The Dallas Opera Guild and staff will be baking cookies for the SoupMobile for distribution to the homeless. The organization is a faith-based non-profit that serves the homeless by providing more than 20,000 sandwiches and 30,000 cookies every month, and shelter for those in need. For more information please visit www.soupmobile.org.

The third day, November 24, will benefit the Children’s Heath and Children’s Medical Center, Plano and Dallas campuses. The Dallas Opera has created a unique coloring book with a BECOMING SANTA CLAUS theme. Children at the hospitals will be given a free Becoming Santa Claus Coloring Book and crayons with the hope that spirits will be brightened as they enjoy their gift. The coloring book was designed by students from six different area high schools and printed by The Dallas Opera to be donated to the children. The coloring book was made possible by The Moody Foundation, with additional support from Q Roberts Trucking and Childrens Medical Center Foundation.

The fourth day, November 25 is a drive for the SPCA of Texas for which The Dallas Opera will collect dog and cat treats and toys for the organization. A box will be set up in the Winspear Opera House lobby where donations may be dropped off. The mission of the SPCA of Texas is to provide every animal exceptional care and a loving home. For more information please visit www.spca.org.

The fifth day, November 26, Thanksgiving Day, is a day The Dallas Opera is accepting tags for its social media sites for followers to post for what they are thankful. It will be a wonderful opportunity to express thanks for the many blessings our participants would like to share with the hopes of creating an inspiring day of gratefulness. The Dallas Opera’s facebook, twitter and Instagram sites will be dedicated to this initiative.

The sixth day, November 27, is a drive benefiting the Genesis Women’s Shelter led by The Women’s Board of The Dallas Opera. A collection box will be located in the Winspear Opera House lobby for donations of toiletries, new socks and undergarments for boys, girls and women. Genesis Women’s Shelter is committed to preventing violence by raising the level of community awareness regarding the pervasiveness and effects of domestic violence. For more information please visit www.genesisshelter.org.

 The seventh day, November 28 is a designated Hug Drive Day. The Dallas Opera will encourage readers to give someone or a favorite furry friend a hug as an act of kindness. Participants can photograph their special hug and tag us on their post.

 The eighth day, November 30, is a “Shop for Dallas Animal Services and Adoption Center” day. Commonly known as “Cyber Monday”, our Day of Kindness encourages donors to shop online through Dallas Animal Services Amazon Wish List. To participate please visit
www.amazon.com/gp/registry/giftlist/1X05HA4VYRQT7/ref=topnav_lists_2. Dallas Animal Services and Adoption Center encourages responsible pet ownership through adoption, spay/neuter, public education and outreach, and ordinance enforcement. For more information please visit www.dallasanimalservices.org.

 The ninth day, December 1, is a coat and new sock drive for Crossroads Community Services whereby donors may bring the garments to a collection box in the Winspear Opera House lobby. Donations will be accepted December 1-6, 2015. Crossroads Community Services physically and economically nurtures our community’s low-income families by providing tangible support through nutritious food, clothing and supportive education.

The tenth day, December 2, The Dallas Opera staff will visit C. C. Young Senior Living • Senior Care to spread some cheer by singing holiday carols to residents. Our social media followers are encouraged to partake in a volunteer activity in which they believe.

The Dallas Opera will post photos of the caroling on its sites. C.C. Young is dedicated to helping seniors enjoy an active, fulfilling lifestyle and providing personalized care and support.  

The eleventh day, December 3, The Dallas Opera staff will strive to help the environment by having a trash and recycle pick-up day at White Rock Lake coordinated through the organization For the Love of the Lake. Staff and interested patrons will meet at the Pavilion at Flagpole Hill, then divide into groups to clean up five key areas around the lake. Followers are invited to join the activity by meeting at 3:00 p.m. For the Love of the Lake (FTLOTL) is dedicated to the enhancement and preservation of White Rock Lake Park as an urban oasis. FTLOTL accomplishes this through spruce-up activities, tree planting events, and raising money for an “all-inclusive” playground. For the Love of the Lake needs your help to make this dream come true. The world has Mother Nature, children need you. For more information please visit www.WhiteRockLake.org.

The twelfth day, December 4, begins a Toys for Tots drive. The Dallas Opera will collect toys in the Winspear Opera House lobby December 4-12, 2015. The mission of the U.S. Marine Corps Reserve Toys for Tots Program is to collect new, unwrapped toys and distribute those toys as Christmas gifts to less fortunate children in the community. Patrons who have purchased tickets to Becoming Santa Claus and donate a toy for the drive will receive a free cup of hot chocolate donated by Wolfgang Puck Catering, while supplies last. For more information please visit www.dfwtoysfortots.org.

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

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ADDITIONAL INFORMATION ABOUT THE DALLAS OPERA

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

EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

FOR HIGH-RESOLUTION PHOTOGRAPHS

Contact Suzanne Calvin, Director of Media and PR at suzanne.calvin@dallasopera.org

Or Celeste Hart, Communications Manager at celeste.hart@dallasopera.org

~~~~

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

 

Ticket Information for the 2015-2016 Dallas Opera Season

All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise indicated.  Single Tickets range from $19 to $275.  Full Subscriptions start at $99, Flex Subscriptions (three-performances of your choice) begin at $75.  Family performance tickets are just $5.  For more information or to make your purchase, contact The Dallas Opera Ticket Services Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.

A New Holiday Treasure!

by Celeste Hart

THE DALLAS OPERA PROUDLY PRESENTS AN EAGERLY ANTICIPATED WORLD PREMIERE:

BECOMING SANTA CLAUS

By Mark Adamo

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CONDUCTED BY MUSIC DIRECTOR EMMANUEL VILLAUME

STARRING JENNIFER RIVERA, JONATHAN BLALOCK AND MATT BOEHLER

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PRESENTING SPONSOR, THE MOODY FOUNDATION 

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

In the Margot and Bill Winspear Opera House

AT&T Performing Arts Center, Dallas

 

HOSPITAL SIMULCAST ON SUNDAY, DECEMBER 6 at 2:00

CHILDREN’S HEALTH (Dallas and Plano), SCOTTISH RITE

And UT MEDICAL BRANCH AT GALVESTON

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Additional Support for this Dallas Opera Commission from Dr. and Mrs. Tom Mayer, and Maile and Charles Shea, 
and The Twelve Months of Kindness Committee

 
DALLAS, NOVEMBER 11, 2015 – The Dallas Opera is delighted to present an original, musically compelling and visually stunning world premiere: Mark Adamo’s BECOMING SANTA CLAUS, opening on Friday, December 4th at 7:30 p.m. in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center. 

Additional performances in this exclusive engagement will take place on Sunday, Dec. 6th (2:00 p.m. matinee); Wednesday, Dec. 9th and Saturday, December 12, 2015 with support from the presenting sponsor, The Moody Foundation.

This new opera, from the composer of Little Women, is about the imagined origins of that holiday icon, Santa Claus.  Both music and book for this family-friendly opera were created by Mark Adamo and commissioned by The Dallas Opera.

BECOMING SANTA CLAUS stars mezzo-soprano Jennifer Rivera as Queen Sophine in her Dallas Opera debut, tenor Jonathan Blalock (the Charron and Peter Denker Rising Star for the 2015-2016 Season) portrays the troubled Prince Claus, bass Matt Boehler sings the dual roles of Donkey/Messenger, while the elves are portrayed by Grammy winning soprano Hila Plitmann (Yan), mezzo-soprano Lucy Schaufer (Ib), tenor Keith Jameson (Yab) and bass Kevin Burdette (Ob). 

Juan José de Leon, originally cast in the role of Prince Claus, withdrew from the production as rehearsals got underway, due to a severe illness in the family.

“As the final of three world premieres this calendar year,” says Dallas Opera General Director and CEO Keith Cerny, “I’ve been looking forward to Becoming Santa Claus with particular pleasure. The opportunity to hear our highly esteemed music director, Emmanuel Villaume, conduct a Dallas Opera world premiere makes this a noteworthy occasion—as does Paul Curran’s staging and choreography, Gary McCann’s set and costume designs, and the outstanding singers who will be creating these memorable characters for the very first time.

“Lucky for us, we won’t have to wait until Christmas morning!” 

In addition to Winspear Opera House performances, The Dallas Opera, with key support from The Moody Foundation, will take an active role in bringing a touch of the holiday spirit into children’s hospitals and pediatric care units in Dallas, Plano and Galveston: TDO will simulcast the December 6th Sunday matinee, beginning at 2:00 p.m., to several remote locations: Children’s Health (Dallas and Plano), Texas Scottish Rite Hospital for Children (Dallas), and University of Texas Medical Branch at Galveston, where hospitalized children will be able to experience this touching and magical tale with their families and care-givers.

The Dallas Opera has created a special coloring book, Becoming Santa Claus, to be distributed to children’s hospitals in advance of the simulcast. Dallas-area high school art students submitted designs earlier this year, to be incorporated into this unique coloring book.  Their original creations will be exhibited in the Winspear Lobby throughout these performances.

~~~~

Set in an Elven kingdom in the far, far north, BECOMING SANTA CLAUS will be conducted by Music Director Emmanuel Villaume (The Mrs. Eugene McDermott Music Director), now in his third season with The Dallas Opera.  Maestro Villaume recently assumed the position of Music Director and Chief Conductor of the PKF -- Prague Philharmonia (in addition to his duties in Dallas), and he continues to conduct and record critically acclaimed performances with the most important artists of our day, from Anna Netrebko to Bryan Hymel.

Guest engagements in the U.S. this season include Roméo et Juliette at the Lyric Opera of Chicago as well as his return to Santa Fe Opera in the summer of 2016. 

Following his triumph in Manon at London’s Royal Opera House in 2014, Villaume returns to Covent Garden for performances of ToscaManon was also the vehicle of Maestro Villaume’s return to the Metropolitan Opera in January 2015, about which the New York Times proclaimed, “It is the most vivid, exciting take on Manon at the Met in many years, and sets the bar high, early on, for the company’s spring season.”

Emmanuel Villaume returns to the Royal Opera House, Muscat in December 2015 for a concert with the PKF and guest soprano Sondra Radvanovsky.

“It’s a thrilling responsibility, at any time, to conduct a major world premiere,” explains Music Director Emmanuel Villaume.  “However, my excitement about Becoming Santa Claus stems from the piece itself, which contains Mark’s witty, glittering dialogue; heartfelt sentiment; and absolutely beautiful music.  It is my hope that audiences will find themselves utterly transported when they take their seats in the Winspear Opera House on opening night.”

Becoming Santa Claus—which has been an amazing experience for everyone involved,” Villaume added, “may prove to be an extraordinary experience for music lovers of all ages.”

The world premiere of Mark Adamo’s fourth full-length opera will be staged by Director Paul Curran, who also serves as the choreographer for this production, in his company debut.  Mr. Curran, the James R. Seitz, Jr. Stage Director in honor of John Gage, was the artistic director of the Norwegian National Opera for several years and has been instrumental in creating landmark opera productions including La donna del lago for the Metropolitan Opera and Santa Fe Opera, The Tsar’s Bride for Covent Garden, Tannhäuser for La Scala, Peter Grimes for the Kennedy Center in Washington, D.C., and many more. 

The Glasgow native has translated plays by Chekhov and Molière and works on opera, musicals and dramas around the world.

Mezzo-soprano Jennifer Rivera (Queen Sophine), a former New York City Opera “Debut Artist of the Year,” has earned accolades on both sides of the Atlantic for her extraordinary vocalism and versatility, prompting Opera News to write of her “ravishing mezzo bloom from top to bottom.”

Tenor Jonathan Blalock, winner of the 2014 Agnes Varis Prize for Bel Canto from the Opera Orchestra of New York, made a lasting impression in Paul’s Case at The Prototype Festival, which Alex Ross of The New Yorker called one of the top ten musical events of the year.  Steve Smith of The New York Times wrote: “Blalock is riveting in the title role; his voice sweet and true, his thin smile telegraphing Paul’s honeyed contempt for his working class surroundings.” 

Mr. Blalock’s Dallas Opera debut is made possible with support from the Charron and Peter Denker Rising Stars Endowment Fund.

Bass Matt Boehler appears in the dual roles of Donkey/Messenger.  His voice, wrote Madison.com, “has fantastic dexterity and power.”

Set and Costume Designer Gary McCann is one of a phenomenal production team that includes Lighting Designer Paul Hackenmueller and Driscoll Otto, designing projections for this world premiere production. 

Mr. McCann, originally from Northern Ireland and now based in London has worked on Broadway, the West End, at the National Theatre (U.K.) and in major opera houses and theaters throughout the world.  His design work was on display last summer in the MAKE/BELIEVE exhibition at the Victoria and Albert Museum.

Paul Hackenmueller has designed lighting for Broadway productions including Disgraced, Lady Day at Emerson’s Bar and Grill, Superfly, Fela!, Desire Under the Elms, A Bronx Tale, Mauritius, The Frogs and Martin Guerre.  He has also designed concert lighting for the likes of Norah Jones, Beyoncé, John Legend, Taylor Swift, Justin Timberlake, Garth Brooks, Tony Bennett, Gloria Estefan and many more.

Driscoll Otto’s projection projects include The Urban Dictionary Plays and The Netflix Plays with Arts Nova; The Steadfast with Slant Theater Project; Long Day’s Journey with York Shakespeare Company; numerous productions for the New York Musical Theatre Festival.  At the regional level, Otto has designed for Dallas Theater Center, Trinity Repertory Theatre, Shakespeare Dallas and many more.

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The Becoming Santa Claus experience will begin the moment patrons enter the Winspear Opera House.  Lobby performances from hand-bell or children’s choirs will be enjoyed, along with hot chocolate and cookies offered at concession stands.

There are other wonderful surprises in store in The Dallas Opera’s Becoming Santa Claus but, just like Christmas, you’ll have to wait and see (although we can promise you the beautiful Moody Foundation Chandelier in the Winspear Opera House will join in the holiday fun!).

Discover the real meaning of this very special season all over again, and make this world premiere opera your most joyful, tuneful family tradition!

Additional support for The Dallas Opera’s BECOMING SANTA CLAUS is provided by Dr. and Mrs. Tom Mayer and Maile and Charles Shea (in loving memory of Chloe Simone Shea), and The Twelve Months of Kindness Committee.

 ~~~~

Prince Claus is about to celebrate his thirteenth birthday with a party to end all parties.  If the evening proceeds without a hitch, a family curse will be lifted; and the working elves will get their first day off in a thousand days.  However, Queen Sophine’s best-laid plans for her son fall victim to a host of last-minute cancellations from royal relatives scattered around the world. 

A bright star has signaled a momentous birth.  Claus, who has filled the emotional gaps in his own life with possessions, decides to dazzle this newborn with an assortment of the very latest toys before discovering for himself that love is the most treasured gift of all.

~~~~

“I have had, largely, a brilliant time in opera, but already,” writes composer Mark Adamo, “working with this company—The Dallas Opera—has been, in a word, heaven. I hope you like the show; I love it here.  But, while a list of people to thank could span the state, I must single out the Mayer family.  Their support of this piece has been extraordinary.” 

Mark Adamo is the creator and driving force behind The Gospel of Mary Magdalene, Lysistrata, and one of the most successful contemporary operas of our day: Little Women—a work which has had more than ninety international productions and been released on DVD and Blu-ray. 

In addition to his operas, Mr. Adamo is an acclaimed composer of new chamber and choral works.  These include Aristotle for Thomas Hampson and the Jupiter String Quartet, under the auspices of the Chamber Music Society of Lincoln Center; The Racer’s Widow for New York Festival of Song; Four Angels: Concerto for Harp and Orchestra commissioned by the National Symphony Orchestra, as well as works commissioned and performed by Chanticleer, the Choral Arts Society in Washington and The New York Virtuoso Singers. 

More information is available at www.markadamo.com.

SYNOPSIS: BECOMING SANTA CLAUS

By Mark Adamo

Scene One. Evening: mere hours before the extravagant gala planned for the thirteenth birthday of Prince Claus. In the palace of the royal family of Nifland, an Elven realm in the very, very Far North, Ib, the no-nonsense leader of the palace staff, summons her staff: time to prepare the party!  But only nervous Yab and rebellious Ob appear; various disasters have beset the other scheduled servants. Ib despairs—so much remains to be done—when Yan appears; more inquisitive than experienced, true, but eager to help. Ib explains that Queen Sophine, regent, sorceress, and mother of Claus, has been planning this event so obsessively that she hasn’t permitted Ib or her team a much-desired day off for over three years. When Yan asks the obvious questions: why is this so important? And where is the King, vanished years ago under mysterious circumstances?—Ib stonewalls, until she is interrupted by the entrance of Queen Sophine herself, who inquires after the Prince.  None has seen him.

Alone, Queen Sophine tries to lure her recalcitrant son to the party; he balks until she reveals that his three treasured uncles (who happen to be Caspar, Melchior, and Balthazar, the three kings of Christmas legend) have confirmed attending. Prince Claus joins the Queen in awaiting them, but uncle after uncle fails to show up, until at last a Donkey-Messenger arrives to read a letter explaining all three Kings’ absence; a star in the west has summoned them to attend the birth of a mysterious child, so to the Prince they have sent, instead, regrets and gifts. Claus, clearly stung, storms out. Yan, still full of questions, plies the Queen with Champagne until she explains the Prince’s current temperament. His father the King, like his uncles just now, had too often sent the boy presents as substitutes for the father’s presence, until the formerly open-hearted boy turned brittle and grasping; desperate to restore her family, the Queen decided to exile his father for three years, and did so by casting a spell which…did what? Yan doesn’t learn. Prince Claus returns, demanding to learn from the Kings’ letter what gifts his uncles have prepared for this mysterious child; when learning the gifts are symbolic medicines and ointments like myrrh and frankincense—hardly the stuff of a child’s dreams—Prince Claus proposes that the Elves devise, instead, a sleigh full of the most spectacular toys ever made, and then he and the Elves will join his uncles at the Child’s crib to pay tribute their way. The Elves are skeptical: but, lured by the renewed promise of time off, agree.  

Scene Two. Midmorning the next day: the Elves’ Toyshop, deep in the bowels of the royal palace. Prince Claus demands a review of the gifts each of the four Elves have drafted during the previous night: to his eye, none of them are special enough. “They need to be new!” he urges (threatens?) Back they go to work: the toys improve, but the time is slipping away. Ib warns the Prince that at their current pace, they will never finish the presents in time to reach the child by the predicted time of his birth; Claus brags that he can persuade his mother to use her magic to solve that problem, but Ib isn’t so sure.  Prince Claus wheedles his mother to attend the unveiling of the now-completed toys, confident that their glamour will persuade her to step in. The Elves give the presentation their all, but the Queen remains unconvinced of the Prince’s good faith: she decides she won’t stand in his way, but she won’t help, either. Stung, but undeterred, the Prince sets off.

Scene Three. Twilight, half the world away: a stable outside of a small, poor town in the desert. Prince Claus and the Elves appear, a trove of wonders in tow. The Elves ask the drowsing Donkey they find (the messenger from the party) to announce the Prince’s arrival. But the Donkey informs them they’re too late: the child and his mother left three days ago. Yan asks them to tell them what happened when the Kings arrived at the manger. Moving as the Donkey’s response is, it doesn’t solve the problem of what to do with a sleigh full of these toys when there’s no one to give them to. The Prince’s solution changes everything.

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Additional performances of BECOMING SANTA CLAUS sung in English, with English language supertitles projected above the stage will take place in the magnificent Margot and Bill Winspear Opera House on December 6(m), 9 & 12, 2015.  This family-friendly world premiere is suitable for children old enough to read.  Don’t be surprised if Mark Adamo’s newest opera proves to be the surprise hit of the North Texas holiday season!

Tickets start at just $19.  They may be purchased online, 24/7, at www.dallasopera.org or by contacting the friendly professionals in The Dallas Opera Ticket Services Office at 214.443.1000.

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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

~~~~

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.

AUDITION NOTICE – AUXILIARY CHORUS – NOV. 12

by Celeste Hart

 THE DALLAS OPERA IS STILL LOOKING FOR A FEW GOOD MEN
And MEZZO-SOPRANOS TO SERVE AS MEMBERS OF
TDO’S 
AUXILIARY CHORUS FOR 2015-16

 AUDITION DATE/TIME: Thursday, November 12, 2015, 6:00-9:00 p.m.

DALLAS, TX, November 4, 2015 – The Dallas Opera is pleased to invite talented local singing artists to audition for the company’s Auxiliary Chorus for the 2015-2016 Season.  This a wonderful opportunity to perform onstage in a paid, professional ensemble before a live audience in the magnificent Margot and Bill Winspear Opera House at the AT&T Performing Arts Center!

Singers are needed for both a mainstage production as well as a unique concert stage opportunity:

SHOW BOAT

Open auditions for African-American singers in all voice categories—especially mezzo-sopranos and tenors—who seek positions in the company’s choral ensemble for the 2015-2016 season production of SHOW BOAT, with music by Jerome Kern and book and lyrics by Oscar Hammerstein II. TDO is presenting the Francesca Zambello production of SHOW BOAT, conducted by Dallas Opera Music Director Emmanuel Villaume with Alexander Rom, chorus master.

There are six performances of SHOW BOAT scheduled for April 15, 17, 20, 23, 29 & May 1, 2016. Music and staging rehearsals for the African-American choral ensemble will immediately precede the performance period and will begin in January 2016.

SYMPHONY NO. 13 in B flat minor, “BABI YAR” by Dmitri Shostakovich

Open auditions for baritones and basses seeking chorus positions in The Dallas Opera/AT&T Performing Arts Center presentation of SYMPHONY NO. 13 by Dmitri Shostakovich (sung in Russian) to be presented in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center on Sunday, April 24, 2016. Rehearsals will begin in January 2016. This one-time Classical Criterion Series performance will feature The Dallas Opera Orchestra conducted by Music Director Emmanuel Villaume with Alexander Rom, chorus master.

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HOW TO AUDITION:

Please contact chorusauditions@dallasopera.org, or call 214-443-1087 to request an audition time on one of the following dates:

Thursday, November 12, 2015 from 6:00-9:00 PM.

Location:

Auditions will be held at the Karayanis Rehearsal Production Center in The Orchestra Room. Please arrive at least 15-20 minutes prior to your scheduled time. Warm-up rooms will be available to use on a first come, first served basis.

Karayanis Rehearsal Production Center

4301 South Fitzhugh Avenue

Dallas, TX 75210 

Audition Requirements for new or Auxiliary Choristers:

Applicants must have two memorized selections to offer, including one aria or art song in English and one in another language, preferably Italian, French, German, or Russian. You may also be asked to sight-read or perform a rhythm exercise. An accompanist will be provided, but will not be available to rehearse with you prior to your audition. Applicants must provide legible hard copies of their selections in the correct key for the pianist. Applicants are required to prove that they have legal permission to work in the United States of America.

Rehearsals:

Rehearsals begin on November 16, 2015 and continue through the end of The Dallas Opera season in the spring. There are occasional weekend-day rehearsals and matinee performances; however, rehearsals are generally conducted in the evening.

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

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ADDITIONAL INFORMATION ABOUT THE DALLAS OPERA IS ACCESSIBLE ONLINE,

24/7 – VISIT WWW.DALLASOPERA.ORG 

TEXAS INSTRUMENTS, 2015-2016 SEASON SPONSOR

FOR THE DALLAS OPERA’S “SEEKING THE HUMAN ELEMENT” SEASON

 

______________________________________________________________________________________

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

 

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LEGENDARY PHILANTHROPIST PASSES AWAY IN DALLAS

by Celeste Hart

DALLAS, OCTOBER 21, 2015 – The Dallas Opera is sad to announce the death yesterday of Mrs. William W. Winspear at an assisted living facility in Dallas, Texas, following a long illness.  Margot Winspear was 83 years old.

“It was with profound sorrow that The Dallas Opera learned of the passing of Margot Winspear, the late Bill Winspear’s wife, partner and muse; the much-loved mother of five children and grandmother to many more.  Although these were the roles of which she was undoubtedly most proud, Margot was also a dedicated and passionate music lover, a longtime member of The Dallas Opera Board, and an extraordinary benefactor who, along with her husband, gave the history-making $42 million dollar gift that sparked the construction of their namesake opera house at the AT&T Performing Arts Center.  It was a long-held dream come true.

“Besides crucial leadership roles in the arts in Dallas, Margot and Bill Winspear established an endowment for UNT’s College of Music and generously supported young, emerging talents, including the internationally renowned soprano Latonia Moore.  They were instrumental in the construction of UNT’s performance hall at the Murchison Performing Arts Center and donated additional millions to UT Southwestern Medical Center for Alzheimer’s research.

“They were inspirational in other ways as well: they loved life, remembered where they came from, sought the best for their community, gave generously and wisely, and cherished each other always.

“Our hearts go out to Don and Ellen Winspear and to all the grieving friends and family members.  We will never forget Margot’s warmth, her quiet grace, or her ever-present smile. 

“She was, and is, irreplaceable.”

 

Steve Suellentrop, Chairman

The Dallas Opera

 

Funeral arrangements for Margot Winspear are pending.

A memorial service is being planned with details to be announced at a later date. 

 

_____________________________________________________________________________________

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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Dallas Opera Administrative Offices Named for Noted Philanthropist

by Suzanne Calvin

FOR IMMEDIATE RELEASE:
Tuesday, October 6, 2015
Contact: Suzanne Calvin 214.443.1014 Or Celeste Hart 214.443.1071
suzanne.calvin@dallasopera.org celeste.hart@dallasopera.org

THE DALLAS OPERA IS PROUD TO ANNOUNCE

THE NAMING OF THE COMPANY’S ADMINISTRATIVE OFFICES:

ELSA VON SEGGERN OFFICE SUITE

IN HONOR OF A PASSIONATE OPERA LOVER AND
A LEGENDARY DALLAS PHILANTHROPIST
~~~~
IN CONJUNCTION WITH A NEW $5 MILLION GIFT FROM
E.F. VON SEGGERN CHARITABLE FOUNDATION TRUST

DALLAS, OCTOBER 6, 2015 – Nearly six years after the company’s move into the iconic Margot and Bill Winspear Opera House at the AT&T Performing Arts Center, The Dallas Opera is thrilled to announce the naming of TDO’s administrative offices for one of the city’s most remarkable, colorful and generous patrons of the arts: the late Elsa von Seggern.

One of two women described as “godmothers” of The Dallas Opera (the late, great Maria Callas also shared that distinction), the name recognizes von Seggern’s past generosity, as well as a new five-million dollar gift to the company from the E.F. von Seggern Charitable Foundation Trust.

“The Elsa von Seggern Foundation was recognized in the 2011 unveiling of The Dallas Opera’s ‘21st Century Wall of Honor,” notes Dallas Opera General Director and CEO Keith Cerny, “for significant contributions to the artistic and financial strength of the company in this century.”

“The foundation’s incredibly generous gift of $5 million enables us to plan with greater confidence far into the future. In truth, the long-term impact of such a remarkable gift cannot be overestimated,” Cerny adds, “and is a wonderful way to pay tribute to Elsa’s historic involvement with The Dallas Opera since our earliest days in Fair Park.”

A self-described “treasurer-in-residence” for the company, Elsa von Seggern went so far as to underwrite TDO’s payroll during the lean years of the 1970s, guiding the implementation of proper business practices and setting the stage for the artistic successes that followed.

“Dallas and Texas have been good to me,” she was quoted as saying. “By universal law, you should put in where you take out; and that’s why I do it. I like the arts, and I wish that they could be supported in a big way.”

This child of German immigrants who grew up on a farm in Nebraska was introduced to opera through the Metropolitan Opera radio broadcasts. The independent-minded von Seggern took several business courses enabling her to find work as a young stenographer in Omaha. She later sold dresses at a Chicago department store, learning the fundamentals of retail.
However, a single visit to Dallas was enough to change the trajectory of her life. In the midst of the Great Depression, she decided to stay, taking a job at a local insurance firm where a friend, L.C. Ferguson, eventually contacted her with the suggestion that they go into business together. From an original investment of $185, the Dallas-based company they founded (Shovel Supply Company) became a major supplier of heavy equipment to a variety of companies and contractors, including independent oil producers throughout the Southwest.

Besides her obvious business acumen, von Seggern possessed a relentless curiosity about people and places, a distinctive style and impeccable instincts.

Entrepreneurial success and the wealth that came with it gave Elsa von Seggern the freedom to travel to exotic locales (including Siberia in the early 1960s), study “esoteric philosophy,” and indulge her fascination with all things Egyptian. It also gave her the freedom to give back—generously—to her adopted home town of Dallas.

“Elsa’s mother instructed her youngest child to put her money where her mouth is,” explains Dwight E. “Gene” Saur, Jr., the original Trustee for the E.F. von Seggern Charitable Foundation Trust and the philanthropist’s longtime financial advisor. “She did so without hesitation,” he noted, “becoming one of the most generous patrons in Dallas Opera history.”

The Women’s Board of The Dallas Opera acknowledged her impact by presenting Elsa von Seggern with the inaugural ‘Juanita and Henry S. Miller, Jr. Founders Award’ in 1991, designed to recognize individuals who have made exceptional volunteer and philanthropic contributions benefiting the opera. Before she passed away in 1995, Elsa had served as the sole underwriter of fourteen Dallas Opera productions, among other gifts to the company.

“She was also a generous supporter of the Dallas Ballet, the Dallas Symphony Orchestra and the Van Cliburn International Piano Competition in Fort Worth,” recalls Foundation Trustee Joe L. Sharp. “Yet, opera remained her grand passion, and the Foundation has made every effort to keep her memory fresh for new generations of opera audiences, by continuing to give generously in order to advance the cause of this art form in Dallas.

“We know how pleased Elsa would be to see her name continue to be associated with the opera company that captured her heart, and commanded so much of her time, love, and lavish attention.”

“There have been discussions with the E.F. von Seggern Charitable Foundation Trust for many years about the appropriate way to honor her lasting legacy at The Dallas Opera,” says Gae Whitener, Director of Development. “After a decade of personally working closely with the Foundation and learning about this remarkable woman, I’m delighted that the arrangement announced today will further spotlight “Miss von” and her pivotal role in the life of this company.”

In addition to being added to signage, letterheads and signatures, the Elsa von Seggern Office Suite will feature a new showcase to educate visitors about her life and legacy.
~~~~

EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

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

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

Ticket Information for the 2015-2016 Dallas Opera Season
All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise described. Single Tickets range from $19 to $275. Full and Flex Subscriptions are on sale starting at $75. Family performance tickets are just $5. For more information or to make your purchase, contact The Dallas Opera Ticket Services Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.

THE DALLAS OPERA 2015-2016 FALL SEASON INFORMATION
The Dallas Opera celebrates its Fifty-Ninth International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District. Evening performances will begin at 7:30 p.m. and Sunday matinees begin at 2:00 p.m. unless otherwise stated. English translations will be projected above the stage at every performance and assistance is available for the hearing impaired. The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain, at most performances excluding FIRST NIGHT of the season.

GREAT SCOTT by Jake Heggie
October 30, November 1(m), 4, 7 & 15(m), 2015
A Thrilling Dallas Opera World Premiere!
Libretto by Terrence McNally*
Time: Present Day
Place: A Major American City
Conductor: Patrick Summers
Stage Director: Jack O’Brien*
Set and Costume Design: Bob Crowley
Lighting Design: Brian MacDevitt*
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Starring: Joyce DiDonato* (Arden Scott), Ailyn Pérez (Tatyana Bakst), Frederica von Stade (Mrs. Edward “Winnie” Flato), Nathan Gunn (Sid Taylor), Anthony Roth Costanzo* (Roane Heckle), Kevin Burdette (Eric Gold/Ghost of Vittorio Bazzetti), Michael Mayes* (Wendell Swan). A Brand-New Dallas Opera Production!

TOSCA by Giacomo Puccini
November 6, 8(m), 11, 14, 20 & 22(m), 2015
A passionate and timeless masterpiece in a beloved period production
An opera in three acts first performed in Rome, Italy on January 14, 1900
Text by Luigi Illica and Giuseppe Giacosa after Victorien Sardou’s 1887 French-language play, La Tosca
Time: Early 19th century
Place: Locations in and around the City of Rome
Conductor: Emmanuel Villaume
Stage Director: Ellen Douglas Schlaefer*
Set and Costume Design: Ulisse Santicchi
Lighting Design: Marie Barrett
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Children’s Chorus Master: TBA
Starring: Emily Magee (Floria Tosca), Giancarlo Monsalve* (Mario Cavaradossi), Raymond Aceto (Baron Scarpia), William Ferguson (Spoletta), Dale Travis* (A Sacristan) and Ryan Kuster (Angelotti). One of The Dallas Opera’s Most Popular!

BECOMING SANTA CLAUS by Mark Adamo
December 4, 6(m), 9 & 12, 2015
An Eagerly Awaited Dallas Opera World Premiere!
Libretto by the composer, Mark Adamo.
Time: Now
Place: An Elven kingdom in the far, far north; also, the stable of the first Christmas
Conductor: Emmanuel Villaume
Stage Director: Paul Curran
Set and Costume Design: Gary McCann*
Video Design: Driscoll Otto*
Lighting Design: Paul Hackenmueller*
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Starring: Jennifer Rivera* (Queen Sophine), Juan José de León (Prince Claus), Matt Boehler* (Donkey). 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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World Premiere of Great Scott!

by Celeste Hart

BY JAKE HEGGIE AND TERRENCE McNALLY

CO-COMMISSIONED AND CO-PRODUCED WITH SAN DIEGO OPERA

STARRING JOYCE DIDONATO AS ARDEN SCOTT

 

Presenting Sponsor Eugene McDermott Foundation

 

OPENING NIGHT: FRIDAY, OCTOBER 30, 2015 AT 8:00 PM

THE LINDA AND MITCH HART SEASON

OPENING NIGHT PERFORMANCE,

THE MARGOT AND BILL WINSPEAR OPERA HOUSE

AT THE AT&T PERFORMING ARTS CENTER, DALLAS

 

With Additional Support from Hoblitzelle Foundation,

Diane B. Wilsey, Carol Franc Buck Foundation,

National Endowment for the Arts and

The Opera Fund, a program of OPERA America

 

Joyce DiDonato is the Marnie and Kern Wildenthal Principal Artist

            DALLAS, OCTOBER 2, 2015 – The Dallas Opera is proud to present one of the most eagerly anticipated new operas of the year: Jake Heggie and Terrence McNally’s GREAT SCOTT, featuring a once-in-a-lifetime cast headed by America’s favorite mezzo-soprano, Joyce DiDonato, in the title role of Arden Scott; also starring soprano Ailyn Pérez, mezzo-soprano Frederica von Stade, baritone Nathan Gunn, countertenor Anthony Roth Costanzo, bass Kevin Burdette, tenor Rodell Rosel and baritone Michael Mayes.

            GREAT SCOTT, (Presenting Sponsor, Eugene McDermott Foundation) a co-commission/co-production of TDO and San Diego Opera, officially opens The Dallas Opera’s 2015-2016 Season, “Seeking the Human Element,” on the evening of Friday, October 30, 2015 at 8:00 p.m. (please note the later curtain time) in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in Dallas, Texas.

            The Linda and Mitch Hart Season Opening Night Performance will be followed by four additional performances on November 1(m), 4, 7 & 15(m), 2015.

            In addition to acclaimed American composer Jake Heggie and award-winning librettist Terrence McNally—who conceived the original story—Great Scott features a phenomenal production and artistic team.              In his first TDO appearance since Moby-Dick, the distinguished Patrick Summers will conduct the world premiere, Broadway legend and Tony Award-winner Jack O’Brien is staging the production, and Tony and Olivier Award-winner Bob Crowley (An American in Paris, Skylight, Once) has designed both sets and costumes for Great Scott in his Dallas Opera debut. 

            Other key contributors include Associate Conductor Nicole Paiement (Everest), Lighting Designer Brian MacDevitt (another multiple Tony winner!—most recently for The Book of Mormon) and renowned Projections Designer Elaine J. McCarthy (Moby-Dick, Everest, Iolanta).

            “It’s a homecoming for Terrence and a creative homecoming for me,” writes Great Scott composer Jake Heggie.  It’s also a homecoming for our brilliant director, Jack O’Brien, who made his Dallas Opera directorial debut in 1972, and has since created dozens of iconic Broadway shows, including Hairspray and The Full Monty.”

            This timely and poignant full-length opera marks Mr. Heggie and Mr. McNally’s first major collaboration since Dead Man Walking (2000), which was hailed as a “masterpiece” by the San Francisco Chronicle.  One of theater’s most prominent playwrights, Mr. McNally has been nominated for the Pulitzer Prize for Drama and has won multiple Tony and Drama Desk Awards, as well as an Emmy Award.

            Mr. Heggie’s 2010 collaboration with librettist Gene Scheer: Moby-Dick, now considered a modern-day masterpiece, premiered at The Dallas Opera and has since gone on to earn critical acclaim in sold-out performances from Canada to Australia.

            This star-studded 2015 Dallas Opera world premiere is generously supported by Hoblitzelle Foundation, Diane B. Wilsey, Carol Franc Buck Foundation, the National Endowment for the Arts and The Opera Fund, a program of OPERA America

            Miss Joyce DiDonato is the Marnie and Kern Wildenthal Principal Artist.

            “Having seen, first hand, the tremendous success of Moby-Dick in Dallas back in 2010, I was determined to give Jake a second opportunity to compose a major new work for The Dallas Opera,” explains Dallas Opera General Director and CEO Keith Cerny.  “With the support of TDO’s Executive Committee, I commissioned Jake to begin planning his next opera over four years ago, in the summer of 2011, and we were later joined by San Diego Opera.

            “All of us are absolutely thrilled to have begun rehearsals for this outstanding new work, featuring as it does the exceptional writing talents of Terrence McNally, a once-in-a-lifetime cast and an artistic ‘dream team.’ 

            “Critical anticipation and audience enthusiasm has been tremendous—even in advance of the premiere—and we are all looking forward to bringing this brilliant new work to the public on October 30th.”

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            In McNally’s original story and libretto, international opera star Arden Scott returns to her hometown to try to save the struggling opera company that launched her to fame and fortune. However, as American Opera prepares for the world premiere of Rosa Dolorosa, figlia di Pompei (“Rosa Dolorosa, Daughter of Pompeii”) the nearly 200-year old bel canto opera Arden recently discovered – she faces unexpected competition from an ambitious young soprano as well as community excitement surrounding the local professional football team’s first Super Bowl (Go Grizzlies!).  The fate of the opera company hangs in the balance as Arden is forced to consider the personal sacrifices she has made for her career, and comes to understand that true greatness is a matter of heart.

            “I’m a playwright because of opera,” says Great Scott librettist Terrence McNally, who was awarded the Dramatists Guild Lifetime Achievement Award in 2011, “so it was inevitable that I would say ‘yes’ when Jake Heggie asked me to write an opera with him.  That was Dead Man Walking.

            “Fifteen years later we’re in Dallas for the world premiere of our second collaboration, Great Scott, in the city where my passion for this impossible art form was ignited some 65 years ago.”

            “Filled with surprising characters, plot twists and turns,” writes Mr. Heggie, “Great Scott unfolds as deeply touching, human and completely hilarious.”

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          Composer Jake Heggie has written more than 250 songs, as well as chamber, choral and orchestral works.  His operas: Moby-Dick, Dead Man Walking, Out of Darkness, Three Decembers, To Hell and Back, The End of the Affair, and The Radio Hour—most, in collaboration with writers Terrence McNally and Gene Scheer, have been produced to great acclaim on five continents. Following Great Scott, his next major project is an opera based on Frank Capra’s 1946 film classic, “It’s a Wonderful Life,” for Houston Grand Opera.

           Inducted into The Theater Hall of Fame in 1996, librettist Terrence McNally, “a probing and enduring dramatist” (The New York Times), has had a significant impact on American Theater through such Tony Award-winning works as Love! Valour! Compassion! and Master Class, as well as his books for Ragtime and Kiss of the Spider Woman.  Other works include Frankie and Johnny in the Clair de Lune; Lips Together, Teeth Apart; The Lisbon Traviata; It’s Only a Play; Corpus Christi and The Ritz.  McNally’s Mothers and Sons premiered on Broadway in 2014.

           Houston Grand Opera Artistic and Music Director and Principal Guest Conductor for San Francisco Opera, Patrick Summers commands a vast repertory.  Mr. Summers has led an array of productions at the Metropolitan Opera, including Madama Butterfly, Salome, and I Puritani, which were broadcast live in HD to movie theaters globally.  He has also conducted at the world’s preeminent opera companies, including Barcelona’s Gran Teatre Del Liceu, Lisbon Opera, Bordeaux Opera, Deutsche Oper Berlin, the Bregenz Festival, Welsh National Opera, Opera Australia, Seattle Opera, and Los Angeles Opera, as well as The Dallas Opera. 

           Maestro Summers is a constant collaborator with Jake Heggie. Together, they have premiered such works as Dead Man Walking, Three Decembers, Moby-Dick and, now, Great Scott.

           Director Jack O’Brien’s contributions to the Broadway stage include It’s Only a Play, Macbeth, The Nance, Dead Accounts, Catch Me If You Can, Impressionism, The Coast of Utopia, Dirty Rotten Scoundrels, Henry IV, The Invention of Love and many more.  Mr. O’Brien has successfully staged Il trittico at the Metropolitan Opera, Guys and Dolls at Carnegie Hall, and Much Ado About Nothing in New York’s Central Park.  The longtime Artistic Director of the Old Globe Theatre has also directed half-a-dozen movies for “American Playhouse” on PBS.

            Grammy Award-winning superstar mezzo-soprano Joyce DiDonato, prompted Michael Church of The Guardian (U.K.) to write, “No other singer could match what this blonde bombshell from Kansas does, marrying coloratura with the serene liquidity of birdsong to an expressiveness of heart-stopping beauty.” She leads a brilliant all-star cast that includes in-demand soprano Ailyn Pérez (winner of the 2012 Richard Tucker Award), praised by the San Diego News Network for her “big, powerful, beautiful, lyrical and endlessly supple voice,” as Tatyana Bakst, a fiercely ambitious young singer from Eastern Europe, eager to assume the mantle of stardom—as quickly as possible. 

            Great Scott also stars the legendary Frederica von Stade as Mrs. Edward “Winnie” Flato, the founder and chief benefactor of the American Opera Company, who also happens to be married to the owner of the Super Bowl-bound local football team. Joshua Kosman of the San Francisco Chronicle wrote: “Even if she were not one of the great singers of our day, mezzo-soprano Frederica von Stade could probably draw a full house…eager just to be in her presence and watch her be herself.  She’s that enchanting.” 

            In the role of architect Sid Taylor, the man from Arden Scott’s past who might not be content to remain there, is opera heart-throb Nathan Gunn, “a vivid, appealing stage presence, with that gorgeous, well-focused baritone” (Scott Cantrell, The Dallas Morning News); a singer who most recently dazzled Dallas Opera audiences as clever Figaro in The Barber of Seville and as the mysterious Lodger in TDO’s highly praised 2013 revival of Dominick Argento’s The Aspern Papers.  More recently, Gunn attracted glowing reviews as Inman in the Santa Fe Opera world premiere of Jennifer Higdon and Gene Scheer’s Cold Mountain.

            Sid’s eleven-year-old son, Tommy Taylor (a speaking role), will be played by Mark Hancock in his company debut.

            Rounding out the GREAT SCOTT cast is counter-tenor Anthony Roth Costanzo in his Dallas Opera debut as a no-nonsense stage manager and longtime friend of Arden Scott.  Mr. Costanzo possesses, “the kind of high-voltage, high-register male singing that comes once in a generation” (Ken Smith, Musical America).  

            Versatile bass Kevin Burdette (Beck Weathers in Everest), known for his “large powerful voice with a burnished robust sound” and “a vibrant personality” (Opera Today) performs the dual roles of conductor Eric Gold and The Ghost of Vittorio Bazzetti, the composer of Rosa Dolorosa, the long-lost, never-performed bel canto opera being championed by Arden.

            Rodell Rosel, a tenor, creates the role of Anthony Candolino, while baritone Michael Mayes sings the role of Wendell Swann, both in their company debuts.

            The Dallas Opera Chorus will be prepared by Chorus Master Alexander Rom.  Wigs and make-up designed by David Zimmerman.  The Assistant Conductor is Keith ChambersJ. Knighten Smit serves as Assistant Director; Hally Albers is the Stage Manager. 

            Choreography by John de los Santos.  Musical preparation by Robert Mollicone and Kirk Severtson.  Italian Language Consultant, Valentina Simi.

            All performances will take place in the Margot and Bill Winspear Opera House, selected by Southern Living magazine as the best new venue for opera.

            A free, pre-performance lecture (The Joy and Ronald Mankoff Pre-Opera Talks) will be conducted one hour prior to curtain at most performances.  The Dallas Opera Guild also hosts “Opera Insights,” a lively panel discussion featuring artists, directors and designers, on the Sunday afternoon prior to opening.  For more details, visit dallasopera.org.

            Single tickets, starting at just $19, are subject to availability.  Tickets may be purchased at the door – throughout the 2015-2016 Season – or in advance by calling 214.443.1000.  Subscriptions and single tickets are also available for purchase online throughout the season at www.dallasopera.org.

            Other than on FIRST NIGHT, the curtain for evening performances is at 7:30, except where noted; matinees begin Sunday afternoons at 2:00 p.m.

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

 

            For more information, consult the friendly staff in the Dallas Opera Ticket Services Office at 214-443-1000 or visit us online at www.dallasopera.org.     

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EVENTS, GUESTS AND ARTISTS ARE SUBJECT TO CHANGE

Additional Information about The Dallas Opera is Available Online at www.dallasopera.org

 

FOR HIGH-RESOLUTION PHOTOGRAPHS

Contact Suzanne Calvin, Director of Media and PR at suzanne.calvin@dallasopera.org

Or Celeste Hart, Communications Manager at celeste.hart@dallasopera.org

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

 

The Dallas Opera Family Performances are generously supported by

Texas Instruments and the Betty and Steve Suellentrop

Educational Outreach Fund.

TDO Family Performances are a part of the

Perot Foundation Education and Community Outreach Programs

 

Ticket Information for the 2015-2016 Dallas Opera Season

All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise indicated.  Single Tickets range from $19 to $275.  Full Subscriptions start at $99, Flex Subscriptions (three-performances of your choice) begin at $75.  Family performance tickets are just $5.  For more information or to make your purchase, contact The Dallas Opera Ticket Services Office at 214.443.1000 or visit us online at dallasopera.org

Perform with the Stars!

by Celeste Hart

TOSCA CASTING CALL

SEEKING FIFTEEN MALE “SUPERS” FOR NON-SPEAKING, NON-SINGING ROLES

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Performers to Appear in TOSCA at the Winspear Opera House

CASTING CALL:  Monday, October 5, 2015; 7:30-9:30 p.m.

 At the Dallas Opera Rehearsal Center

          DALLAS, September 28, 2015 -- The Dallas Opera is in need of fifteen men to perform on stage at the Winspear Opera House during the month of November in its magnificent production of Puccini’s TOSCA. The “Supernumeraries,” non-speaking, non-singing actors who enhance the opera, will perform in this classic, period production which opens on Friday, November 6, 2015.

            The casting call will take place on Monday, October 5, 2015 from 7:30-9:30 p.m. at the Karayanis Rehearsal Production Center, 4301 S. Fitzhugh, Dallas, TX 75210.

            The rehearsal period will run from October 5-November 3, 2015 with specifics to be announced at a later date. The performance dates are November 6, 8 (matinee), 11, 14, 20, and 22 (matinee) and “supers” must be able to attend all performances in order to be considered.

             To apply, please complete the supernumerary information form available at: www.dallasopera.org/supers. Also separately, please send an email to supers@dallasopera.org to let our production department know you will be attending the casting call.

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

The Dallas Opera Rehearsal Center, where the casting call will take place, is just outside Fair Park (follow the signs to Gate 12) at 4301 S. Fitzhugh, Dallas, TX 75210.

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EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE 

ADDITIONAL INFORMATION ABOUT “JULY AT THE DALLAS OPERA”

IS CONVENIENTLY AVAILABLE ONLINE, 24/7

VISIT WWW.DALLASOPERA.ORG AND CHECK THE CALENDAR LISTINGS

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

Ticket Information for the 2015-2016 Dallas Opera Season

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