From the Desk of Artistic Director Jonathan Pell

by Megan Meister

Well, I can start to breathe again.

Last Friday morning when I arrived in the office at 8:00 a.m. I found a deeply distressing e-mail from Myrtò Papatanasiu’s manager in Italy, informing me that there had been an accident on stage during a performance of Rusalka at the Théâtre de la Monnaie in Brussels on the preceding Wednesday night and Miss Papatansiu’s foot  had been seriously injured by a piece of scenery during a set change.   Apparently, she was able to finish the performance, and was able to sing the final performance on Friday night, but now, rather than coming straight to Dallas to begin rehearsals for her American debut as “Violetta” in our production of La traviata on Saturday as planned, she was returning to her home in Athens to have her foot x-rayed and examined by her own doctor.  Naturally, I was concerned for her, but I was also worried about our rehearsals, which were scheduled to begin on Monday morning with the conductor, stage director and the rest of our cast.   There isn’t a lot they could do without a “Violetta” and there was, of course, the very real possibility that she might discover that her injury was even more serious than originally feared, and that she might have to cancel.

I was greatly appreciative for the e-mail I received on Saturday from Peter de Caluwe, the general director of the Monnaie, who wrote in reply to my inquiry, and explained in more detail what had happened, and he reassured me that he thought that Myrtò would be fine and that he didn’t think that she would cancel her appearance in Dallas.

She did in fact, go to the doctor in Athens first thing on Monday morning and the x-ray didn’t reveal any bones broken in her foot, and apparently a lot of the swelling had gone down since the accident.  I received an e-mail on Monday afternoon confirming that she was on her way home to pack.

I am writing all this now because, although she is still in some pain, her plane just landed at DFW and she is scheduled to begin rehearsals first thing tomorrow morning.

She is, of course,  renowned for her portrayal of the heroine in this most personal of all Verdi’s operas, but Myrtò has never performed La traviata with this particular conductor, director or any of our cast, so there is much to do to make up for lost time.    Fortunately we still have more than three weeks before we open.

I was really looking forward to her debut with the company and being able to add her name to the distinguished list of foreign artists who have made their American debut with The Dallas Opera, so I am really glad and greatly relieved that she is finally here.

I prefer the drama to be on the stage and not in my office…

NOT Too Cool for School

by Suzanne Calvin

It’s the official roll-out of the company’s education programs for this summer and the following school year. Read it and wish you were ten again:

FOR IMMEDIATE RELEASE:
Wednesday, March 21, 2012
Contact: Suzanne Calvin
214-443-1014/suzanne.calvin@dallasopera.org

THE DALLAS OPERA IS PROUD TO ANNOUNCE
The 2012-2013 Education Programs
SERVING NORTH TEXAS STUDENTS AGE 5 TO ADULT
~~~~
PRESENTED BY TEXAS INSTRUMENTS,
THE TEXAS INSTRUMENTS FOUNDATION,
AND THE PEROT FOUNDATION
~~~~
NEW AND EXPANDED PARTNERSHIPS WITH SMU AND UNT
~~~~
OPTIONS INCLUDE TOURING OPERAS, AFTERSCHOOL PROGRAMMING, SUMMER CAMP SESSIONS, AND
BEHIND-THE-SCENES ACCESS
~~~~
SUMMER REGISTRATION BEGINS TODAY!

DALLAS, MARCH 21, 2012 – The Dallas Opera is proud to announce the company’s Educational Programs for the 2012-2013 Season, presented by Texas Instruments, The Texas Instruments Foundation, and The Perot Foundation.
After doubling the number of students served in Fiscal 2012 to approximately 23,500 students (compared to the previous year), the Dallas Opera continues to make inroads into the community through touring operas, budget-conscious family programming, and both new and expanded partnerships with local University music programs at SMU’s Meadows School of the Arts and the College of Music at the University of North Texas.

“Educating the next generation of classical music and opera patrons isn’t an option—it’s a welcome responsibility that must be met” explains Dallas Opera General Director and CEO Keith Cerny. “The Dallas Opera and other arts organizations have long realized that many children are not being adequately exposed to the classical arts either at home or in school. These art forms help young people connect with their past as well as embrace their options for the future, and increase our collective understanding of what it means to be human.”
Adds Mr. Cerny, “Few things are more likely to stunt our development and stifle our creative impulses than a life lived without generous exposure to the arts.”

Dallas Opera Educational Programs for the upcoming fiscal year include both summer programming and school year programs. Registration for summer sessions begins today with a deadline of May 1, 2012. Registration for the fall the spring sessions will begin on September 5, 2012 and close on October 1, 2012.
For additional information, go to http://www.dallasopera.org/learn/students/
or call the Dallas Opera at 214.443.1000 and ask for Education.

“We’ve left behind the era of ‘one-size-fits-all’ arts programs,” explains Dallas Opera CMO/Director of Community Outreach Jennifer Schuder. “We are committed to addressing the needs of an increasingly diverse student population, from those who may be encountering classical music and theater for the very first time to those who have already decided to pursue a career in opera.”

TDO AFTERSCHOOL PROGRAMS:

1. SUMMER campTDO™ (for Grades 3-8)
Explore the world of JACK AND THE BEANSTALK at campTDO! Join the Dallas Opera for a three-hour interactive workshop that gives students firsthand experience in creating an opera production. Working under the guidance of TDO teaching artists, each campTDO session will conclude with a fully staged performance of JACK, featuring TDO teaching artists.

CampTDO sessions can accommodate up to 200 students, including groups from different Afterschool Providers. All campTDO sessions are at the Karayanis Rehearsal/Production Center located outside Fair Park at Gate 12. Eight sessions are offered during the months of June and July.

This program is FREE to Afterschool Providers.

2. FALL/SPRING TDOinaSuitcase™ (for Grades 3-6)
The world of John Davies’ operatic version of the fairy tale JACK AND THE BEANSTALK comes to the classroom as part of TDO’s expanded TDOinaSuitcase. Day One is an interactive visual arts and musical activities program; Day Two is a charming performance of JACK AND THE BEANSTALK. Both parts of this program are designed to be executed in a convenient cafeteria, library or auditorium.

Available in select weeks from September 2012 through May 2013, this program is FREE to Afterschool Providers. Registration begins September 5, 2012.

Performances of JACK AND THE BEANSTALK presented in artistic collaboration with Dallas Children’s Theater.

STUDENT PERFORMANCE PROGRAMS:

1. TDO Student Matinees (for Grades 4-8)
The chandelier will float up to the ceiling and the lights will dim, as students settle into their seats for a fully staged performance of Georges Bizet’s DOCTOR MIRACLE, live at the Winspear Opera House. This one-act opera is a comedic gem that ensures true love will prevail through the making of an omelet. Students will experience a fully staged opera, featuring the Dallas Opera Orchestra and a cast of exceptional young singers from the graduate programs of the SMU Vocal Department and the UNT Opera Program.

TDO Student Matinees are supported by TEKS-aligned curriculum materials and comprehensive teacher training.

Cost: $4.00 per ticket. Tickets are assigned in the order of request. Registration begins September 5, 2012; deadline October 1, 2012. Payment Deadline: December 12, 2012.

2. TDO2go™ Touring Opera (for Grades 4-8)
Ideal for student groups of all sizes, from 100 to a thousand; our touring opera brings a fully staged production of Georges Bizet’s DOCTOR MIRACLE to your school cafeteria, gym, or auditorium. Schools provide a 15’ x 20’ performance space with a tuned piano. This 45-minute, one-act opera is a comedic gem that ensures that true love prevails through the making of an omelet. DOCTOR MIRACLE is the perfect student introduction to opera, and it features exciting young singers from the graduate programs of the SMU Vocal Department and the UNT Opera Program.

TDO2go performances are supported by TEKS-aligned curriculum materials and comprehensive teacher training.

Performed during select weeks, October 2012 through May 2013 at 10:30 a.m.

Cost: $100 per performance, public schools
$500 per performance, private schools

Registration begins September 5, 2012 and ends October 1, 2012. Tour bookings for TDO2go are assigned in the order they are requested.

OPERA EXPERIENCE PROGRAMS:

1. TDOSneakPeek™ (for Grades 6-College)
This program allows area middle school, high school, and college music teachers to introduce their students to opera, while observing the artistic process at a working Final Dress rehearsal of a main stage TDO production.

TDOSneakPeek is supported by TEKS-aligned curriculum materials and comprehensive teacher training. Tickets are FREE, yet limited, and will be assigned in the order requested. Registration begins September 5, 2012; deadline October 1, 2012.

2. TDOSightlines™ (for Grades 6-College)
Due to the configuration of the Winspear Opera House, there are several areas of the performance hall that have partial (or restricted) views of the stage. Through the TDOSightlines Program, these seats are offered—FREE of charge—to area middle, high school, and college music teachers and their students. Upcoming performances include: AIDA, TURANDOT, DOCTOR MIRACLE, the TDO Family Concert, and THE ASPERN PAPERS.

Seating is limited and will be allocated in the order of requests received. Registration begins September 5, 2012 and ends October 1, 2012.

3. AccessTDO™ (for Grades 9-College)
Can you imagine yourself as an opera star? Or perhaps leading the orchestra? Are imaginative sets and costumes more tailored to your skills? AccessTDO is designed for students now studying music or preparing for a career in the performing arts. Students are given the opportunity to experience firsthand what it takes to put an opera onstage, by observing working rehearsals and interacting with internationally acclaimed artists, designers, and other members of the production team. Area high school and college music and drama teachers are invited to bring their students to a series of four events between October 2012 and April 2013. Each session will begin with an informative, 45-minute interactive discussion followed by the chance to observe an hour of a working mainstage rehearsal—and whatever ensues!

Space is limited to 350 students per event. Group reservations can be made by a certified teacher; students can also make reservations on an individual basis for one or all four events. Requests will be processed in the order in which they are received.

The AccessTDO program is supported by TEKS-aligned curriculum materials and comprehensive teacher training. Registration begins September 5, 2012 and ends October 1, 2012. AccessTDO is FREE.

4. Student Rush/Student OPERAtunities Program (for Grades 9-College)
Experience Grand Opera on a tuition-friendly budget. If you are a fulltime student, under the age of 35, there are two great ways to get a great deal on TDO tickets:

The TDO Student Rush program allows qualifying students to purchase best-available seats at the box office, beginning 90 minutes prior to each performance. Present a valid student I.D. in order to purchase a balcony seat ($15-25) or best-available orchestra seat ($50).

You can also sign-up to receive occasional emails when best-available seats are available for advance purchase through the TDO Student OPERAtunities program. Exact seat locations will not be assigned until 24 hours prior to the performance and will be available for pick up at Will Call. Quantities are limited and advance student tickets may not be available for all Dallas Opera performances.
$15 – Best Available Balcony Seats (Opening Night and Midweek)
$25 – Best Available Balcony Seats (Sunday Matinees and Saturdays)
$50 – Best Available Orchestra Seats (all performances)

TDO offers comprehensive, TEKS-aligned curriculum encompassing five subjects: music, social studies, math, language arts and visual arts. The Dallas Opera presents two training sessions each school year (in the fall) to brief teachers participating in our programs on the lessons and materials we make available, to better prepare their students for their opera experience.

FREE training sessions will be held in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center. They will conclude with a tour of the facility. Participating teachers will also receive a free voucher for four tickets to any performance of TDO’s Family Programming during the 2012-2013 Season.

~~~~

DALLAS OPERA EDUCATIONAL PROGRAMS PARTNERS

Underwriters
($40,000 and up)
The Perot Foundation
Texas Instruments
Texas Instruments Foundation

Sponsors
($15,000 and up)
David M. Crowley Foundation
Hunt Oil Company
JPMorgan Chase Foundation
Kimberly-Clark Corporation
Lockheed Martin
The Priddy Foundation

Partners
($7,000 and up)
Akin Gump Strauss Hauer & Feld, L.L.P.
Baker Botts, L.L.P.
Alice E. and Joseph C. Blewett Foundation
The Boeing Company Charitable Trust
ExxonMobil Corporation
The Rosewood Foundation

Friends
($500 and up)
Theodore and Beulah Beasley Foundation
Credit Suisse
Diagnostic Assessment Services
Fannie and Stephen Kahn Charitable Foundation
Mary Potishman Lard Trust
Garland D. Rhoads Foundation
Harold Simmons Foundation

~~~~
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.

~~~~

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.

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TOP THIS!

by Megan Meister

The Dallas Opera Guild’s 24th Annual Vocal Competition for young opera singers ended on a high-note (somehow, it always does) on Saturday, March 10th in the Winspear Opera House, when ten outstanding finalists with Texas connections were awarded a total of $20,000 in prize monies, following a nearly unprecedented “battle of the sopranos.”

29-year-old soprano Heather Hawk of Weatherford, who is currently pursuing her doctorate in Musical Arts at the University of North Texas, 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 round.

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.  Miss Woodbury took home Second Place in the 2010 Dallas Opera Guild Vocal Competition, and another Second Place Award in the 2011 Metropolitan Opera Mid-South Regional Competition.

The young singer 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).

Her 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 where she is a Nordan Full-Tuition Award winner.  During the finals, she performed “Kommt ein schlanker Bursch gegangen” from Weber’s Der Freischütz and “Caro nome” from Verdi’s Rigoletto, accompanied by pianist Jason Smith.

Miss Becerra’s $1,500 cash prize was awarded by the Dallas Opera Guild’s Fran Burke.

“With funding for the arts rapidly diminishing,” explained 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.”

In addition to the big money awards, six finalists were presented with $250 cash prizes, so no one went home empty-handed – least of all the audience!

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?

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
~~~~
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
~~~~
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).
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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.
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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.
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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.

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THE DALLAS OPERA GRATEFULLY ACKNOWLEDGES
THE TEXAS INSTRUMENTS FOUNDATION,
PRESENTER OF THE 2011-2012 SEASON
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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:

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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

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The Dallas Opera is supported, in part, by funds from: City of Dallas, Office of Cultural Affairs; TACA; the Texas Commission on the Arts and The National Endowment for the Arts (NEA). American Airlines is the official airline of The Dallas Opera. Lexus is the official vehicle of The Dallas Opera. 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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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