Ladies Sing the Blues

by Suzanne Calvin

Dallas Opera General Director and CEO Keith Cerny has posted another installment cheap car insurance quotes of “Off the Cuff” on “Theater Jones,” this one devoted to the idea that most operas fall into one of three catagories: one-hanky, two-hanky, or heart-clutching three-hanky.

Read Keith’s analysis here.

(Ladies’ hankies courtesy of made-in-china.com)

Suzanne Calvin, Manager/Director Media and PR

How do you spell “C-O-N-T-E-M-P-O-R-A-R-Y”?

by Suzanne Calvin

Plenty of serious food for thought in General Director and CEO Keith Cerny’s latest “Off the Cuff” for “Theater Jones.” The topic is accessing modern and contemporary works to take their place in the opera season -- and everything that entails. And if you think this is simply a matter of choosing “one from Column A and another from Column B” you are sorely mistaken.

Read on right here.

Suzanne Calvin, Manager/Director Media and PR

The View from the Top

by Suzanne Calvin

 

The Dallas Observer’s” Katie Womack sat down with Dallas Opera General Director and CEO Keith Cerny and asked a lot of smart questions. The results turned up in today’s article, which you can access right here.

(Photo of Keith and Jennifer Cerny attending FIRST NIGHT 2012 at the Winspear Opera House)

Suzanne Calvin, Manager/Director Media & PR

“Tic, Tock,” says the clock

by Suzanne Calvin

Still time (about half an hour) to get here to find out the ins and outs of creating and commissioning new operas with two of the best in our field, Dallas Opera General Director and CEO Keith Cerny and Fort Worth Opera General Director Darren Woods.

Oh, did I mention the moderator? Art and Seek producer-reporter Jerome Weeks.

Be there!

Suzanne Calvin, Manager/Director Media and PR

Postcard from Glyndebourne

by Suzanne Calvin

Whether it’s the high desert or the verdant English countryside, there’s great opera brewing throughout the summer months and this year was no exception. In his latest installment of “Off the Cuff” for Theater Jones, Dallas Opera General Director and CEO Keith Cerny sends all of us his “Postcard from Glyndebourne” about the overall experience.

Enjoy it here.

Suzanne Calvin, Manager/Director Media & PR

Conversations@the Opera

by Suzanne Calvin

If you haven’t made time to attend one of these, you’re losing out. Some of the most fascinating and meaningful conversations about music and art I’ve had the pleasure to attend in the past year are happening right in front of our noses -- in Hamon Hall at the Winspear Opera House. Keep scrolling for details on this season’s outstanding presentations, in partnership with KERA’s Art&Seek, or read the Art&Seek story here.

(Photo of MIT’s Tod Machover)

FOR IMMEDIATE RELEASE:
Friday, August 31, 2012

Contact: Suzanne Calvin 214.443.1014
Suzanne.Calvin@dallasopera.org
Or Megan Meister 214.443.1071
Megan.Meister@dallasopera.org

THE DALLAS OPERA AND KERA’s ART&SEEK
ARE PLEASED TO PRESENT
“COMPOSING CONVERSATIONS” and
“CONVERSATIONS WITH KEITH”
~~~~
Moderated by Art&Seek Reporter/Producer
JEROME WEEKS
~~~~
Two Series Dedicated to Exploring and Discussing the Most Compelling Aspects of 21st Century Opera, Music, and Stagecraft -- with Music and Live Audience Q&A!
~~~~
“COMPOSING CONVERSATIONS” with MIT’s Tod Machover
And American Soprano Sara Heaton in Performance
TUESDAY, SEPT. 18, 2012 at 6:30 p.m.
Hamon Hall/the Winspear Opera House

“CONVERSATIONS WITH KEITH” on Commissioning New Works
Featuring Dallas Opera General Director & CEO Keith Cerny
And General Director Darren K. Woods, Fort Worth Opera
TUESDAY, OCT. 9, 2012 at 6:30 p.m.
Hamon Hall, Winspear Opera House
AT&T Performing Arts Center

DALLAS, AUGUST 31, 2012 – The Dallas Opera, in partnership with KERA’s “ART&SEEK”, is extremely proud to announce this season’s schedule for our ongoing series of “Composing Conversations” and “Conversations with Keith”, reflecting the company’s commitment to increasing our community footprint, while advancing the art form and making opera fresh and relevant to increasingly diverse 21st century audiences.
The first free public presentation will take place on Tuesday, September 18, 2012 at 6:30 p.m. in Nancy B. Hamon Hall (located in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in Downtown Dallas) and will feature special guest Tod Machover, a near legendary Professor of Music and Media at the MIT Media Lab (Cambridge, Massachusetts) as he explores and explains his groundbreaking, critically acclaimed new opera, DEATH AND THE POWERS, and other recent projects marrying music and advanced technology.
Joining Professor Machover onstage to both perform—and illuminate the challenges and rewards of bringing his extraordinary compositions to life—will be acclaimed American opera artist Sara Heaton, “a glittering soprano with lyric power” (Boston Herald). Portraying the loving daughter, Miranda, in the U.S. premiere of DEATH, Ms. Heaton was singled out for her “daunting power and agility in the stratospheric notes of her final scene” (Chicago Classical Review). She has enjoyed equal critical success in recent roles at Santa Fe Opera, Chicago Opera Theater and the American Repertory Theater.
The conversation will be moderated by the award-winning KERA/Art&Seek Producer-Reporter Jerome Weeks, who also moderated the Dallas Opera’s highly acclaimed “Page to Stage” weekend with composer Jake Heggie, librettist Gene Scheer, and other special guests, in preparation for the company’s enormously successful 2010 world premiere of Moby-Dick.

“Starting with Tod Machover, this series brings some of the biggest names in cutting-edge contemporary music to North Texas,” says Art&Seek director Anne Bothwell. “Art&Seek is thrilled to partner with The Dallas Opera on these unique conversations with innovators in the opera world and throughout the music industry.”

“Tod is one of the most relentlessly upbeat, energetic and intellectually curious individuals I’ve ever encountered,” says Dallas Opera General Director and CEO Keith Cerny. “He moves from project to project without ever losing his passion and enthusiasm to create or invent; to find new doorways into familiar worlds as well as forging bold paths into the unknown. He’s the perfect subject to launch an exciting new partnership with KERA’s Art&Seek.”

According to The New York Times, Machover’s “mating of classical instruments with computer technology has led to developments like a hypercello played by Yo-Yo Ma, a hyperfiddle designed for the virtuoso Joshua Bell and the technology that helped create ‘Guitar Hero,’ the music video game.
“But over the same years, Mr. Machover has retained his enthusiasm for classical composition. From his 1987 adaptation of Philip K. Dick’s sci-fi classic “Valis” to his 1999 version of Tolstoy’s ”Resurrection” with a libretto by the American playwright Laura Harrington, Mr. Machover has searched like a scientist to find the right music to unlock each of his subjects.”
Jeremy Eichler of The Boston Globe says the sci-fi opera “sets its gaze on subjects both ancient and ultra-modern. In the former camp is the question of whether the soul, or something beyond the body, can live after our death. In the latter camp is the question of the deeper meanings of our infatuation with technology — the way we experience our lives increasingly through its prism…That trailblazing technology is itself put to the service of exploring these points is one of the work’s many ironies that cumulatively leave you with plenty to think about after the robots have powered down for the night.”
The Chicago Tribune gave the new work four stars: “Death and the Powers is a must-see for anybody who cares about the exciting new techno-driven direction music theater is taking in the early 21st century.”

Then, on Tuesday, October 9, 2012 at 6:30 p.m. in Hamon Hall, the Winspear Opera House, the Dallas Opera and KERA/Art&Seek will present the inaugural installment of “Conversations with Keith” featuring Dallas Opera General Director & CEO Keith Cerny with special guest Darren K. Woods, General Director of Fort Worth Opera. Together with moderator Jerome Weeks, they will dissect the various pitfalls, pratfalls and rewards involved in commissioning new works and how they help shape the companies who create them.

“Commissioning a new opera,” explains Cerny, “is a lot like a fellow playing poker in Las Vegas. He has carefully prepared, he knows the mathematical odds, he has experience with the house, and he’s holding a promising hand. Yet, ultimately, a gamble remains a gamble, and despite every effort to predict the outcome, one can never be certain of succeeding—in life or in art—until all of the cards have been dealt.”

The complete schedule for the two Dallas Opera “Conversations” series follows:

COMPOSING CONVERSATIONS

September 18, 2012 – Composer Tod Machover (Death and the Powers)
January 22, 2013 – Composer Dominick Argento (The Aspern Papers)
May 21, 2013 – Pulitzer Prize winning composer Jennifer Higdon (Cold Mountain)

CONVERSATIONS WITH KEITH

October 9, 2012 – “Commissioning New Works” with Darren K. Woods, Gen. Dir. FWO
March 5, 2013 – “Accessible versus Avante-Garde Music and Theater”

All “Conversations” begin at 6:30 p.m. in Nancy B. Hamon Hall in the Margot and Bill Winspear Opera House, AT&T Performing Arts Center. These events are FREE and open to the public. However, seating is limited and RSVPs are requested. To secure your seat for this extraordinary inside look at cutting edge opera-making, call 214.443.1044 or to reserve your seat online at rsvp@dallasopera.org. Paid parking ($5 to $15) is available throughout the Arts District.

KEY BIOS:

TOD MACHOVER has been called “America’s most wired composer” by the Los Angeles Times. He is widely recognized as one of the most significant and innovative composers of his generation, and is also celebrated for inventing new technology for music, including Hyperinstruments which he launched in 1986. Machover studied with Elliott Carter and Roger Sessions at The Juilliard School and was the first Director of Musical Research at Pierre Boulez’s IRCAM in Paris. He is the Muriel R. Cooper Professor of Music and Media at the MIT Media Lab (Cambridge, MA) – where he has worked since the Lab was founded in 1985 – and is Director of the its Hyperinstruments and Opera of the Future Groups. Since 2006, Machover has also been Visiting Professor of Composition at the Royal Academy of Music in London.
Tod Machover’s music has been acclaimed for breaking traditional artistic and cultural boundaries, offering a unique and innovative synthesis of acoustic and electronic sound, of symphony orchestras and interactive computers, and of operatic arias and rock songs. Machover’s compositions have been commissioned and performed by many of the world’s most prestigious ensembles and soloists, including the Ensemble InterContemporain (Paris), the London Sinfonietta, Ensemble Modern, Speculum Musicae, BBC Scottish Symphony, San Francisco Symphony, Los Angeles Philharmonic, Boston Pops, Houston Grand Opera, Bunkamura (Tokyo), Lincoln Center for the Performing Arts, Carnegie Hall, Deutsches Symphonie Orchester Berlin, the Detroit Symphony Orchestra, Collage New Music, Speculum Musicae, Ars Electronica, Casa da Musica (Porto), American Composers Orchestra, Tokyo String Quartet, Kronos Quartet, Ying Quartet, Yo-Yo Ma, Joshua Bell, Kim Kashkahian, David Starobin, Matt Haimovitz, and many more. His work has been awarded numerous prizes and honors, among others from from the Fromm and Koussevitzky Foundations, the National Endowment for the Arts, the German Culture Ministry, and the French Culture Ministry, which named him a Chevalier de l’Order des Arts et des Lettres. In 2007 he was awarded the Steinmetz Prize from the IEEE, and in 2010 received the prestigious Arts Prize from the World Technology Network, supported by CNN and Time Inc. Tod Machover is also celebrated for being one of the world’s most prominent innovators in designing new technologies for music performance and creation, such as Hyperinstruments, “smart” performance systems that extend expression for some of the great virtuosi, from Yo-Yo Ma to Prince, but also for the general public, from young people to families to seniors and the disabled. The popular videogames Guitar Hero and Rock Band grew out of Machover’s Lab. His Hyperscore software—which allows anyone to compose original music using lines and colors—has allowed children around the world to have their music performed by major orchestras as part of Machover’s Toy Symphony project. Machover is also known for his visionary operas, including VALIS (based on Philip K. Dick’s sci-fi classic); The Brain Opera (which invites the audience to collaborate live and online and has been installed since 2000 at Vienna’s House of Music); Skellig, which premiered in the UK in November 2008 to rave reviews; and the critically acclaimed, “robotic” Death and the Powers.

DARREN K. WOODS became general director of Fort Worth Opera in July 2001. Under his leadership, Fort Worth Opera has increased both subscription and donor bases while establishing a reputation for high-quality, dynamic productions. In May 2007, Fort Worth Opera changed its format to a spring festival season and mounted its first mainstage commissioned work – Frau Margot composed by Thomas Pasatieri on a libretto by Frank Corsaro. Within only four years, Fort Worth Opera also produced Jorge Martin’s Before Night Falls as its second world premiere, and Opera News hailed the Fort Worth Opera Festival as one of the best in the country. Demonstrating Mr. Woods’ dedication to young artists, the Fort Worth Opera Studio launched in 2002, and has now expanded to include four main young artists beginning their professional careers and four apprentice artists currently in the midst of their college training. In 2011, Mr. Woods was appointed vice chairman for the board of Opera America, the national service organization for the art form. He serves on the finance and information services committees for the board, and he chairs the artist services committee. Mr. Woods was appointed general director of the Seagle Music Colony in the summer of 1996 and continues as artistic director today. Since that time, Seagle Colony has expanded from nineteen young artists, a faculty of seven, and two productions to thirty-two artists selected from over 1,000 applicants, six productions, and a faculty of seventeen. The Colony recently expanded to include the new Frank and Dorothy Shames rehearsal studio and new construction continues to expand the campus. Past Seagle Colony artists have had recent debuts at the Metropolitan Opera, New York City Opera, Santa Fe Opera, and even on Broadway. Mr. Woods is in great demand as an adjudicator of vocal competitions. In recent seasons, he served as a panel judge for the Richard Tucker Foundation, the Metropolitan Opera National Council Auditions, the Lieber Competition, the Denver Opera Guild Competition, the Dallas Opera Guild Competition, and the Marguerite McCammon Competition. Recently, Opera News named him as one of the opera field’s most influential leaders in the magazine’s August 2012 article Opera’s Next Wave. Prior to his appointment in Fort Worth, he was the general director of the Shreveport Opera in Louisiana. While in Shreveport, Mr. Woods founded Shreveport Opera Express, or SOX, a touring, arts-in-education program that involved schoolchildren working with professional artists in the schools. Before becoming an opera administrator, Mr. Woods performed as a professional operatic tenor for twenty years in such venues as New York City Opera, Carnegie Hall, Washington Opera, L’Opera Madrid, Opera Trieste, Seattle Opera, Dallas Opera, Baltimore Opera, Santa Fe Opera, and many others.

JEROME WEEKS is a producer-reporter for KERA’s Art & Seek. His arts reporting and criticism have appeared on KERA FM, KERA TV, and online at ArtandSeek.org.
A professional critic for more than two decades, he was the book columnist for The Dallas Morning News for ten years and the paper’s theater critic for ten years before that. His writing has appeared in the San Francisco Chronicle, Los Angeles Times, Newsday, American Theatre and Men’s Vogue magazines. He has won five Katie Awards from the Dallas Press Club, a graduate journalism fellowship from Columbia University and a Knight Digital Media Fellowship to the University of California-Berkeley. In 2012, he received first place for specialty reporting from Texas Associated Press Broadcasters and the John G. Flowers Award for Excellence from The Texas Society of Architects. Jerome has appeared on Studio 360, C-SPAN’s Booknotes and KERA’s national documentary Sweet Tornado: Margo Jones and the American Theater. He is a member of both the National Book Critics Circle and the American Theatre Critics Association, and is a fellow of the Dallas Institute of Humanities and Culture.

American soprano SARA HEATON, noted for her “gleaming lyricism” by Opera News Online and her “sweet, pure soprano” by the Chicago Tribune, is gaining recognition as a sensitive performer of both opera standards and new works. This season, Sara won first prize in the Marie Kraja international singing competition in Albania. She had her American Opera Projects debut in Numinous City by Pete Wyer, and sang her first Nedda in Pagliacci with Symphony Pro Musica. Sara returned to Chicago Opera Theater to sing Lidochka in Shostakovich’s Moscow, Cheryomushki, and this summer covers Leila in The Pearl Fishers as a second-year Apprentice Artist with The Santa Fe Opera. Sara had her professional debut as Despina in Così fan tutte with Boston Baroque. She has sung with Boston Lyric Opera, the American Repertory Theater, Opera Boston, Central City Opera, Boston Midsummer Opera, Opera Providence, Opera North, and the New Philharmonia Orchestra. In the 2010-2011 Season, Sara received critical acclaim for her performance of Miranda in the US premiere of Tod Machover’s Death and the Powers, praised for her “daunting power and agility in the stratospheric notes of her final scene,” and was singled out as giving “the finest performance of the evening.” With Santa Fe Opera, she was hailed “a standout” for her performance of Gilda in the apprentice scenes program. Sara has received the Richard F. Gold Career Grant from the Shoshana Foundation, was a regional finalist in the Metropolitan Opera competition, and a finalist in the Giulio Gari Competition. She won 2nd place in the Young Patronesses of the Opera Competition, received an Encouragement Grant from the Schuyler Foundation for Career Bridges, and was a semi-finalist in the Competizione dell’Opera in Germany. She holds a Masters of Music degree from Boston University and a Bachelor of Arts in Anthropology from the University of Pennsylvania.

Biographical information about DALLAS OPERA GENERAL DIRECTOR AND CEO KEITH CERNY is available online at http://www.dallasopera.org/about/staff/general-director/

ABOUT ART&SEEK

Art&Seek brings North Texans news about arts, music and culture. The team’s arts journalists produce reports, interviews, criticism and video for KERA FM, KERA TV and online at ArtandSeek.org. Art&Seek’s calendar hosts profiles and events from more than 3,000 arts groups and venues. Highlights can also be heard on KERA FM and KXT 91.7 FM. Art&Seek is a service provided by KERA/North Texas Public Broadcasting.

~~~~
ADDITIONAL INFORMATION ABOUT “AUGUST AT THE DALLAS OPERA”
IS CONVENIENTLY AVAILABLE ONLINE, 24/7
VISIT WWW.DALLASOPERA.ORG AND CHECK THE CALENDAR LISTINGS
Or dallasopera.org/summer

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
CARTIER – OFFICIAL JEWELER & WATCHMAKER OF THE DALLAS OPERA
ROSEWOOD CRESCENT HOTEL – OFFICIAL HOTEL 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. Subscriptions start at just $75 and are on sale now. Single tickets go on sale September 10, 2012, starting at just $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 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.

AIDA by Giuseppe Verdi
October 26: The Linda and Mitch Hart Season Opening Night Performance
Featuring Latonia Moore, The Charron and Peter Denker Rising Star (2012)
October 28(m), 31, November 3, 9, 11(m), 2012
Verdi’s Complex and Intimate Love Story Set in Spectacular Ancient Egypt!
An opera in four acts first performed at Khedivial Opera House, Cairo on December 24, 1871.
Text by Antonio Ghislanzoni, based on a scenario written by French Egyptologist Auguste Mariette.
Time: Old Kingdom
Place: Egypt
Conductor: Graeme Jenkins
Stage Director: John Copley
Costume Design: Peter J. Hall
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Starring: Latonia Moore (Aïda), Antonello Palombi (Radames), Nadia Krasteva* (Amneris), Lester Lynch (Amonasro), Orlin Anastassov* (Ramfis), Ben Wager (The King of Egypt), Jonathan Yarrington* (Messenger), and NaGuanda Nobles* (Priestess).

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 Montenegro* (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
Chorus Master: Alexander Rom
Assistant Director: Michael Mori
Starring: Susan Graham* (Tina), Alexandra Deshorties (Juliana 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
______________________________________________________________________________________
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. Cartier is the official jeweler and watchmaker of The Dallas Opera. Rosewood Crescent Hotel is the official hotel 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.

###

WRR and TDO Take You to the Opera

by Suzanne Calvin

 

The Dallas Opera and the premier Classical Music Radio Station in Texas are taking you to the opera this October -- and you don’t even have to put on your shoes. It’s part of the station’s ongoing “Saturday Afternoon at the Opera” series, at noon each Saturday, but for the month leading up to TDO’s new ‘Pursuits of Passion’ Season, it will be programmed and presented by Dallas Opera General Director and CEO Keith Cerny. Get all the dates, times and details in the release below:

FOR IMMEDIATE RELEASE:
Thursday, August 30, 2012

Contact: Suzanne Calvin 214.443.1014
Suzanne.Calvin@dallasopera.org
Or Megan Meister 214.443.1071
Megan.Meister@dallasopera.org

THE DALLAS OPERA AND WRR, 101.1 FM
ARE PLEASED TO ANNOUNCE
“Saturday Afternoon at the Opera” for the month of October will be hosted by
Dallas Opera General Director and CEO Keith Cerny
~~~~
Airing at Noon on October 6, 13, 20 & 27, 2012
On WRR, Classical 101.1 FM
~~~~
Cerny’s Personal Picks Include the Dallas Opera’s Critically Acclaimed New Production of Wagner’s TRISTAN & ISOLDE
~~~~
Works Linked to the Upcoming “Pursuits of Passion” Season:
Verdi’s FALSTAFF
Adams’ NIXON IN CHINA
And Britten’s THE TURN OF THE SCREW

DALLAS, AUGUST 30, 2012 – The Dallas Opera and WRR, 101.1 FM, the classical music station for all of North Texas, are pleased to announce plans for the debut of Dallas Opera General Director and CEO Keith Cerny as programmer and guest host of WRR’s “Saturday Afternoon at the Opera” for the entire month of October. These programs will provide a lead-in to the Dallas Opera’s new season, opening on Friday, October 26th with TDO’s FIRST NIGHT celebrations and the Linda and Mitch Hart Season Opening Night Performance.
WRR’s original, locally produced series of operatic masterworks is designed to highlight new recordings, classic opera recordings of yesteryear, and the finest artists of both yesterday and today.

“Three of the selections for this series,” explains Keith Cerny, “are linked to the mainstage works in our upcoming season: FALSTAFF is an exemplary tribute to a life fully lived; creative and evolving to the last. It shows that Giuseppe Verdi’s tremendous musical gifts included his ability to grow as a composer.
“NIXON IN CHINA by John Adams is one of the great modern masterpieces of opera, conveniently set in Beijing, which also serves as the setting for our second mainstage production this season, Giacomo Puccini’s TURANDOT. These two, larger-than-life works share more than a spot on the globe. They also explore (to a greater or lesser degree) the clash of cultures, and the brinkmanship that so often defines the nature of international relations.
“I chose a recording of Benjamin Britten’s THE TURN OF THE SCREW, based on another story by the great American novelist Henry James, the author of THE ASPERN PAPERS. The Dallas Opera will celebrate the 25th Anniversary of our 1988 world premiere of Dominick Argento’s opera of the same name in 2013. It seemed particularly appropriate to turn to this dark Britten masterpiece to give us a taste of James’ unique storytelling style.
“However,” Cerny adds, “my fourth personal pick is one that music lovers in Dallas are still talking about—TDO’s mesmerizing new production of Richard Wagner’s TRISTAN & ISOLDE, which starred Clifton Forbis and Jeanne-Michèle Charbonnet in the title roles. This will be an exclusive one-time-only broadcast of this highly acclaimed 2012 production and I am delighted to be able to bring it to radio audiences throughout North Texas on Classical 101.1.”

The series broadcast schedule for the month of October is as follows:

FALSTAFF by Giuseppe Verdi
Saturday, October 6, 2012 at Noon on WRR, 101.1. FM
Sir Georg Solti conducts the RCA Italiana Opera Orchestra and Chorus
Geraint Evans in the title role, Giulietta Simionato as Mistress Quickly,
Mirella Freni as Nannetta, Robert Merrill as Ford and Alfredo Kraus as Fenton
A classic 1964 recording!

NIXON IN CHINA by John Adams
Saturday, October 13, 2012 at Noon on WRR, 101.1 FM
Edo de Waart conducts the Orchestra of St. Luke’s
James Maddalena as Nixon, Sanford Sylvan as Chou En-lai, Carolann Page as Pat Nixon, John Duykers as Mao T’se-tung, and Trudy Ellen Craney as Madame Mao

THE TURN OF THE SCREW by Benjamin Britten
Saturday, October 20, 2012 at Noon on WRR, 101.1 FM
Sir Colin Davis conducts Members of the Orchestra of the Royal Opera House,
Covent Garden; starring Helen Donath as the Governess, Heather Harper as Miss Jessel,
Robert Tear as Quint, Ava June as Mrs. Grose, Michael Ginn as Miles,
Lilian Watson as Flora, and Philip Langridge singing the Prologue

TRISTAN UND ISOLDE by Richard Wagner
Saturday, October 27, 2012 at Noon on WRR, 101.1 FM
An exclusive broadcast of the Dallas Opera’s critically acclaimed 2012 production of Wagner’s groundbreaking masterpiece, with a stellar international ensemble cast:
Jeanne-Michèle Charbonnet, Clifton Forbis, Mary Phillips, Jukka Rasilainen,
Kristinn Sigmundsson, Stephen Gadd, Aaron Blake and Quincy Roberts.
Music Director Graeme Jenkins conducted the Dallas Opera Orchestra and Chorus.
Production Conceived, Directed and Designed by Christian Räth.
Projections designed by Elaine J. McCarthy, Austin Switser, and Vita Tzykun.
Your one and only chance to hear this phenomenal TDO performance.

~~~~
Single tickets for the 2012-2013 Season are subject to dynamic pricing (the earlier they are purchased and the less-in-demand, the lower the price) and will go on sale – for as little as $19 – on September 10, 2012. Subscriptions start at just $75. Inner Circle seating may be priced higher.

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

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
CARTIER – OFFICIAL JEWELER & WATCHMAKER OF THE DALLAS OPERA
ROSEWOOD CRESCENT HOTEL – OFFICIAL HOTEL 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. Subscriptions start at just $75 and are on sale now. Single tickets go on sale September 10, 2012, starting at just $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 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.

AIDA by Giuseppe Verdi
October 26: The Linda and Mitch Hart Season Opening Night Performance
Featuring Latonia Moore, The Charron and Peter Denker Rising Star (2012)
October 28(m), 31, November 3, 9, 11(m), 2012
Verdi’s Complex and Intimate Love Story Set in Spectacular Ancient Egypt!
An opera in four acts first performed at Khedivial Opera House, Cairo on December 24, 1871.
Text by Antonio Ghislanzoni, based on a scenario written by French Egyptologist Auguste Mariette.
Time: Old Kingdom
Place: Egypt
Conductor: Graeme Jenkins
Stage Director: John Copley
Costume Design: Peter J. Hall
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Starring: Latonia Moore (Aïda), Antonello Palombi (Radames), Nadia Krasteva* (Amneris), Lester Lynch (Amonasro), Orlin Anastassov* (Ramfis), Ben Wager (The King of Egypt), Jonathan Yarrington* (Messenger), and NaGuanda Nobles* (Priestess).

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 Montenegro* (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
Chorus Master: Alexander Rom
Assistant Director: Michael Mori
Starring: Susan Graham* (Tina), Alexandra Deshorties (Juliana 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

______________________________________________________________________________________
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. Cartier is the official jeweler and watchmaker of The Dallas Opera. Rosewood Crescent Hotel is the official hotel 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.

###

…To Create a Giant Community Footprint

by Suzanne Calvin

“How to Win Friends and Influence Opera Goers: the Next Generation edition” That’s what’s at stake when we talk about the never-more-urgent need for opera and the performing arts to create a strong and indelible community footprint. The task can be approached in a variety of ways from a number of different angles. But one thing is crucial: you have to have a plan. Here at the Dallas Opera, the “man with the plan” is General Director and CEO Keith Cerny, as revealed in part two and three of Marilee Vergati’s series on the Dallas Opera’s Leadership path--producing great entertainment while connecting us with the greater North Texas community through efforts like our enormously popular “campTDO,” a kind of opera boot camp for kids.  But for fun…No, really.  No one has to drop and give me twenty.

You can catch the first part of Ms. Vergati’s outstanding series for Dallas Dance Examiner right here

(Photo of campTDO kids and cast members from “Jack and the Beanstalk” courtesy of Luke McKenzie, Dallas Opera)

Suzanne Calvin, Manager/Director Media and PR

Putting His Foot Down

by Suzanne Calvin

…On the path to inspired (and inspiring) leadership.

Dallas arts writer and reviewer Marilee Vergati takes a closer look at Dallas Opera General Director and CEO Keith Cerny’s multifaceted vision for the company and the success of his ongoing mission in Dallas.  In the current economy, it’s not all coming up roses; but Keith appears to be a man capable of making the tough choices and getting things done.  More details in Miss Vergati’s assessment right here.

(Photo of Mr. Cerny courtesy of Karen Almond, Dallas Opera)

Suzanne Calvin, Manager/Director Media & PR

Total Impact

by Suzanne Calvin

 

No, it’s not the name of an upcoming science fiction action film starring Arnold Schwarzenegger (or Colin Farrell, for that matter); it’s the measure by which the sucess of American opera companies will be measured in seasons to come.

Allow me to explain: Everyone is familiar with the term “carbon footprint,” but nowadays in the arts, it’s all about the “community footprint” we make--i.e., the total impact. Dallas Opera General Director and CEO Keith Cerny explores ways in which TDO is seeking to maximize its overall community impact in the latest installment of his regular feature, “Off the Cuff,” for Theater Jones.

(Collage inspired by the 1990 film Total Recall for coronacomingattractions.com)

Suzanne Calvin, Manager/Director Media and PR