Glowing Reviews for The Lighthouse

by Suzanne Calvin

The limited engagement of the Dallas Opera’s new production of THE LIGHTHOUSE is now history -- but the accolades continue to roll in on the tide.

Katie Womack of “The Observer” found it a “strange yet engrossing musical and theatrical experience.” Read more of her review here.

Over at “Theater Jones,” critic Gregory Sullivan Isaacs proclaimed the production a “must-see” and one that gave him a “glimmer of hope” for a new era of artistic collaboration that will demolish old barriers and preconceptions.  Read his illuminating  article here.  And go back and catch the splendid series TJ has produced on the making of THE LIGHTHOUSE.

Veteran arts writer Olin Chism, reviewing for KERA’s “Art and Seek,” found it “a powerful theater piece, with music serving an attendant though striking role.”  Catch Olin’s review here.

David Weuste of “Everyday Opera” called it “a shining start” to our new, dedicated chamber series and found reasons to praise virtually every aspect of the production.  Read his assessment here.

At “The Dallas Morning News,” Classical Music Critic Scott Cantrell says the production was “quite vividly realized by three very fine singers in a deft staging by Kevin Moriarty, artistic director of the Dallas Theater Center.”  Read Scott’s review here.

At “D Magazine,” after asking whether the Dallas Opera had bitten off more than it could chew (or words to that effect), critic Wayne Lee Gay hasn’t yet weighed-in with a final verdict.  We’ll be the first to let you know.

And a new take on the production from Laura Begley at “Operagasm,” a site by and for singers and other people passionate about opera.  Read it here

UPDATE: Also, Alex Hoskins writing for SMU’s “Daily Campus” right here.

(Photo by Karen Almond, Dallas Opera)

Suzanne Calvin, Manager/Director Media and PR

 

 

 

Spooky-Like, and a Whole Lot More

by Suzanne Calvin

All explanations fall short. There’s no way to navigate the treacherous shoals of Peter Maxwell Davies’ THE LIGHTHOUSE, opening Friday, March 16th at 7:30 pm in the Wyly Theater, without actually experiencing it, seeing and hearing it for yourself.

Classical Music Critic Scott Cantrell of “The Dallas Morning News” gives it a go right here. But it’s possible that the more telling advance was the whooping, enthusiastic response from the audience at the conclusion of last night’s final dress rehearsal.

Get your tickets now at 214.443.1000 or here online and make it to THE LIGHTHOUSE. It’s going to be talked about, I guarantee.  DTC Artistic Director Kevin Moriarty will only make his opera debut once, and there’s still time to say “I was there.”

(Photo of composer Peter Maxwell Davies by Eamonn McCabe)

Suzanne Calvin, Manager/Director Media & PR

The Magic Flute Comes to TDO

by Suzanne Calvin

 

FOR IMMEDIATE RELEASE:
Wednesday, March 14, 2012
Contact: Suzanne Calvin
214-443-1014/suzanne.calvin@dallasopera.org

THE DALLAS OPERA IS PROUD TO PRESENT
THE FINALE OF THE “TRAGIC OBSESSIONS” SEASON:
MOZART’S MAGNIFICENT MASTERPIECE!
THE MAGIC FLUTE
(Die Zauberflöte)

Libretto by Emanuel Schikaneder
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STARRING SOPRANO AVA PINE AS PAMINA
TENOR SHAWN MATHEY IN HIS TDO DEBUT AS TAMINO
BASS-BARITONE PATRICK CARFIZZI AS PAPAGENO
SOPRANO L’UBICA VARGICOVÁ AS THE QUEEN OF THE NIGHT
BASS RAYMOND ACETO AS SARASTRO
BASS KEVIN J. LANGAN AS THE SPEAKER
AND TENOR DAVID CANGELOSI AS MONOSTATOS
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CONDUCTED BY MUSIC DIRECTOR GRAEME JENKINS
STAGED BY DIRECTOR MATTHEW LATA IN HIS COMPANY DEBUT
ORIGINAL PRODUCTION FOR LYRIC OPERA OF CHICAGO
BY AUGUST EVERDING
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OPENING NIGHT: FRIDAY, APRIL 20, 2012 AT 7:30 PM
WITH ADDITIONAL PERFORMANCES
APRIL 22(m), 25, 28, MAY 4 & 6(m), 2012
MARGOT & BILL WINSPEAR OPERA HOUSE
AT THE AT&T PERFORMING ARTS CENTER
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TACA AND DIANE AND HAL BRIERLEY, PRODUCTION UNDERWRITERS
The Rosemary and Roger Enrico Foundation Performance (April 28)
Ava Pine’s Performance Made Possible with Support from
The Charron and Peter Denker Rising Stars Endowment Fund

DALLAS, MARCH 14, 2012 – The Dallas Opera is extremely proud to present the dazzling finale of our crowd-pleasing, critically acclaimed, 2011-2012 “Tragic Obsessions” Season: Wolfgang Amadeus Mozart’s extraordinary comic-drama, THE MAGIC FLUTE (Die Zauberflöte), opening Friday, April 20, 2012 at 7:30 PM in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center.
This production is made possible with support from Production Underwriters Diane and Hal Brierley and TACA.
Five subsequent performances of THE MAGIC FLUTE have been scheduled for April 22(m), 25, 28, May 4 & 6(m), 2012. FLEX subscriptions are still available, beginning at just $75, and single tickets start at $25. Contact the Dallas Opera Ticket Services Office at 214.443.1000 for more information or purchase online, 24/7, at dallasopera.org.
“This production from Lyric Opera of Chicago,” says Dallas Opera Artistic Director Jonathan Pell “is the most magical Magic Flute I’ve ever experienced. It’s been revived there, time and again, because it’s so immensely popular but it’s a production that could never have been done in our previous performance venue.
“Our move to the Winspear Opera House has finally made it possible to bring this incredibly charming, classic, August Everding production to Dallas and we’ve gone out of our way to stack-the-deck with the addition of a delightful cast.”

Mozart’s THE MAGIC FLUTE will be simulcast live on Saturday, April 28, 2012 at 7:30 PM (doors open at 6:00 PM) at Cowboys Stadium, the high-tech home of the Dallas Cowboys at One Legends Way in Arlington, Texas. Patrons will be able to enjoy a complete, unabridged live performance on the world’s largest high-definition video board structure, comprised of four massive viewing screens (the largest, 72 feet tall and 160 feet wide) suspended directly above the playing field.
Reserved seating is still available (up to 10 seats per person) through the Dallas Opera website at www.dallasopera.org/cowboys.
The April 28th performance, live from the Winspear Opera House, is The Rosemary and Roger Enrico Foundation Performance.

THE MAGIC FLUTE will star soprano Ava Pine, the Dallas Opera’s very first Resident Young Artist, in the role of Pamina—one of her personal favorites. Ms. Pine, a Baroque specialist with a tremendous local fan base, made her Dallas Opera debut as Anna in our 2006 production of Nabucco, and has appeared on our stage in numerous roles including Adele in Die Fledermaus, Zozo in The Merry Widow, Elvira in L’italiana in Algeri, the Slave in Salome and, most recently, as one of three featured artists in the Dallas Opera’s Family Concert, performed in the Winspear last November.
Wherever she goes, Ms. Pine makes the critics struggle for superlatives. Of her 2008 role debut as Adele, Dallas Morning News Classical Music Critic Scott Cantrell wrote: “She can sparkle through coloratura, but also radiate lower-register warmth. And she’s no less dazzling an actress, dancing, flirting and pretty much tying everyone around her little finger.”
Earlier this season, Ms. Pine appeared with the DSO in Mendelssohn’s Symphony No. 2 conducted by Jaap van Zweden, Bach cantatas with the New Jersey Symphony, and Handel’s Messiah with Boston Baroque and Duke University. She also made her role debut as Susanna in Le nozze di Figaro at Opera Colorado and sang the title role in Handel’s Theodora at the University of North Texas with Dallas Opera Music Director Graeme Jenkins conducting.
Ava Pine’s performance is made possible with support from The Charron and Peter Denker Rising Stars Endowment Fund.

Alongside Ms. Pine, the Dallas Opera has cast celebrated tenor Shawn Mathey as Tamino. “He is simply one of the finest Mozartean tenors in the world,” explains Artistic Director Jonathan Pell “and we have spent years trying to lure him to Dallas for his long-awaited debut on our stage. I think audiences will find him absolutely thrilling, from his first note to his last.”
Mr. Mathey’s 2011-12 Season engagements have included debuts with San Francisco Opera as Don Ottavio and with Rome’s Teatro dell’Opera as Lysander in Benjamin Britten’s A Midsummer Night’s Dream. He is also slated to record Bruckner’s Mass No. 3 in F minor with Marek Janowski conducting the Orchestre de la Suisse Romand. Praised by Lawrence A. Johnson of Chicago Classical Review for “displaying a honeyed tenor and proving both ardent and amusing,” Mr. Mathey is in tremendous demand overseas (Germany, Switzerland, France, Austria, Italy, and Sweden) as well as at opera companies across the U.S.

Bass-baritone Patrick Carfizzi, a comic genius who nearly galloped away with the Dallas Opera’s final production in the Music Hall, The Italian Girl in Algiers, returns in the role of the original Birdman, Papageno, Tamino’s love-sick companion. The multifaceted Mr. Carfizzi’s recent engagements include Paolo in Simon Boccanegra with San Francisco Opera, Brander in Le damnation de Faust (Berlioz) at New York’s Metropolitan Opera, Nourabad in Les pêcheurs de perles for Seattle Opera, Dr. Bartolo in Il barbiere di Siviglia for the Canadian Opera Company, and additional roles at the Met including Schaunard in La bohème, the Mandarin in Turandot, Masetto in Don Giovanni, Haly in L’italiana in Algeri and Peter Quince in Britten’s A Midsummer Night’s Dream.

Slovakian soprano L’ubica Vargicová, praised by the international media for her remarkable technique, her glittering high notes, and her commanding stage presence has made the Queen of the Night a signature role since her operatic debut while still a student in Bratislava, and she has left audiences gasping around the world. The New York Times wrote of her Metropolitan Opera debut in this role, that Ms. Vargicová “dispatched the Queen of the Night’s devilish coloratura with fearless attack, bright tone, and impressive accuracy.” That she is breathtakingly beautiful is merely the icing on the cake; it is her artistry in the coloratura repertoire that has enabled her to earn rave reviews as Lucia di Lammermoor, Ophelia, Amina in Bellini’s La sonnambula, and Marie in La Fille du régiment opposite Juan Diego Flórez. She has appeared in prestigious venues from Carnegie Hall to Japan’s finest concert halls, in the wake of her dazzling 2003 Salzburg Festival debut as Olympia in Les Contes d’Hoffmann (a landmark production staged by David McVicar and conducted by Kent Nagano).

Bass Raymond Aceto, the chilling Sparafucile in the Dallas Opera’s acclaimed 2011 production of Rigoletto, has appeared in more than a dozen productions with TDO since his 1995 debut as Monterone, portraying a host of unforgettable characters from Leporello in Don Giovanni (2003), Colline in La bohème (1999), and Fafner in Siegfried (2000) to Lodovico in the Dallas Opera’s 2009 inaugural production in the Winspear Opera House: Verdi’s Otello.
Opera News reported in November 2008 “The American bass has a magnificently warm, round and full voice coupled to a compelling stage presence.” He was also identified as one of the “world class” artists in the Dallas Opera’s cast of Rigoletto (Opera Warhorses) and his performance was termed “a rare treat.”
Engagements this season have included the roles of Banquo in Macbeth at the Royal Opera House, Covent Garden, and Timur in Turandot for San Francisco Opera. This summer, after appearing as Sarastro in our production of Mozart’s The Magic Flute, Mr. Aceto will portray the cruel Baron Scarpia in the Santa Fe Opera Festival production of Tosca.

Bass Kevin J. Langan, who has sung numerous roles with the Dallas Opera, will appear in the role of The Speaker. He was recently described as “the complete package: vibrant, ringing tone, polished phrasing, incisive diction and convincing, unfussy acting” (MusicalCriticism.com).
Mr. Langan has nearly 1300 performances to his credit and a vast repertoire (more than 80 roles from the early Baroque through the 20th century) that has made him a leading bass for San Francisco Opera for three decades. Recently, he became the first artist in SFO history to sing 300 performances in leading roles. Mr. Langan has also been a leading bass for Lyric Opera of Chicago for the past eleven years, in addition to fourteen seasons—and 165 performances—at Santa Fe. It was at Sante Fe Opera that he created the role of Henry Mosher in the 1996 world premiere of Tobias Picker’s Emmeline, broadcast on PBS.
A native of New York City, Mr. Langan’s talents can be enjoyed on numerous opera DVD releases. His orchestral appearances have ranged from the Cincinnati May Festival as Rocco in Fidelio under Music Director James Conlon, The Caramoor Festival as Rocco in Leonore under John Nelson, The Pittsburgh Symphony in Mahler’s Das Klagende Lied, and the Chicago Symphony in Janacek’s Glagolitic Mass (both under Michael Tilson Thomas). Other appearances include Trulove in The Rake’s Progress with The St. Paul Chamber Orchestra under Edo de Waart, and Stravinsky’s Oedipus Rex with The National Symphony in Washington.

Tenor David Cangelosi, one of the most consistently insightful opera artist bloggers in cyberspace, will sing the role of Monostatos. Heaped with critical plaudits for his contributions to the success of the recent San Francisco Ring Cycle, Heard and Seen International declared him: “…possibly the greatest Mime ever. Nobody has ever been more effective or as amusing as David Cangelosi…he made every minute of this often annoying role a total pleasure.” He most recently appeared with the Dallas Opera in our monumental, widely acclaimed 2011 production of Boris Godunov. Prior to the role of Shuisky, Mr. Cangelosi made a memorable marriage broker in TDO’s revival of the Francesca Zambello production of Madama Butterfly that closed the 2010 Season.
David Cangelosi has firmly established himself as an artist who combines both excellent singing and winning characterizations with opera companies and symphony orchestras, worldwide. In 2004, Mr. Cangelosi made his Metropolitan Opera debut as Mime in Das Rheingold, conducted by James Levine, and returned in recent seasons for performances of Incredibile in Andrea Chenier, Tinca in Il tabarro, and the dual role of Nathanael/Spalanzani in Les Contes d’Hoffmann. Other roles at the Metropolitan Opera have included Basilio (The Marriage of Figaro), Goro (Madama Butterfly), and Spoletta (Tosca).
~~~~
Mozart’s 1791 masterpiece is one of the greatest comic operas of all time, made all the more interesting by the poignant—even disturbing—moments endured by the lead characters, as they attempt to earn their “happy ending.”
The Magic Flute comes by its zany, hodge-podge of a plot honestly, having been inspired not only by 18th century Masonic practices, but by literature reflecting several different traditions. Among these is the 1731 Viennese essay (supposedly translated from an ancient Greek source) about an Egyptian prince named “Sethos” who is called upon to endure an initiation by the four elements: fire, water, earth and air. He is also forced to battle a giant serpent.
The Magic Flute also contains hints of an Arthurian Romance from the late Middle Ages, in which the hero is discovered and aided by three mysterious ladies. Later in the tale, the hero encounters a curious character covered in animal skins that bears more than a passing resemblance to this opera’s famously endearing birdman, Papageno.
The music, on the other hand, couldn’t be more polished or more focused. Reflecting the highest ideals of the Age of Enlightenment and filled with wit, warmth, and genuine humanity, The Magic Flute continues to bewitch audiences with its variety of perfectly expressed musical moods—from utterly cheeky to soaring and sublime.
~~~~

Soprano Angela Mannino will make her Dallas Opera debut in the role of Papagena, and the Three Ladies will be sung by soprano Caitlin Lynch, mezzo-soprano Lauren McNeese, and mezzo-soprano Maya Lahyani in their company debuts.
Resident Young Artist Aaron Blake will return to the Dallas Opera stage in the dual role of Second Priest and First Man in Armor. Bass Darren K. Stokes will sing the role of the Second Man in Armor.

All six performances will be conducted by the Dallas Opera’s Mrs. Eugene McDermott Music Director Graeme Jenkins, who most recently raised the baton on our season opening production of Lucia di Lammermoor, prompting Classical Music Critic Wayne Lee Gay to write for D Magazine, “Jenkins clearly understands how to place Donizetti acoustically within a fairly large modern theater, as well as historically and philosophically within the complex overlapping styles of the middle nineteenth century. His readings of Donizetti have been, for this listener, revelatory. I’ll admit that, thanks to Jenkins, my attitude toward this particular composer has progressed from “Oh, Donizetti,” to “Ah! Donizetti!”
Maestro Jenkins also drew tremendous praise for the work that brought our 2010-2011 Season to a close: Modest Mussorgsky’s Boris Godunov. According to Dallas Morning News Classical Music Critic Scott Cantrell, it was “a triumph for any opera house, anywhere.
“Marshaled with authority and the greatest sensitivity by Music Director Graeme Jenkins,” he added, “the orchestra played gloriously.”
Jenkins has conducted more than a hundred different operas from Australia to Amsterdam to Vienna, and has served as music director for this company since 1994.

This Lyric Opera of Chicago production will be staged by Matthew Lata, making his TDO debut. Mr. Lata has staged more than a hundred productions with leading opera companies throughout the U.S. He began his career as a director on the staff of the Lyric Opera of Chicago for five seasons. During that time he directed revivals and special productions for the Lyric Opera of Chicago Center for American Artists. Mr. Lata served as an apprentice with Jean-Pierre Ponnelle, Frank Corsaro and Lotfi Mansouri under the auspices of the National Opera Institute, and as production stage manager and assistant director for a number of theaters, prior to joining the staff in Chicago.
He has been a script consultant for various theaters, including the New Playwright’s Theater in Washington and the Rosa Parks Museum in Montgomery, Alabama, in addition to regularly staging works for Lyric Opera of Chicago, Hawaii Opera Theatre, and Florida Grand Opera. Mr. Lata also directed the world premiere of Anton Coppola’s Sacco and Vanzetti to international acclaim at the Tampa Bay Performing Arts Center and staged New York City Opera’s National Tour of La Fille du régiment.
He has taught at the University of Missouri/Kansas City and guested at Northwestern and Yale. Currently, he serves as Director of Opera at Florida State University. Mr. Lata is married to the noted mezzo-soprano Phyllis Pancella.

Scenic design for The Magic Flute is by Jörg Zimmermann in his company debut, with costumes designed by Renata Kalanke.
Lighting design will be by Duane Schuler, with wig and make-up designs by David Zimmerman.
Chorus preparation will be by Dallas Opera Chorus Master Alexander Rom and Children’s Chorus Master Melinda Cotton.

Parking onsite will be available in the Lexus Red Parking beneath the Winspear Opera House and the Lexus Silver Parking adjacent to the Wyly Theatre. Should those reach capacity, additional paid parking is available at nearby One Arts Plaza and in several surface lots. Prices range from $5 to $25 per vehicle.
~~~~
Single tickets for the remaining mainstage productions of the Dallas Opera’s “Tragic Obsessions” Season are on sale now, starting at just $25, through the Dallas Opera Ticket Services Office at 214.443.1000 or online at www.dallasopera.org. Student Rush best-available tickets can be purchased at the lobby box office for $25 (one per valid Student I.D.) ninety minutes prior to each performance.
FLEX Subscriptions for the opera lovers in your life secures seats for all spring mainstage productions: Tristan & Isolde, La traviata, and The Magic Flute. It also gives you the first chance to obtain one or more of the limited number of tickets available to see the Dallas Opera’s new production of a haunting1980 chamber opera: The Lighthouse by Peter Maxwell Davies. Marking the operatic debut of director Kevin Moriarty, Artistic Director of the Dallas Theater Center, this work will play to intimate audiences in the Dee and Charles Wyly Theatre across the street from the Winspear.

~~~~

THE DALLAS OPERA GRATEFULLY ACKNOWLEDGES
THE TEXAS INSTRUMENTS FOUNDATION,
PRESENTER OF THE 2011-2012 SEASON
~~~~
ADDITIONAL INFORMATION ABOUT “MARCH AT THE DALLAS OPERA”
IS CONVENIENTLY AVAILABLE ONLINE, 24/7
VISIT WWW.DALLASOPERA.ORG AND CHECK THE CALENDAR LISTINGS

For high-resolution, digital photographs suitable for print
To arrange an interview
Or for additional information
Please contact Suzanne Calvin, Manager/Director Media & PR
214.443.1014 or suzanne.calvin@dallasopera.org

THE DALLAS OPERA 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 2011-2012 Dallas Opera Season

All performances are in the acoustically acclaimed Margot and Bill Winspear Opera House at the AT&T Performing Arts Center. FLEX subscriptions (three outstanding main- stage performances) begin at just $75. Single tickets start at just $25. For additional information, contact the friendly staff at The Dallas Opera Ticket Services Office at 214.443.1000 or visit us online at www.dallasopera.org. Principal cast members and events may be subject to change. All ticket sales are final.

THE DALLAS OPERA 2011-2012 SPRING SEASON INFORMATION
The Dallas Opera celebrates its Fifty-Fifth International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in downtown Dallas. With the exception of Tristan & Isolde, evening performances will begin at 7:30 p.m. and Sunday matinees will begin at 2:00 p.m. Tristan’s evening performances will start at 7:00 p.m. and matinees at 2:00 p.m. Performances of The Lighthouse (new chamber opera series) will take place in the Dee and Charles Wyly Theatre located directly across the street from the Winspear in the AT&T Performing Arts Center. English translations will be projected above the stage at every performance. Assistance is available for the hearing impaired. Student Rush tickets are available at the box office 90 minutes prior to each performance, valid student ID’s required.

TRISTAN & ISOLDE by Richard Wagner
February 16, 19(m), 22 & 25, 2012
A Special Opera-in-Concert, with projections by Moby-Dick’s Elaine McCarthy!
Ancient Myths, Modern Cine-Magic! And a special curtain time: 7:00 p.m.!
An opera in two acts first performed in Munich, June 10, 1865.
Text by Richard Wagner, based on an ancient Celtic and Icelandic legend.
Time: Legendary
Place: A ship at sea; outside King Marke’s palace, Cornwall; Tristan’s castle at Kareol
Conductor: Graeme Jenkins
Stage Director: Christian Räth
Video Design: Elaine McCarthy
Lighting Design: Alan Burrett
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Starring: Jeanne-Michele Charbonnet (Isolde), Clifton Forbis (Tristan), Mary Phillips (Brangäne), Jukka Rasilainen** (Kurvenal), Kristinn Sigmundsson* (King Marke), Stephen Gadd** (Melot), and Aaron Blake (A Young Sailor/A Shepherd).

THE LIGHTHOUSE by Peter Maxwell Davies
Inaugural production of the Dallas Opera Chamber Series
Presented in collaboration with the Dallas Theater Center
In the Dee and Charles Wyly Theatre at the AT&T Performing Arts Center
March 16, 17 & 18(m), 2012
A chilling supernatural and psychological thriller!
Time: December 1900
Place: Edinburgh Court of Enquiry, Fladda Isle Lighthouse off the Scottish coast
Conductor: Nicole Paiement*
Stage Director: Kevin Moriarty* (opera directorial debut)
Scenic Design: Beowulf Boritt*
Costume Design: Claudia Stephens*
Starring: (in order of vocal appearance:) Andrew Bidlack* (Officer 1/Sandy), Robert Orth (Officer 2/Blazes), and Daniel Sumegi (Officer 3/Arthur/Voice of the Cards).

LA TRAVIATA by Giuseppe Verdi
April 13, 15(m), 18, 21, 27 & 29(m), 2012
Let’s Party Like It’s 1849!
An opera in three acts first performed in Venice at Teatro La Fenice, March 6, 1853
Text by Francesco Maria Piave, based on Alexandre Dumas’ play, La dame aux camélias
Time: 19th century
Place: Paris
Conductor: Marco Guidarini
Stage Director: Bliss Hebert
Production Design: Allen Charles Klein
Lighting Design: Thomas Hase
Choreographer: Rosa Mercedes*
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Starring: Myrtò Papatanasiu** (Violetta Valéry), James Valenti (Alfredo Germont), Laurent Naouri* (Giorgio Germont), Amanda Crider* (Flora Bervoix), Timothy Mix* (Baron Douphol), Mark McCrory (Marchese D’Obigny), Ethan Herschenfeld* (Doctor Grenvil), and Susan Nicely (Annina).

THE MAGIC FLUTE by W.A. Mozart
April 20, 22(m), 25, 28, May 4 & 6(m), 2012
Hearts Tested, Tried and True!
An opera in two acts first performed in Vienna, September 30, 1791.
Text by Emanuel Schikaneder.
Time: Legendary
Place: Mythological Egypt
Conductor: Graeme Jenkins
Production: August Everding
Stage Director: Matthew Lata
Scenic Design: Jörg Zimmermann*
Costume Design: Renate Kalanke*
Lighting Design: Duane Schuler
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Children’s Chorus Master: Melinda Cotten
Starring: Ava Pine (Pamina), Shawn Mathey* (Tamina), Patrick Carfizzi (Papageno), L’ubica Vargicová* (The Queen of the Night), Raymond Aceto (Sarastro), Kevin Langan (The Speaker), David Cangelosi (Monostatos), Angela Mannino* (Papagena), Caitlin Lynch* (First Lady), Lauren McNeese* (Second Lady), Maya Lahyani* (Third Lady), Aaron Blake (First Man in Armour) and Darren K. Stokes* (Second Man in Armour).

* 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.

###

Idea for a New Opera? Before You Start…

by Suzanne Calvin

If you’ve ever given a moment’s thought to creating a new work for the opera stage -- this is a must read! Dallas Opera General Director and CEO Keith Cerny’s lastest edition of “Off the Cuff” for “Theater Jones” delves into the tricky business of commissioning new works. And you don’t have to be an impresario to enjoy discovering the thought processes that motivate the decision-makers.

Read it all right here

(Photo courtesy of Karen Almond, Dallas Opera)

Suzanne Calvin, Manager/Director Media & PR

Theater Jones Videos: To The Lighthouse, Parts 2 and 3

by Suzanne Calvin

The fascinating, behind-the-scenes look at the Dallas Opera’s new production of THE LIGHTHOUSE continues to capture our attention at Theater Jones!

Here’s Part Two  followed by Part Three of the ongoing series. Kudos to Producer/Editor Emily Trube, Reporter Gregory Sullivan Isaacs, videographer Eric Shaddix, and Michael Warner.

Tickets are available for this Friday, Saturday, and Sunday afternoon at 214.443.1000 or online at dallasopera.org.

Suzanne Calvin, Manager/Director Media & PR

Coming Soon to a Theater Near…Us!

by Suzanne Calvin

Only the performance space has changed, not the artistic quality or content. I’m talking about THE LIGHTHOUSE, a 1980 chamber opera by Peter Maxwell Davies opening this Friday in the Dee and Charles Wyly Theatre directly across Flora Street from our usual home in the Winspear Opera House. And THE LIGHTHOUSE is definitely distinctive in more ways than one. Get details here, along with a few insights from the composer himself, in this story by Classical Music Critic Scott Cantrell of “The Dallas Morning News.”

(Photo by David Woo, Staff Photographer, The Dallas Morning News)

Suzanne Calvin, Manager/Director Media and PR

Theater Jones Goes “Behind the Curtain”

by Suzanne Calvin

Behind the curtain, down in the pit, at the publicity shoot, in the tech director’s office, talking with the conductor, the director and the stars: “Theater Jones” was everywhere, as the Dallas Opera and the Dallas Theater Center prepared for our chilling new production of THE LIGHTHOUSE, opening for a very limited engagement this Friday night, March 16th.

 Read -- and see more -- here!

Be sure to click the final link on the page to read Gregory’s in-depth piece on the organizational collaboration and all that it entails.  It’s quite interesting!

Suzanne Calvin, Manager/Director Media & PR

The Country Versus the Cough

by Megan Meister

Early this morning, four decades after it smashed box office records across the U.S., I finally got around to seeing “Love Story” when it snuck-up on my television screen.  Aside from a head-snapping appearance by a youthful Tommy Lee Jones, the movie was everything I expected and less: sappy, over-the-top music score; “hoot-worthy” dialogue, and a plucky young heroine with one foot planted on the ultimate banana peel, who could easily have been mistaken for either Mimi or Violetta – if only she had TB.

Much has been written about the romanticization of certain diseases; chief among them, the dreaded and once nearly untreatable consumption, better known today by its official name: Tuberculosis.

Tuberculosis was already a well-established disease among humans when it contributed to (or caused) the death of Egypt’s King Tutankhamen around 1323 B.C.E.  Even today, according to the Clinical Microbiology Newsletter, about one-third of the world’s population carry the bacteria that causes the disease and approximately two to three million people die from the infection each year, mostly in developing countries.  But over the centuries, Tuberculosis has struck both high and low: bringing down literary giants like Emily Bronte, Franz Kafka, Robert Louis Stevenson, Walt Whitman, George Orwell and (famously) Edgar Allan Poe; political figures like France’s Cardinal Richelieu, Henry Clay (the first person to lie in state in the U.S. Capitol), Napoleon II, Simón Bolívar and Eleanor Roosevelt; along with a host of influential artists from Frederic Chopin to actress Vivien Leigh.

Once the disease was discovered to be contagious rather than hereditary (1865) and its bacterial source identified (1882), this new knowledge led to the development of fashionable sanatoriums in addition to sparking significant changes in waste disposal, city planning and public policy that continue to guide public health authorities today.

Yet it was also an ailment with a certain cachet in 19th century society where the young and beautiful were among its many victims.  “You can never be too thin or too pale,” might have been the motto of the era in which, wrote Mark Caldwell in The Last Crusade, Tuberculosis “was a badge of refinement…it led your friends not to mourn your early death so much as to venerate you as one marked out for a fate of special distinction.”  The scandalous Lord Byron once expressed the wish that consumption would carry him off because it was thought to be “such an interesting death.”

The prototype for Alexandre Dumas’ Lady of the Camillias—who eventually morphed into Giuseppe Verdi’s “La traviata” (The Fallen Woman)—was a once-illiterate French farm-girl named Alphonsine Plessis who upgraded her name to “Marie Duplessis” after she arrived in Paris.  Her exotic features, long neck, tiny waist, ultra-pale complexion and dark locks led to a procession of lovers, each wealthier than the last—with the exception of the handsome young Dumas.  He spotted her in a box at the theater in 1844 and followed her to a party much like the soirée in Act One of Verdi’s opera, discovering Marie’s fatal secret when he found her lying face-down on a couch, coughing up blood.  Fascinated and filled with pity for this beautiful dying swan, Dumas became her lover, just like Alfredo.

However, here is where the opera and harsh reality begin to diverge: the real life lovers quarreled over infidelities, money, and other matters.  “Lies keep the teeth white,” explained Marie, before Dumas broke-off their affair in 1845.  The lady recovered swiftly after being introduced to pianist/composer Franz Liszt; however, his fear of being trapped by a woman or contracting the disease inevitably doomed their affair.  But Liszt never forgot her, describing Marie in his later years as “the most complete incarnation of womankind that has ever existed.”

The 23-year-old courtesan died during Mardi Gras Season in February of 1847, still an object of public curiosity, now virtually alone except for her faithful maid (just as in this opera).  The frenzied sale of her remaining jewels and belongings paid-off her outstanding debts and provided a tidy bequest to her niece in Normandy, who inherited Marie’s ill-gotten gains on the condition that she never set foot in Paris.

In Dumas’ book, his fictional heroine tells us, “I built a future life on your love; I dreamed of the country, of purity.”  If Tuberculosis is the character in the foreground of our drama, the French countryside is very much in the background.  In Verdi’s opera, Alfredo (the stand-in for Dumas fils) was raised far from the wicked city-life and, in his naiveté, barely comprehends the choices Marie—now called Violetta—has been forced to make in order to survive.

For both Verdi and the average 19th century physician, the country itself represented freshness, moral and physical cleanliness and good health.  Alfredo is the embodiment of those qualities and, particularly when he takes Violetta away to spend those romantic months in the country, during which she blossoms and improves.  It is only when Violetta abandons Alfredo and returns to the city—away from the light, love, and fresh air that restored her—that her consumption flares once more, sealing her fate.

Composer Giuseppe Verdi shared that dubious distrust of the city and preferred to spend most of his time on his country estate in his own unconventional living arrangement with Giuseppina Strepponi.  In La traviata, Verdi’s only contemporary opera, the composer weaves a moving masterpiece composed of threads connecting him not only to Dumas’ most heart-felt work, but to the composer’s beloved first wife—Margherita, a former student of Verdi’s—who sold her jewels to help pay the rent during lean times, and who died tragically (along with their two children) while still in her twenties.

These threads also tie him to the land itself, reflecting Verdi’s lifelong love of nature and his belief that the country life is a more likely source of contentment and meaning.  “A time will come,” he wrote, “and it’s not very far off, when I shall say ‘Farewell, my public; have a good time; my career is over: I’m going to plant cabbages.’”  Or, as Alfredo put it while clutching the dying Violetta in his arms, “To Paris, dearest, we bid adieu, in love united our days will flow.”  Despite the best-laid plans, Giuseppe Verdi died in an exclusive hotel in the heart of Milan, and Violetta, one of his most memorable heroines, never made it out of her room.

Suzanne Calvin, Manager/Director of Media & PR for the Dallas Opera, is an award-winning journalist, producer, classical music broadcaster and playwright.  Most importantly, she tells you prior to each TDO performance to turn off your cellphone.  You were listening, right?

Dallas Opera Guild Vocal Competition Results

by Suzanne Calvin

FOR IMMEDIATE RELEASE:
Saturday, March 10, 2012
Contact: Suzanne Calvin (214.443.1014/suzanne.calvin@dallasopera.org)
Or Megan Meister (214.443.1071/megan.meister@dallasopera.org)

The 24th Annual
“Dallas Opera Guild Vocal Competition”
Awards $20,000 in Prize Monies!
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SOPRANO HEATHER HAWK
Takes Top Prize and $8,000 Cash!
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Second Place ($5,000) and “People’s Choice Award”
(An Additional $1,000) Goes to Soprano Amanda Woodbury
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Third Place ($3,000) Awarded to Elisabeth Rosenberg
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Event Honors Former Guild Presidents and Longtime
Dallas Opera Supporters and Board Members
Elaine and Bill Blaylock

DALLAS, MARCH 10, 2012 –The Dallas Opera Guild’s 24th Annual Vocal Competition for young opera singers ended on a high-note late this evening when ten outstanding finalists (with Texas connections) were awarded a total of $20,000 in prize monies. It is only the second time this much-anticipated spring musical event has graced the stage of the magnificent Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Arts District.
29-year-old soprano Heather Hawk of Weatherford, a graduate of Tarleton State University and Baylor University (where she earned her Master’s degree in Vocal Performance) is currently pursuing her doctorate in Musical Arts at the University of North Texas. There, she has sung the title role in Handel’s Alcina and was a finalist in last fall’s UNT Concerto Competition. She has also performed professionally at the University of North Texas Faculty Concert, Works of Jake Heggie, with the Fort Worth Symphony Orchestra and at the 2011 Percussive Arts Society International Convention in Indianapolis.
During the finals round of the competition, Miss Hawk held the audience transfixed with powerful renditions of “Il est doux, il est bon” from Massenet’s Hérodiade and “Ah, mio cor!” from Händel’s Alcina, accompanied by pianist Julian Reed. Earlier in the day, she performed selections from Così fan tutte and Adriana Lecouvreur during the semifinals.
Miss Hawk received her $8,000 First Place cash prize from this year’s special honorees: Elaine and Bill Blaylock.

The award for Second Place ($5,000) and the “People’s Choice Award” (an additional $1,000) went to 23-year-old soprano Amanda Woodbury, a graduate of Frisco High School, now working towards her Master’s degree at the Cincinnati College -- Conservatory of Music, where she has appeared onstage in the roles of Madame Lidoine in Dialogues of the Carmelites, and Donna Anna in Mozart’s Don Giovanni. She earned her Bachelor’s degree in Vocal Performance from Indiana University (2010) and has been the recipient of numerous awards, including Second Place in the 2010 Dallas Opera Guild Vocal Competition, and another Second Place Award in the 2011 Metropolitan Opera Mid-South Regional Competition.
Miss Woodbury gave a luminous finals round performance of arias from Mozart’s Die Entführung aus dem Serail and Puccini’s La Rondine, accompanied by Julian Reed.
Her award for Second Place was given to her by the Dallas Opera Guild’s Michael Phillips. The “People’s Choice Award,” based on secret ballots cast by members of the competition audience, was bestowed on Miss Woodbury by Dallas Opera Guild Presidents Jane and David McGinnis.

The Third Place Award and a $3,000 cash prize went to 29-year-old soprano Elisabeth Rosenberg, who also was accompanied by pianist Julian Reed. Following moving semi-finals round performances of “Ain’t it a Pretty Night” from Carlisle Floyd’s Susannah and “Morrai, si” from Händel’s Rodelinda, she gave breathtaking renditions of Micaëla’s aria from Act III of Georges Bizet’s Carmen and “Mi tradi quell’alma ingrate” from Mozart’s Don Giovanni. Miss Rosenberg has appeared onstage in numerous roles for Rice University (where she is currently pursuing her Master’s degree), Dicapo Opera, Opera UCLA and New Jersey Opera.
The multi-faceted singer also plays the violin and dances—ballet, tap, jazz, ballroom and Latin ballroom.
Miss Rosenberg’s prize was awarded by Contestant Co-Chair Don Jones.

This year’s optional “Encouragement Award” was given to 22-year-old soprano Vanessa Becerra, a senior at Texas Christian University who has already performed professionally with Fort Worth Opera, the Turtle Creek Chorale, Seagle Music Colony, OperaWorks, the A.I.M.S. Festival Orchestra, and Arlington Heights United Methodist Church in Fort Worth. At TCU, where Miss Becerra is a Nordan Full-Tuition Award winner, she has appeared in a variety of partial roles and will soon portray the vivacious Adele in Die Fledermaus. Tonight she performed “Kommt ein schlanker Bursch gegangen” from Weber’s Der Freischütz and “Caro nome” from Verdi’s Rigoletto, accompanied by pianist Jason Smith.
Her $1,500 cash prize was awarded by the Dallas Opera Guild’s Fran Burke.

“Fred and I have been impressed with the extraordinary level of talent revealed by these young Texas singers,” admits Dallas Opera Guild Competition Co-Chair Sandi Ciarochi.
“It’s also incredibly reassuring to see parents and grandparents,” she adds, “bringing their children and grandchildren to this competition as a means of introducing them to Opera. Aficionados understand that when they share that love of the art form with the next generations, it enriches them both.”

“With funding for the arts rapidly diminishing,” explains Guild Competition Co-Chair Fred Ciarochi, “it’s great to have this opportunity to recognize, honor and promote homegrown talent, particularly when you realize how many of our Guild Vocal Competition singers go on to become nationally and internationally recognized.
“Just sitting in the audience is a thrilling experience and when audience members cast their personal votes for the ‘People’s Choice Award’—now in its fifteenth year—you can detect how passionate people become when singers’ careers are at stake.”

Additionally, six finalists were honored with $250 grants:
Mezzo-soprano Ashley Cutright, age 26
Tenor Jeawook Lee, age 28
Baritone Justin Manalad, age 26
Soprano Julie Marx, age 23
Soprano Audra Methvin, age 25
Baritone Njabulo Mthimkhulu, age 30

~~~~
Judges for the semifinal and finals rounds of this year’s competition were:
• Scott Altman, General Director of Arizona Opera
• Christopher Hahn, General Director of Pittsburgh Opera
• Robin Thompson, Arts Consultant, Virginia Opera and additional companies
• Darren K. Woods, General Director of Fort Worth Opera
• And from The Dallas Opera, Artistic Director Jonathan Pell, who also acts as artistic advisor to this eagerly anticipated annual competition.

“Of all the things I do, over the course of the opera season, the vocal competition is one of the things I look forward to the most, because it gives me an enormous sense of personal satisfaction,” explains Mr. Pell.
“Being able to help identify, nurture, and develop young talent is the most wonderful part of my job,” Mr. Pell adds. “The Dallas Opera Guild Competition has helped quite a few struggling young singers, many of whom have gone on to forge significant international opera careers. People like Clifton Forbis, who earned critical acclaim in our sold-out performances of Tristan & Isolde, and Latonia Moore, who triumphed just days ago in her Metropolitan Opera debut as Aida, and who will open our next season in the Winspear Opera House in that exciting title role!”

This year’s honorees, Elaine and Bill Blaylock, have contributed their combined talents to the Dallas Opera in a variety of ways since 1993. Elaine became indispensable to the Guild as a member of the “Adopt-an-Artist” program and quickly hooked Bill on TDO and the art form in what eventually became a family affair (their youngest son, Stuart, served as a supernumerary in several Dallas Opera productions). In addition to serving as Presidents of the Guild in 1999-2000, the Blaylocks established “Dallas Mosaic” and created the Bessylee Penland Endowment Fund which continues to provide vital support to this annual vocal competition. Elaine has also served with distinction as Chairman of the Dallas Opera Board Education Committee, while Bill currently serves as on TDO’s Executive Committee as Chairman of the Audit Committee.

The Dallas Opera Guild’s Vocal Competition not only provides generous assistance to the young opera stars of tomorrow; it also creates an outstanding opportunity for people from every walk of life to hear exceptional up-and-coming talents, in free, public performances.
And tough economic times may even increase the value of these experiences for young singers, according to Dallas Opera General Director & CEO Keith Cerny: “We believe that competitions like this are extremely important for young singers, allowing them to build their experience levels and confidence in the midst of an increasingly difficult artistic environment.”

Select Stars of Earlier Competitions

Clifton Forbis (tenor), winner of our second annual Vocal Competition in 1990, has forged a dynamic international career. He sang the title role of Samson in Samson et Dalila at San Francisco Opera and Siegmund in the Canadian Opera Company’s 2006 production of Wagner’s Der Ring des Nibelungen to open their new Four Seasons Opera House. He also performed Act I of Die Walküre in January 2006 with the National Symphony Orchestra at the Kennedy Center. Mr. Forbis has sung Otello at La Scala and in numerous productions at the Metropolitan Opera and other important theaters around the world and – most notably -- brought his interpretation of the role to open the new Margot and Bill Winspear Opera House at The Dallas Center for the Performing Arts in October of 2009. He also dazzled critics and audiences alike in a phenomenal new TDO production of Tristan & Isolde in February of this year.

1998 First Prize winner Latonia Moore (soprano), who also captured the inaugural People’s Choice Award that year, brought the audience to their feet in her memorable 2004 Dallas Opera debut as Micaela in Bizet’s Carmen, earning the Maria Callas Award for The Dallas Opera debut of the year. She “triumphed as a radiant-voiced Micaela” recreating that role for her debut with the New York City Opera. The New York Times wrote of “her radiant, warm sound and lovely phrasing,” saying, “What she has already is special: a distinctive, poignant sound that makes an audience sit up.” She made her Carnegie Hall debut in the title role of L’Arlesiana for Opera Orchestra of New York and not long ago made her debut at London’s Covent Garden as Liu in Turandot. She returns to the Dallas Opera to open next season in the title role of Verdi’s Aida, in which she triumphed in her dramatic Metropolitan Opera debut just one week ago.

Jesus Garcia (tenor) competed in The Dallas Opera Guild’s Vocal Competition in 1996, 1997, and 1999, winning Second Place that year. Long a favorite of Guild members, Jesus studied at the University of North Texas before attending the Academy of Vocal Arts in Philadelphia. Winner of the Metropolitan Opera National Council Auditions in 2001 who starred as Rodolfo in Baz Luhrman’s La bohème on Broadway, Jesus has also sung the Berlioz Requiem at the National Cathedral in Washington, D.C., the role of Prince Ramiro in La Cenerentola with the Washington National Opera at Kennedy Center, as well as in School matinee performances for The Dallas Opera. Mr. Garcia has performed at the Spoleto Festival, Houston Grand Opera, and Bordeaux Opera (France), among other venues.

Third Place winner Steven LaBrie (baritone) barely met the age requirement to enter our 2006 competition, then walked away with both the People’s Choice Award and a special Mozart Aria award given by TDO’s former General Director Karen Stone in honor of the composer’s 250th birthday. His win propelled him into a coveted spot at AVA, where he performed roles in Il barbiere de Siviglia and Eugene Onegin, in addition to his role as Antonio in Le Nozze de Figaro with The Living Opera. He went on to take First Place in an historic tie with baritone Michael Sumuel in the 2009 Dallas Opera Guild Vocal Competition and made his official Dallas Opera debut last season in the role of Paris in Gounod’s Romeo and Juliet.

Tenor Scott Scully, winner of the 2000 People’s Choice Award, has sung with Opera Ontario (Canada), San Francisco Opera, Fort Worth Opera, Houston Grand Opera, and Arizona Opera and recently made his Dallas Opera debut in Lohengrin. He was a member of the Houston Grand Opera Studio and the San Francisco Opera’s Merola Opera Program. Very active in concert, he has sung Carmina Burana with the Pittsburg Symphony Orchestra and Atlanta Ballet, Falstaff and Billy Budd with the Cleveland Orchestra, and has collaborated with a list of illustrious conductors. In addition to the Dallas Opera Guild award, he received the Pavarotti award from the Metropolitan Opera National Council Auditions, among others.

Jennifer Black (soprano), winner of our 2001 Vocal Competition and the People’s Choice Award, has participated in the Metropolitan Opera’s Lindemann Young Artist Development Program. In 2006, she made her debut with the New York City Opera, the Santa Fe Opera, and sang at Carnegie Hall. She was previously a National Finalist in the Metropolitan Opera National Council Auditions, and was described by The New York Times as “a sensitive, rich-voiced soprano.” This past season at the Metropolitan Opera she sang leading roles in Adriana Lecouvreur and La sonnambula.

Angela Neiderloh (mezzo soprano), Second Place winner of the 2002 competition, spent three years in the Houston Grand Opera Studio, and has sung with the San Francisco Opera Center, Wolf Trap Opera, and the Houston Grand Opera. Her concert credits include solos with the Metropolitan Opera Orchestra, San Francisco Opera Orchestra, Aspen Festival Orchestra, and the Columbia Symphony, among others. The New York Times has praised her as “an engaging coloratura mezzo-soprano.”

Marjorie Owens, First Place winner of the 2002 competition and the People’s Choice Award, was a winner of the 2006 Metropolitan Opera National Council Auditions. She was a member of the Lyric Opera of Chicago’s Lyric Opera Center for Young Artists, after spending three years with the Houston Grand Opera Studio. She has performed with the Fort Worth Opera, Houston Grand Opera, Wolf Trap Opera in Washington, D.C., and the Aspen Opera Theater. The New York Times included Marjorie in their compilation of “the upcoming Great Big American Voices.”

DALLAS OPERA GUILD VOCAL COMPETITION
2012 UNDERWRITERS

DIAMOND PATRONS
($5,000 and above)

Katherine and Michael Phillips

PLATINUM PATRONS
($2,500 and above)

Elaine and Bill Blaylock

GOLD PATRONS
($1,000-$2,499)

Patti and John T. Cody, Jr.
In honor of Helen Boehning
And in memory of her mother, Nancy Boehning

Robert Hendler and Kathleen Muldoon

Richard and Enika Schultz

James R. Seitz, Jr.

Texas Instruments International

SILVER PATRONS
($500-$999)

Dr. Robert and Martha Allday

Anne Bell
In honor of Elaine and Bill Blaylock
In memory of Nancy Boehning and Tom Lysaught

Helen Boehning
In memory of Nancy Boehning

Sandi and Fred Ciarochi
In memory of Nancy Boehning
In honor of Jeanette Wharton

Susan G. Fleming
In honor of Elaine and Bill Blaylock

William J. Hendrix

Jo Kurth Jagoda

Jan and John Matlack

Jane and David McGinnis
In honor of Elaine and Bill Blaylock
In memory of Nancy Boehning
In memory of Earl Carter, Jr.

Mae, Sharon, Andrew, Stefanie and Rose Suddeth
In memory of Nancy Boehning

Marnie and Kern Wildenthal
In memory of Nancy Boehning

PATRONS
($250-499)

Helen Boehning
Cecile and Fred Bonte
Victoria and Marvin Bradshaw
Consuelo B. Chavez
Ketty Fitzgerald
Marilyn and Ward Halla
Terri and Jesse Jones
Leria and Greg McConeghy
Lynn and Presley Mock
Linda Nelson
Angela D. Paulos
Gloria and Robert Rege
Nancy and Wayne Ritter
Pat and Jed Rosenthal
Honorable and Mrs. Wm. F. Sanderson, Jr.
Giancarlo and Maria Santarelli
Betty Secker
State Farm Good Neighbor Grant
Mr. and Mrs. Claude Thompson
The Wagner Society of Dallas
Bilye and Joe Werner
Jeanette and George Wharton
James L. Williams

ADDITIONAL UNDERWRITING FROM:

AT&T Performing Arts Center and Staff
Consuelo Chavez and Joe Dyer (Judges’ Dinner)
Jason’s Deli (Daytime Catering for contestants, judges, accompanists and volunteers)
Phyllis Glover, CRS, ABR, SRES, Dave Perry-Miller & Assoc. (stage greenery)
Hodge Printing Company (competition programs)
Connie Klemow (Patron/Honoree Party) Cherly Sanders, Margaret Souda, Pat Trimble,
Joanne Fay, Sandi Ciarochi, Jeanette Wharton, Bily Werner
Tom McGurren (still photography)
Luke McKenzie (video photography)
~~~~
ADDITIONAL INFORMATION ABOUT THE TRAGIC OBSESSIONS SEASON
AND THE DALLAS OPERA GUILD
IS CONVENIENTLY AVAILABLE ONLINE, 24/7
VISIT WWW.DALLASOPERA.ORG

For high-resolution, digital photographs suitable for print
To arrange an interview
Or for additional information
Please contact Suzanne Calvin, Manager/Director Media & PR
214.443.1014 or suzanne.calvin@dallasopera.org

THE DALLAS OPERA 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 2011-2012 Dallas Opera Season

All performances, unless otherwise stated, are in the acoustically acclaimed Margot and Bill Winspear Opera House at the AT&T Performing Arts Center. Season subscriptions start at just $76, FLEX subscriptions (three performances) begin at $75. Single tickets start at $25 apiece. For more information, contact the friendly staff at The Dallas Opera Ticket Services Office at 214.443.1000 or visit us online at www.dallasopera.org. Principal cast members and events may be subject to change. All ticket sales are final.

THE DALLAS OPERA 2011-2012 SPRING SEASON INFORMATION
The Dallas Opera celebrates its Fifty-Fifth International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in downtown Dallas. With the exception of Tristan & Isolde, evening performances will begin at 7:30 p.m. and Sunday matinees will begin at 2:00 p.m. Tristan’s evening performances will start at 7:00 p.m. and matinees at 2:00 p.m. Performances of The Lighthouse (new chamber opera series) will take place in the Dee and Charles Wyly Theatre located directly across the street from the Winspear in the AT&T Performing Arts Center. English translations will be projected above the stage at every performance. Assistance is available for the hearing impaired.

TRISTAN & ISOLDE by Richard Wagner
February 16, 19(m), 22 & 25, 2012
A Special Opera-in-Concert, with projections by Moby-Dick’s Elaine McCarthy!
Ancient Myths, Modern Cine-Magic! And a special curtain time: 7:00 p.m.!
An opera in two acts first performed in Munich, June 10, 1865.
Text by Richard Wagner, based on an ancient Celtic and Icelandic legend.
Time: Legendary
Place: A ship at sea; outside King Marke’s palace, Cornwall; Tristan’s castle at Kareol
Conductor: Graeme Jenkins
Stage Director: Christian Räth
Video Design: Elaine McCarthy
Lighting Design: Alan Burrett
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Starring: Jeanne-Michele Charbonnet (Isolde), Clifton Forbis (Tristan), Mary Phillips (Brangäne), Jukka Rasilainen** (Kurvenal), Kristinn Sigmundsson* (King Marke), Erik Nelson Werner (Melot), and Aaron Blake (A Young Sailor/A Shepherd).

THE LIGHTHOUSE by Peter Maxwell Davies
Inaugural production of the Dallas Opera Chamber Series
Presented in collaboration with the Dallas Theater Center
In the Dee and Charles Wyly Theatre at the AT&T Performing Arts Center
March 16, 17 & 18(m), 2012
A chilling supernatural and psychological thriller!
Time: December 1900
Place: Edinburgh Court of Enquiry, Fladda Isle Lighthouse off the Scottish coast
Conductor: Nicole Paiement*
Stage Director: Kevin Moriarty* (opera directorial debut)
Scenic Design: Beowulf Boritt*
Costume Design: Claudia Stephens*
Starring: (in order of vocal appearance:) Andrew Bidlack* (Officer 1/Sandy), Robert Orth (Officer 2/Blazes), and Daniel Sumegi (Officer 3/Arthur/Voice of the Cards).

LA TRAVIATA by Giuseppe Verdi
April 13, 15(m), 18, 21, 27 & 29(m), 2012
Let’s Party Like It’s 1849!
An opera in three acts first performed in Venice at Teatro La Fenice, March 6, 1853
Text by Francesco Maria Piave, based on Alexandre Dumas’ play, La dame aux camélias
Time: 19th century
Place: Paris
Conductor: Marco Guidarini
Stage Director: Bliss Hebert
Production Design: Allen Charles Klein
Lighting Design: Thomas Hase
Choreographer: Rosa Mercedes*
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Starring: Myrtò Papatanasiu** (Violetta Valéry), James Valenti (Alfredo Germont), Laurent Naouri* (Giorgio Germont), Amanda Crider* (Flora Bervoix), Timothy Mix* (Baron Douphol), Mark McCrory (Marchese D’Obigny), Ethan Herschenfeld* (Doctor Grenvil), and Susan Nicely (Annina).

THE MAGIC FLUTE by W.A. Mozart
April 20, 22(m), 25, 28, May 4 & 6(m), 2012
Hearts Tested, Tried and True!
An opera in two acts first performed in Vienna, September 30, 1791.
Text by Emanuel Schikaneder.
Time: Legendary
Place: Mythological Egypt
Conductor: Graeme Jenkins
Production: August Everding
Stage Director: Matthew Lata
Scenic Design: Jörg Zimmermann*
Costume Design: Renate Kalanke*
Lighting Design: Duane Schuler
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Children’s Chorus Master: Melinda Cotten
Starring: Ava Pine (Pamina), Shawn Mathey* (Tamina), Patrick Carfizzi (Papageno), L’ubica Vargicová* (The Queen of the Night), Raymond Aceto (Sarastro), Kevin Langan (The Speaker), David Cangelosi (Monostatos), Angela Mannino* (Papagena), Caitlin Lynch* (First Lady), Lauren McNeese* (Second Lady), Maya Lahyani* (Third Lady), Aaron Blake (First Man in Armour) and Darren K. Stokes* (Second Man in Armour).

* 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.

###

Unbridled Enthusiasm

by Suzanne Calvin

There are a number of things I love in this world: kind-hearted children, pets that purr, well-designed furniture, glorious music enjoyed with the windows rolled down, walking anywhere, hundred-year-old linens, and the Meadows Museum--to name a few. But one of the things I’ve come to appreciate more and more is the man or woman who looks at the world with absolute, unsmooshable-unquenchable, enthusiasm.

Like Crewmantle at COMMANDOpera, discussing our upcoming production of Verdi’s “La traviata.”

(La traviata image by Richard Krall for the Dallas Opera)

Suzanne Calvin, Manager/Director Media and PR