“La traviata” Comes to TDO!

by Suzanne Calvin

FOR IMMEDIATE RELEASE:
Wednesday, March 7, 2012
Contact: Suzanne Calvin (214.443.1014/suzanne.calvin@dallasopera.org)
Or Megan Meister (214.443.1071/megan.meister@dallasopera.org)

THE DALLAS OPERA IS PROUD TO PRESENT
GIUSEPPE VERDI’S POIGNANT 1853 MASTERPIECE
LA TRAVIATA
LIBRETTO BY FRANCESCO MARIA PIAVE
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STARRING GREEK SOPRANO MYRTÒ PAPATANASIU IN HER AMERICAN DEBUT AS VIOLETTA, AMERICAN TENOR JAMES VALENTI AS ALFREDO, AND FRENCH BARITONE LAURENT NAOURI IN HIS DALLAS OPERA DEBUT AS GIORGIO GERMONT
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CONDUCTED BY MAESTRO MARCO GUIDARINI
STAGED BY DIRECTOR BLISS HEBERT
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OPENING NIGHT: FRIDAY, APRIL 13, 2012 AT 7:30 PM
WITH ADDITIONAL PERFORMANCES
April 15(m), 18, 21, 27, 29(m)
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PRODUCTION UNDERWRITERS:
MRS. WILLIAM W. WINSPEAR AND
JOY S. AND RONALD M. MANKOFF

DALLAS, MARCH 7, 2012 – The Dallas Opera is proud to present the third main stage production of the 2011-2012 “Tragic Obsessions” Season: Giuseppe Verdi’s tender and bittersweet romance, LA TRAVIATA, opening Friday, April 13, 2012 at 7:30 PM in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in Downtown Dallas. This will be the first time Verdi’s “Fallen Woman” has appeared on the Winspear stage.

This gorgeous production, never before seen in Dallas, is made possible through the generosity of Dallas Opera production underwriters Joy S. and Ronald M. Mankoff and Mrs. William W. Winspear.

Subsequent performances of LA TRAVIATA are scheduled for April 15(m), 18, 21, 27, & 29(M), 2012. Single tickets start at $25. Contact the Dallas Opera Ticket Services Office at 214.443.1000 or purchase online, 24/7, at dallasopera.org.

Based on the play La dame aux Camélias by Alexandre Dumas fils (the Younger), this 1853 masterpiece overflows with some of the opera’s most sensuous and beautiful melodies, the most memorable characters, and the most heart-rending drama, making it a popular favorite from that day to this.

The Dallas Opera’s LA TRAVIATA will star Greek Soprano Myrtò Papatanasiu in her American Opera Debut as the French courtesan, Violetta Valery. Seen & Heard International sang the praises of Miss Papatanasiu as Donna Elvira, in which she “sang touchingly of her abandonment, sensitively revealing her all-to-human capacity to be enthralled by Leporello disguised as Don Giovanni.” Miss Papatanasiu’s recent engagements have included Nedda in Pagliacci at Zurich’s Opernhaus, Donna Anna in Don Giovanni at the Vienna State Opera, and the title role in Handel’s Alcina with the Stuttgart State Theater in Germany.

Romantically linked with Miss Papatanasiu’s Violetta is tenor James Valenti, who last seduced Dallas Opera audiences in our critically acclaimed 2011 production of Verdi’s Rigoletto. Mr. Valenti will be singing the role of the love-struck Alfredo Germont, a far cry from his last character on our stage. Marilee Vergati of Dallas Examiner applauded Valenti’s callous Duke last season as, “a believable scoundrel as exemplified in the famous song “La donna é mobile.” (Another) brilliant moment during the Dallas Opera’s production is the quartetto di Rigoletto, where a brokenhearted Gilda sees the true nature of the Duke as he attempts to seduce Maddalena.”

Making his Dallas Opera debut is celebrated French baritone Laurent Naouri as Giorgio Germont. Concertonet.com’s Paul Wooley commented on Naouri’s performance of Germont in an earlier production at Santa Fe Opera: “The Violetta-Germont scene showed Naouri at his best. As he dealt with the diminutive Dessay, this Germont didn’t bellow or bluster to get his way, but instead used lush, warm tones to create the aura of a weakened man in utter desperation. His elegant ‘Di Provenza’ was one of the highlights of the night, as Naouri pleaded with his son using careful diminuendi at the end of nearly every phrase.” Mr. Naouri’s recent engagements include the role of Goulaud in Pelleas et Melisande at Madrid’s Teatro Real, Sharpless in Madama Butterfly at New York’s Metropolitan Opera, and the multiple roles of Lindorf/Coppelius/Miracle/Dapertutto in Les contes d’Hoffmann at La Scala in Milan.

“This is a remarkably beautiful production,” explains Dallas Opera Artistic Director Jonathan Pell, “created by the renowned team of designer Allen Charles Klein and director Bliss Hebert, and I have wanted to bring it to Dallas since I first saw Allen’s sketches.

“Furthermore, the singers at the heart of this Verdian masterpiece are among the best in the world. In the title role, we are thrilled to present Myrtò Papatanasiu, who has been compared to another Greek soprano famous for her portrayal of Violetta, Maria Callas, who will forever be intimately linked to the Dallas Opera. As her lover Alfredo, the American tenor James Valenti will bring warmth and a passionate yearning to the role, much as he did when he earned the ‘Maria Callas Debut Artist of the Year Award’ for his portrayal of Rodolfo in La bohème. Finally,” adds Mr. Pell, “in the pivotal role of Giorgio Germont, opera lovers will experience the unique artistry of Laurent Naouri, one of France’s foremost singers, in his eagerly anticipated Dallas Opera debut.

“How many reasons do you need to purchase a ticket? However many that is—we have many more.”

American Mezzo-Soprano Amanda Crider will be making her Dallas Opera Debut as Violetta’s closest friend, Flora Bervoix. David Fleshler of the South Florida Classical Review wrote that Miss Crider “brought a rich, deeply expressive voice” to her performances. Earlier this season, Miss Crider made her debut with Opera Omaha in Rossini’s di matrimLa cambiale di matrimonio.

Baritone Timothy Mix will make his Dallas Opera Debut in the role of Baron Douphol. Mr. Mix was the 2008 Richard Tucker Career Grant recipient. He has been described as someone who “…sang and acted…strongly into the plot…interacting fully with the other characters. Aided by a powerful stage presence, he proved more a personage than the title character.” (intermissionmag.com)

Bass Mark McCrory will be singing the role of Marchese D’Obigny. Dallas Opera Resident Young Artist Aaron Blake will return to the Dallas Opera stage as Gastone, Viscomte de Letorières; and Mezzo-Soprano Susan Nicely, who portrayed the Nurse in our critically acclaimed production of Mussorgsky’s Boris Godunov last season, returns in the role of Annina.

Rounding out the cast is tenor Steven Haal as Giuseppe, Bass Bobby Tinnion as Flora’s servant and Bass Kyle Logan Hancock as the Messenger.

All six performances will be conducted by the Marco Guidarini in his first appearance at the Dallas Opera in more than a decade. He debuted with the company conducting performances of Il barbiere di Siviglia, starring Jennifer Larmore.

This lushly romantic Florida Grand Opera production was designed by Allen Charles Klein and will be staged by Bliss Hebert, The James R. Seitz, Jr., Stage Director in Honor of John Gage.

Mr. Hebert has staged over 200 productions of more than 80 operas with 25 different companies, including the Metropolitan Opera for Les contes d’Hoffmann with Joan Sutherland and Plácido Domingo; Lyric Opera of Chicago for Manon with Renata Scotto; San Francisco Opera, Santa Fe Opera for a new production of Orpheus in the Underworld; the Dallas Opera for a Manuel de Falla triple bill (Master Peter’s Puppet Show, La vida breve, and El amor brujo), L’incoronazione di Poppea, Les contes d’Hoffmann, Lucia di Lammermoor, Werther, Romèo et Juliette, and L’Italiana in Algeri; L’Opera de Montreal for Samson et Dalila, Der Rosenkavalier, Turandot, and Manon Lescaut; Houston Grand Opera for Dialogues of the Carmelites and Turandot; Florida Grand Opera for The Turn of the Screw, Les contes d’Hoffmann, Tosca, Die Walküre, La Voix Humaine, Il tabarro, and La Gioconda; San Diego Opera for Salome, Werther, and Dialogues of the Carmelites, New Orleans Opera for Tristan und Isolde and Lohengrin; and Baltimore Opera for Turandot, Lucia di Lammermoor, Romèo et Juliette, and Norma.

Lighting design will be by Thomas C. Hase, with wig and make-up designs by David Zimmerman.
Chorus preparation will be by Dallas Opera Chorus Master Alexander Rom.
~~~~

Set in 19th-century Paris, where the young heir to a distinguished family name falls passionately in love with a woman of uncertain virtue, LA TRAVIATA is one of the most soulfully romantic works in the opera canon.

Modeled after the too-short life and times of one of Paris’ best-known 19th century beauties, Marie Duplessis (who later went on to have a torrid affair with composer Franz Liszt); this is the story of her sometimes stormy relationship with writer Alexander Dumas the Younger, who immortalized her as “The Lady of the Camellias” after she succumbed to tuberculosis at the tender age of 23. 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, which served as the basis for his play, his fictional heroine tells us, “I built a future life on your love; I dreamed of the country, of purity.” 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. However, composer Giuseppe Verdi, who then lived in his own unconventional arrangement with Giuseppina Strepponi, understood these characters completely and rendered them indelibly upon our hearts.
~~~~

EVENTS AND GUEST ARTISTS SUBJECT TO CHANGE

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, 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*
Cast to be announced this autumn.

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.

###

All About THE LIGHTHOUSE

by Suzanne Calvin

Excellent feature on the Dallas Public Library blog, “Booked Solid” about our upcoming production, THE LIGHTHOUSE, by Peter Maxwell Davies -- a contemporary work that will inaugurate our new, dedicated chamber series in partnership with the Dallas Theater Center. Be sure to read it all the way to the end, as the final paragraph has a jaw-dropping bit of trivia -- downright spooky! Read Andrew Anderson’s entire article right here.

(Fladda Lighthouse photo from Wikipedia)

Suzanne Calvin, Manager Director Media & PR

The Lighthouse is Looming

by Suzanne Calvin

And it’s a new experience for every one of us to be working with members of the Dallas Theater Center’s production team (and vice versa!) under the direction of Maestra Nicole Paiement and stage director Kevin Moriarty.  There’s some heavy lifting to be done, certainly, but it’s clearly a labor of love for all concerned in this groundbreaking artistic partnership!

Find out how opera differs from theater, even in the pre-production phase, in this month’s cover story in “Art + Culture” Magazine by Gregory S. Isaacs entitled “Dissecting the Opera-tion.” Access the feature here.  You’ll also enjoy the working models by award-winning Broadway set designer Beowulf Boritt, like the one pictured above.

And get your tickets now for the very limited engagement, March 16-18.  If you want new works, don’t just talk about it -- vote with your credit card!  Your support for the inaugural production of the Dallas Opera’s new chamber series will keep this conversation going strong!

Suzanne Calvin, Manager/Director Media & PR

Free, Public Roundtable on the Impact of the Arts on Education

by Suzanne Calvin

FOR IMMEDIATE RELEASE:
Monday, March 5, 2012
Contact: Suzanne Calvin
214-443-1014/suzanne.calvin@dallasopera.org

THE DALLAS OPERA IS PROUD TO PRESENT
“THE GENERAL DIRECTOR’S ROUNDTABLE” ON
“THE IMPORTANCE OF ARTS IN EDUCATION”
FEATURING LEANN BINFORD, DIRECTOR, CREATIVE LEARNING WORKFORCE AT BIG THOUGHT, INC., AND ZANNIE VOSS, PhD PROFESSOR AND CHAIR OF ARTS ADMINISTRATION, SMU’S COX SCHOOL OF BUSINESS AND MEADOWS SCHOOL OF THE ARTS
HOSTED BY
DALLAS OPERA GENERAL DIRECTOR & CEO KEITH CERNY
~~~~
FREE TO THE PUBLIC! RSVP AT 214.443.1044
MODERATED BY D MAGAZINE ARTS EDITOR PETER SIMEK
~~~~
TUESDAY, MARCH 27TH, 6:30 PM
NANCY B. HAMON HALL, THE MARGOT & BILL WINSPEAR OPERA HOUSE AT THE AT&T PERFORMING ARTS CENTER
~~~~
IN PARTNERSHIP WITH D MAGAZINE

DALLAS, MARCH 5, 2012 – The Dallas Opera is proud to present the fourth in a series of quarterly “General Director’s Roundtables,” featuring timely and in-depth discussion of issues affecting opera, contemporary audiences, and the greater performing arts community today. The brainchild of Dallas Opera General Director & CEO Keith Cerny, this series seeks to bring together the most knowledgeable voices in their fields in a genuine quest for answers.
The topic of this roundtable is “The Importance of Arts in Education,” presented in partnership with D magazine and thoughtfully moderated by D magazine Arts Editor Peter Simek at 6:30 PM, Tuesday, March 27, 2012 at the AT&T Performing Arts Center.
The panelists, in addition to the multifaceted Mr. Cerny who hosts these events, will include LeAnn Binford, Director of Creative Learning Workforce at Big Thought, Inc. and Zannie Voss, PhD Professor and Chair of Arts Administration at SMU’s Cox School of Business and Meadows School of the Arts.

“My wife Jennifer and I are raising four boys and have always considered arts education an integral part of our family learning experience, from music-lessons to museum excursions,” explains Dallas Opera General Director and CEO Keith Cerny. “I know, first-hand, how exposure to the arts touches the young and gives them insights into themselves and the world around them. Yet many questions remain: How do we measure the impact of the arts? How do we develop programs that are both appropriate and effective? How do we support arts education in schools, many of which are experiencing severe budget deficits? And most importantly,” Cerny adds, “how do we ensure that every child, regardless of background, has the opportunity for both artistic exposure and expression?
“These are just a few of the questions we will explore in our upcoming Roundtable.”

This General Director’s Roundtable will be held in the intimate salon setting of Nancy B. Hamon Hall, located within the Margot and Bill Winspear Opera House. On-site paid parking for the General Director’s Roundtable is available beneath the Winspear Opera House in the Lexus Red Parking Garage.
Please note: Seating is limited; however, this special edition of the roundtable will be free and open to the public. Reservations are required; just call 214.443.1044 and leave your name and the number in your party or reserve your seat for the Roundtable online anytime, 24/7, at rsvp@dallasopera.org.
~~~~

BIOS:

LeAnn Binford, Director, Program Operations at Big Thought, Inc. is an arts administrator with over 20 years of practical experience in performing arts management who has initiated, designed, and implemented new programming, enhanced traditional programs with innovative approaches, and served as an advocate for the arts in diverse environments. A creative leader and accomplished speaker who is articulate, highly organized, and an excellent writer, she combines a focus on education with the ability to build strong relationships with artists, volunteers, trustees, and administrators.

Zannie Giraud Voss Ph.D., Institut d’Administration des Entreprises, Aix-en-Provence) is Chair and Professor of Arts Administration in the Meadows School of the Arts and the Cox School of Business at Southern Methodist University, and an Affiliate Professor at the Euromed School of Management in Marseille, France. Prior to joining the SMU faculty, she was a professor in the Department of Theater Studies and an adjunct professor in management in the Fuqua School of Business at Duke University, where she also served as producing director of Theater Previews at Duke, a professional theater company dedicated to the development and co-production of new works.
Zannie has a worked as consultant on projects for the Irvine Foundation, Theatre Development Fund and Theatre Communications Group, co-authoring TCG’s Theatre Facts since 1998. She has published articles examining the strategic factors that influence organizational performance in nonprofit professional theatres in the Journal of Marketing, Journal of Marketing Research, Academy of Management Journal, Organization Science, Journal of Services Marketing, American Theatre, ArtsReach, and International Journal of Arts Management, for which she serves as an associate editor. She served as managing director of PlayMakers Repertory Company, associate manager of the Alley Theatre, assistant director of audience development at the Mark Taper Forum, and as a site visitor and panelist for the National Endowment for the Arts. She has received research funding from the National Science Foundation, the Aspen Institute, the Marketing Science Foundation, the American Marketing Association and the Sheth Foundation.

Biographical information about Dallas Opera General Director and CEO Keith Cerny may be accessed online at http://www.dallasopera.org/the_company/general_director.php.

~~~~

Single tickets for the remaining main stage 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.
Secure your seats today for the remaining spring mainstage productions: La traviata, and The Magic Flute, as well as the Dallas Opera’s brand-new production of a haunting 1980 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 “GENERAL DIRECTOR’S ROUNDTABLE”
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

THE DALLAS OPERA 2011-2012 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. 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.

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.

###

“…And Come Back a Star!”

by Suzanne Calvin

She was the 2005 “Maria Callas Debut Artist of the Year” award winner for her Dallas Opera debut in the role of the long-suffering Micaela in “Carmen.” That was half-a-dozen years after winning the 1998 Dallas Opera Guild Vocal Competition. And now, with about a day’s notice, Houston-born soprano Latonia Moore made her glorious Metropolitan Opera debut in the title role of “Aida” last Saturday -- a performance broadcast around the world and one that will be talked about by opera aficionados for years to come.

Get the full report from Anthony Tommasini of “The New York Times” right here.

(Photo courtesy of Cory Weaver, the Metropolitan Opera)

Suzanne Calvin, Manager/Director Media & PR

A Week in the Life – And One to Remember Always!

by Megan Meister

 Latonia Moore taking a solo bow after her triumphant Metroplitan Opera debut as Verdi’s AIDA on the Saturday afternoon radio broadcast, March 3, 2012

This has been an incredibly exciting week.  Saturday night’s final performance of TRISTAN was a triumphant finale to perhaps the most highly praised production at The Dallas Opera in recent memory.   I was sorry to see the run come to an end, but relieved that we got through it without illness or injury, and each performance was a privilege to attend.  Everything about the production was memorable, from the playing of the Dallas Opera Orchestra to the phenomenal singing of every member of the dedicated cast to the stunning concept and cutting edge technology used in the design of the show.  Bravi to everyone involved!

Monday afternoon was the first rehearsal for our chamber opera production of Peter Maxwell Davies’ THE LIGHTHOUSE and the energy in the rehearsal room was electrifying. Everyone involved in the project is excited, and this production promises to be something truly special.

On Tuesday I flew to Chicago to see the highly acclaimed new Francesca Zambello production of SHOW BOAT at Lyric Opera, starring Nathan Gunn and Morris Robinson, both familiar to Dallas Opera audiences.  Jerome Kern and Oscar Hammerstein’s groundbreaking 1927 musical might seem an unlikely undertaking for an opera company, but Lyric lavished a great deal of attention (and money !) on the production, and it was a pleasure to hear this music performed by trained voices the way it was meant to be heard, and with the original orchestration.

Wednesday night was the premiere of a new production of Handel’s RINALDO directed by Francisco Negrin and wonderfully conducted by Harry Bicket.  The production was very clever and entertaining, and superbly sung by David Daniels, Luca Pisaroni and in her Lyric Opera debut, South African soprano Elza van den Heever, who made her Dallas Opera debut two years ago as “Fiordiligi” in Mozart’s COSI FAN TUTTE for the opening season of the Winspear.

I flew back to Dallas on Thursday to check on rehearsals for THE LIGHTHOUSE, and then late Friday afternoon flew to New York for what was really the highlight of my week, Latonia Moore’s debut at the Metropolitan Opera in the radio broadcast of Verdi’s AIDA.  I sat in that audience feeling like a proud father, watching this amazing performance by an artist I first discovered as a sophomore at UNT almost 15 years ago.  She was one of the youngest winners of the Dallas Opera Guild Vocal Competition in 1998, and at my suggestion, she went on to study with Bill Schuman at Philadelphia’s Academy of Vocal Arts.  I then nominated her for a study grant from the Richard Tucker Foundation, which she won, and then she returned to Dallas in 2004 to sing an unforgettable “Micaela” in CARMEN, and won the Maria Callas Debut Artist of the Year selected by Dallas Opera subscribers.  She has subsequently gone on to a major international career, including her critically acclaimed performances as AIDA last year at London’s Royal Opera.

She returns to Dallas in the fall to open our season as AIDA, so when I learned that she was going to make her Met debut on 24 hours notice to replace an ailing Violeta Urmana, you can bet I wouldn’t have missed it for the world.

The audience reaction to her first aria, “Ritorna vincitor” was a roaring ovation that literally stopped the show.  Any of you fortunate enough to have heard the radio broadcast know that this was something truly special.

Latonia confided in me afterward that she hadn’t slept in two days since she first heard that she was going “on” and was incredibly nervous.  To make a debut at the Met is daunting enough under the best of circumstances, but on an international radio broadcast with virtually no rehearsal, I can only imagine the pressure.

What a triumph!  I sat there and listened to the ovations she received with enormous pleasure knowing that Dallas Opera audiences were going to get to hear Latonia in this role in October.

22,000 and Still Counting

by Suzanne Calvin

 

There is still time to mark your calendar and plan to be there at Cowboys Stadium for the first ever Dallas Opera Simulcast in a sports venue. The production is Mozart’s THE MAGIC FLUTE, featuring an all-star cast, and it’s a great introduction to opera. Get more details from KERA’s Jerome Weeks here or Classical Music Critic Scott Cantrell of “The Dallas Morning News.”

On a related note: The Dallas Opera’s renowned Principle Oboist, Rogene Russell, sent a story I’d heard previously but never tracked down. A recent edition of the monthly magazine “Mental Floss” had a cover story on the “25 Most Powerful Songs”…including Mozart’s “The Magic Flute.”

Here’s the deal: A sewage treatment plant in Treuenbrietzen, Germany, experimented with music to determine if it could help sludge-eating microbes do their job any faster and more efficiently. The answer, it appeared, was “The Magic Flute.” Mozart’s masterpiece evidently has extraordinary power -- at the cellular level -- and saves the plant money every month by keeping teeny, tiny critters excited and active. Now, if this music is that good for sludge-eating microbes, just imagine what it can do for you and your loved ones, blasting from the big screens of Cowboys Stadium!

And the concessions will be ever so much better than anything the microbes get to chow down upon.

(Image courtesy of the University of Arizona)

Suzanne Calvin, Manager/Director Media & PR

So In Vogue

by Suzanne Calvin

In the pages of this month’s “Vogue” magazine, an article on tenor Jonas Kaufmann (“Lord of the Ring”) that also touches on other members of the Met cast, including tenor Jay Hunter Morris (pictured, in the photo from NPR), who just had a spectacular run as Captain Ahab in the San Diego production of “Moby-Dick.”

Vogue writes: “Kaufmann isn’t the only performer in the Ring cycle whose journey to the Met’s stage has had mythic overtones. Last October, the American tenor Jay Hunter Morris found himself living out an archetypal legend, albeit one that was more 42nd Street than Götterdämmerung. Morris grew up in Paris, Texas, the son of a Southern Baptist minister and a church organist, and spent his childhood singing in the choir. In college, he performed country songs during happy hour at a steak house in Waco. But when he saw a Dallas Opera production of La Traviata, he fell in love with the art and, with the fearlessness of youth, decided to make it his life’s work.”

And now, a Texan finds himself singing Siegfried at the Met.  There’s a more complete version of this charming anecdote in a story that appeared last month on NPR.  Read it right here.

In other news from the Metropolitan Opera, it’s been announced that Latonia Moore, who is starring in the Dallas Opera’s production of “Aida” next season, will make her Metropolitan Opera debut IN THE VERY SAME STARRING ROLE this Saturday afternoon, March 3rd, at noon Texas time -- catch it live from the Met on WRR, Classical 101.1 FM.

What a great sneak peek at what we can expect here on the Dallas Opera stage!

And speaking of sneak peeks: DO come out to this Sunday’s LIGHTHOUSE Sneak Preview event, starting in Hamon Hall at 3:00 PM.  The experts, the production team and the stars as they unravel Peter Maxwell Davies’ eerie masterwork, opening in a new Dallas Opera production, in partnership (our first ever!) with the Dallas Theater Center.

In other matters…BE SURE TO SEEK OUT THIS MONTH’S EDITION (Oh, sorry, I’m shouting) Be sure to seek out this month’s edition of “Art + Culture” magazine with the Dallas Opera’s new chamber opera, THE LIGHTHOUSE, on the cover.  Outstanding story by Gregory Isaacs.  “The Lighthouse” opens in the Wyly Theatre at March 16th for three performances and marks the opera debut of DTC Artistic Director Kevin Moriarty!

Tickets are going fast. 

Suzanne Calvin, Manager/Director Media and PR

From the Desk of Artistic Director Jonathan Pell

by Megan Meister

I just heard from friends in New York that Latonia Moore is going to sing tomorrow’s Met radio broadcast of Aida!

Latonia was the 1998 winner of the Dallas Opera Guild Vocal Competition and the winner of the 2004 Maria Callas Debut Artist of the Year Award at the Dallas Opera for her unforgettable “Micaela” in Carmen.

She just happens to be scheduled to open our season next October, also  in the title role of Verdi’s Aida, a role she recently sang at London’s Covent Garden to great acclaim.  I have known Latonia since she was an 18 year old student at the University of North Texas, and I would like to think that I was of more than a little help getting her career launched.

I couldn’t be more thrilled for her, and I wish her In bocca al lupo for tomorrow’s broadcast.

OVER 21,000 TICKETS REQUESTED FOR THE DALLAS OPERA’S 2012 COWBOYS STADIUM SIMULCAST!

by Megan Meister

FOR IMMEDIATE RELEASE:

Thursday, March 1, 2012

Contact: Suzanne Calvin (214.443.1014/suzanne.calvin@dallasopera.org)

Or Megan Meister (214.443.1071/megan.meister@dallasopera.org)

 

OVER 21,000 TICKETS REQUESTED

FOR THE DALLAS OPERA’S 2012

COWBOYS STADIUM SIMULCAST!

~~~~

MOZART’S THE MAGIC FLUTE LIVE!

SATURDAY, APRIL 28, 2012 at 7:30 PM

STADIUM DOORS OPEN AT 6:00 PM

~~~~

FREE SEATING, FREE PARKING, PAID CONCESSIONS

FREE TICKETS AVAILABLE THROUGH TDO WEBSITE

DALLASOPERA.ORG/COWBOYS

            DALLAS, TX, MARCH 1, 2012 – The Dallas Opera, in partnership with Cowboys Stadium, is thrilled to announce that more than 21,000 tickets to the Dallas Opera’s April 28th Cowboys Stadium Simulcast have been requested by opera lovers from throughout Texas and 23 additional states.  Ticket requests have also come in from the District of Columbia and Canada, since the joint announcement was made one month ago on January 26th at Cowboys Stadium in Arlington, Texas.

Additional data collected from those making ticket requests indicate that, as of today, 93% of participating households have no previous purchasing history with the Dallas Opera.  For many, the Cowboys Stadium Simulcast will mark their first, live experience of the art form in any venue.

Gene Jones (the wife of Dallas Cowboys Owner, President and General Manager Jerry Jones), whose vision led to the Stadium’s museum-quality collection of contemporary art, set the stage for the announcement explaining, “Sports and art are not typically thought of as belonging together.  Yet sporting events and great art do something similar—they get people talking.”

Now, people are talking about family outings to the Dallas Opera at Cowboys Stadium, many to experience a live classical performance or opera for the very first time.

An additional five thousand reserved seats will be made available to area schools and student groups as part of the Dallas Opera’s newly expanded educational efforts.

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 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.

“We are excited to partner with the Dallas Opera on such a distinctive event,” said Dallas Cowboys Executive Vice President of Brand Management Charlotte Anderson.  “Our organization admires and respects The Dallas Opera’s original thinking and stewardship in making a ground-breaking event like this a reality.  We truly value the importance of the arts in our community, and we hope that this first-of-its-kind opera broadcast gives us a way of sharing our love of the arts with a new audience at Cowboys Stadium.”

“One of the goals of the Dallas Opera is to bring great singing and world-class theater to the widest possible audience,” explained Dallas Opera General Director and CEO Keith Cerny.  “As part of our commitment to expanding our community outreach we are thrilled to announce an unprecedented, ‘game-changing’ collaboration with the Cowboys organization.  Let me also say that the Dallas Opera is especially grateful for the generous support of the Jones Family, encouraging our efforts to create one of the most unique and memorable events in the history of this opera company.

“I hope that the centralized location of Cowboys Stadium will draw music and theater lovers from all across North Texas to this free simulcast of Mozart’s action-packed masterpiece,” Mr. Cerny adds, “especially those who, for a variety of reasons, have perceived opera as an intimidating or challenging art form, rather than the fantastic entertainment experience it is.”

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            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.”

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 tempt him to come 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.

“This production from Lyric Opera of Chicago,” says Mr. 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.”

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.

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.

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).

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.

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.

 ~~~~

            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 plot honestly, having been inspired not only by 18th century Masonic practices, but by literature reflecting several different traditions.

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 comic 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.

The simulcast performance will be conducted at the Winspear Opera House 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.

Maestro Jenkins 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.”  Additional plaudits came his way for his superb conducting of the Dallas Opera’s triumphant new production of Wagner’s Tristan & Isolde, which played to sold-out houses this month.

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 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.  Currently, he serves as Director of Opera at Florida State University.

            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.

~~~~

            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.

Secure your seats today for the remaining spring mainstage productions: La traviata, and The Magic Flute, as well as the Dallas Opera’s brand-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.

~~~~

EVENTS AND GUEST ARTISTS SUBJECT TO CHANGE

THE DALLAS OPERA GRATEFULLY ACKNOWLEDGES

THE TEXAS INSTRUMENTS FOUNDATION,

PRESENTER OF THE 2011-2012 SEASON

 ADDITIONAL INFORMATION ABOUT THE “TRAGIC OBSESSIONS” SEASON

IS CONVENIENTLY AVAILABLE ONLINE, 24/7

VISIT WWW.DALLASOPERA.ORG

 For high-resolution, digital photographs suitable for print

To arrange an interview

Or for additional information

Please contact Suzanne Calvin, Manager/Director Media & PR

214.443.1014 or suzanne.calvin@dallasopera.org

THE DALLAS OPERA WISHES TO EXPRESS ITS GRATITUDE TO OUR EXCLUSIVE PARTNERS:

 

AMERICAN AIRLINES – OFFICIAL AIRLINE OF THE DALLAS OPERA

LEXUS – OFFICIAL VEHICLE OF THE DALLAS OPERA

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ROSEWOOD CRESCENT HOTEL – OFFICIAL HOTEL OF THE DALLAS OPERA

THE DALLAS OPERA 2011-2012 SPRING SEASON INFORMATION

The Dallas Opera celebrates its Fifty-FifthInternational 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.  Performances of The Lighthouse (new chamber opera series) will take place in the Dee and Charles Wyly Theatre located directly across Flora 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.  All ticket sales are final and no late seating is permitted prior to intermission.

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 Operatic 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.

 

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