DEATH AND THE POWERS at The Dallas Opera

by Suzanne Calvin

Looking for the lowdown on the Dallas Opera’s upcoming presentation of “Death and the Powers”?  The Global Interactive Simulcast?  Wild lobby displays and cool apps?  
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The Scott Cantrell Seal of Approval

by Suzanne Calvin

“No opera ever composed has music more gorgeous, more sumptuous, than Erich Wolfgang Korngold’s Die tote Stadt. This is, after all, music by the man who later became famous for scores for movies including “The Adventures of Robin Hood,” “The Private Lives of Elizabeth and Essex,” “The Sea Hawk” and “Of Human Bondage.”

Thus writes Dallas Morning News Classical Music Critic Scott Cantrell in today’s DMN arts blog.

Tell everyone to get their tickets this weekend -- and continue to spread the word!  This is a Michael Melbye production from Royal Danish Opera never before seen in the U.S. and I understand it’s breathtaking; not to mention a stellar international cast that includes Jay Hunter Morris, Ann Petersen and Morgan Smith (remember Starbuck in “Moby-Dick”?).

Don’t worry about the pronunciation, order online or tell the patron specialist in our ticket office you want a pair to see “The Dead City.”  If you’ve seen Alfred Hitchcock’s classic, “Vertigo,” you pretty much know the plot already.

Suzanne Calvin, Director of Media and Public Relations

Ian Bostridge at City Performance Hall

by Suzanne Calvin

All I can tell you is, people came up to us afterwards telling us they wanted to buy tickets--immediately--to whatever was scheduled next. The reviewers revealed generally favorable reactions to the “imaginative” program and a few quibbles with the way we presented the artist. Read on to get Classical Music Critic Gregory Sullivan Isaac’s perspective for “Theater Jones” and Classical Music  Critic Scott Cantrell’s review of  Saturday evening’s recital  for “The Dallas Morning News.”

Suzanne Calvin, Director of Media and Public Relations

Bostridge

The Year’s Big Moments

by Suzanne Calvin

Norma, Norma, Norma!  In Texas and around the world it’s round-up time as the year comes to a close, and first up is Daniel Patrick Stearns with his great moments in opera from 2013. Don’t miss his confession that he went dumpster diving (okay, so he didn’t use that term) for a Jennifer Higdon score!

Suzanne Calvin, Director of Media and Public Relations

“Great Scott”–$30K from the NEA!

by Suzanne Calvin

The National Endowment for the Arts has committed $30,000 to the development of a new world premiere opera by composer Jake Heggie and Librettist Terrence McNally entitled, “Great Scott.” The work is scheduled to take centerstage at the Dallas Opera in October 2015, starring Joyce DiDonato. Culture Map Dallas has details on the local projects garnering the support of the NEA.

Suzanne Calvin, Director of Media and Public Relations

Jonathan’s Viennese Auditions

by Jonathan Pell

It is 6:00 in the morning and I am in the Vienna Airport waiting for my flight back to Dallas. I came over for three intense days of auditions held at the historic Theater an der Wien, where a panel of my colleagues and I heard almost 100 singers from 34 countries. There were representatives from Florence’s Maggio Musicale, as well as the opera houses in Antwerp, Toulouse, Santiago, and several German opera houses, including Cologne.

Among the singers auditioning there were a number of Americans who are either based in Europe or were here on an audition tour, including soprano Ava Pine, who was dazzling in arias by Handel and Gounod even at 10:30 in the morning !

Perhaps the most exciting auditions for me were a group of singers from the young artist program at Moscow’s famed Bolshoi Theater, and there was one soprano in particular that was really impressive. I expect that she is at the beginning of what promises to be an extraordinary career.

There were so many singers from so many countries that I couldn’t help but be struck by the extraordinary passion shared by all of these artists from around the world who have devoted themselves to a life in music.

I was also able to attend two performances while I was here, which was fascinating. The first was a new production of Verdi’s IL TROVATORE at the Vienna Volksoper (sort of the Viennese equivalent of the late, lamented New York City Opera or London’s English National Opera) which starred tenor Stuart Neill as “Manrico.”
Some of you may remember him in the title role of FAUST in Dallas in 1998, and obviously he has moved on to significantly heavier repertoire.

The following evening I attended a stunning new production at the Theater an der Wien of Mozart’s IDOMENEO, starrring Richard Croft in the title role. It was conducted by Rene Jacobs and staged by Damiano Michieletti, and performed by a superb cast which also included Marlis Peterson as “Elettra.”

The production was somewhat puzzling, but filled with breathtaking imagery and performed with intense commitment. I have not always enjoyed productions of this opera seria, which often seems static, but even with jet lag I was riveted from beginning to end.

It was also wonderful to see Rick Croft, who is on the faculty at the University of North Texas, enjoy such a personal triumph.
Sent via BlackBerry from T-Mobile

Jonathan Pell, Artistic Director
The Dallas Opera

Mark Adamo Commissioned to Write 2015 World Premiere

by Suzanne Calvin

A little something extra in your holiday stocking -- come December 2015 (and courtesy of composer-librettist Mark Adamo and the Dallas Opera)…read on!

FOR IMMEDIATE RELEASE:
Thursday, November 14, 2013
Contact: Suzanne Calvin 214.443.1014
suzanne.calvin@dallasopera.org

THE DALLAS OPERA IS PROUD TO ANNOUNCE

A NEW COMMISSION FOR A HOLIDAY OPERA BY

AMERICAN COMPOSER MARK ADAMO

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The Renowned American Composer/Librettist of the operas
Little Women, Lysistrata and The Gospel of Mary Magdalene
As well as other acclaimed works
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This Dallas Opera World Premiere Scheduled for
December, 2015
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Publically Announced at This Evening’s “Composing Conversation” at the Nasher Sculpture Center in Dallas

DALLAS, NOVEMBER 14, 2013 – The Dallas Opera thrilled audience members at this evening’s “Composing Conversation” at the Nasher Sculpture Center in Dallas, when Dallas Opera General Director and CEO Keith Cerny made the surprise announcement that Mark Adamo, one of America’s most successful and accomplished composer-librettists has agreed to create a new holiday opera for the 2015-2016 Season.
Mr. Adamo is the artist behind a host of orchestral, chamber and choral works, in addition to several compelling operas including Little Women, one of the most frequently performed American operas of our time. His most recent composition, The Gospel of Mary Magdalene, successfully premiered earlier this season at San Francisco Opera and was described by The Huffington Post as a “feast for the ears, eyes and mind.” His 2005 opera Lysistrata, based on the comedy by Aristophenes, prompted Alex Ross of The New Yorker to write, “I relaxed a minute after the music began, knowing that I was in the hands of a brilliant theatre composer.”

Mr. Adamo expressed his pleasure with the new commission, stating, “I couldn’t be happier to be making my debut with the Dallas Opera: this has long been one of the most distinguished companies in this country, and I am honored to join its roster of artists.”

Adamo’s commission is the latest in a series of recently commissioned world premieres, beginning with Jake Heggie and Gene Scheer’s Moby-Dick (2010) and their song cycle “A Question of Light” (the latter presented in partnership with the Dallas Museum of Art).
Under the guidance of Keith Cerny, the list has grown to include Great Scott, reuniting Heggie with librettist Terrence McNally (Dead Man Walking) to create a star vehicle for mezzo-soprano Joyce DiDonato (premiere date: October 2015); and Everest, scheduled to be unveiled in February 2015, marking the first opera by British composer Joby Talbot (A Hitchhiker’s Guide to the Galaxy) working with librettist Gene Scheer.

“I’ve been keenly interested in Mark Adamo’s work for some time,” explains Mr. Cerny. “As a composer-librettist, Mark has shown profound insights into the workings of the human heart and psyche coupled with an ability to create operas and orchestral works that are carefully thought out, meticulously crafted and complex.
“I find Mark’s music as intellectually and emotionally satisfying as it is beautiful.”

The new opera will be conducted by Dallas Opera Music Director Emmanuel Villaume.
Mr. Adamo is a Philadelphia native who served as Composer-in-Residence at New York City Opera from 2001 through 2006. Adamo began his education in the Tisch School of the Arts at New York University, where, as a freshman in the Dramatic Writing Program, he received the Paulette Goddard Remarque Scholarship for outstanding undergraduate achievement in playwriting. He went on to earn a Bachelor of Music Degree cum laude in composition in 1990 from the Catholic University of America in Washington, D.C.
A brief-yet-highly successful career as a music journalist and scholar was eventually overtaken by Adamo’s desire to compose his own works. He was catapulted to the top ranks of American composers by the critically acclaimed 1998 world premiere of Little Women (based on the novel by Louisa May Alcott) at Houston Grand Opera and he continues to compose outstanding orchestral, choral and ballet music—in addition to full-scale operas—for leading arts organizations in the U.S. and throughout the world.

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COMPOSER-LIBRETTIST MARK ADAMO:

American composer-librettist Mark Adamo recently premiered his third full-length opera, the “densely rhapsodic” (Joshua Kosman, San Francisco Chronicle) The Gospel of Mary Magdalene, at San Francisco Opera—following a busy season of opera and chamber premières. In May 2012, Fort Worth Opera opened its first production of his second opera, Lysistrata; that September, the Constella Festival in Cincinnati opened their season with August Music, for flute duo and string quartet, commissioned by Sir James and Lady Jeanne Galway: in December, Sasha Cooke and the New York Festival of Song introduced The Racer’s Widow, a cycle of five American poems for mezzo-soprano, cello, and piano; and, in April 2013, baritone Thomas Hampson and the Jupiter String Quartet introduced Aristotle, after the poem by Billy Collins, in concerts at the Mondavi Center in Davis, California before continuing to Boston and New York under the auspices of the Chamber Music Society of Lincoln Center.

Adamo first attracted national attention with his uniquely celebrated début opera, Little Women, after the Alcott novel. Introduced by Houston Grand Opera in 1998 and revived there in 2000, Little Women is one of the most frequently performed American operas of the last fifteen years, with more than 80 national and international engagements in cities ranging from New York to Minneapolis, Toronto, Chicago, San Francisco, Adelaide, Perth, Mexico City, Bruges, Banff, Calgary, and Tokyo, where it served as the official U.S. cultural entrant to the 2005 World Expo. The Houston Grand Opera revival (2000) was telecast by PBS/WNET on Great Performances in 2001 and released on CD by Ondine that same year; in fall 2010, Naxos released this performance on DVD and on Blu-ray. (Little Women was the first American opera recorded in high-definition television.) Comparable enthusiasm greeted the début of the larger-scaled Lysistrata, Adamo’s second opera, adapted from Aristophanes’ comedy but also including elements from Sophocles’ Antigone. Lysistrata was commissioned by Houston Grand Opera for its 50th anniversary and introduced in March 2005: its New York City Opera debut in March 2006 led to concert performances by Washington National Opera (May 2006) and Music at the Modern by the Van Cliburn Foundation (May 2007) before the new staging of the work at Fort Worth Opera in spring 2012, which was included on the best-of-2012 lists of both D Magazine and the Fort Worth Star-Telegram.

While Adamo’s principal work continues to be for the opera house, over the past 5 years he has ventured not only into chamber music but also into symphonic and choral composition. Adamo’s first concerto, Four Angels, for harp and orchestra, was commissioned by the National Symphony Orchestra and debuted in June 2007: the Utah Symphony, led by their Music Director Emeritus, Keith Lockhart, presented Four Angels in January 2011. In May 2007, Washington’s Eclipse Chamber Orchestra, for which Adamo served as its first composer-in-residence, performed the revised version of Adamo’s Late Victorians, a cantata for singing voice, speaking voice, and orchestra: Naxos released Late Victorians in 2009 on Eclipse’s all-Adamo CD, which also included Alcott Music, from Little Women, for strings, harp, celesta, and percussion; “Regina Coeli,” an arrangement of the slow movement of Four Angels for harp and strings alone; and the Overture to Lysistrata for medium orchestra. In April of 2010, Harold Rosenbaum’s New York Virtuoso Singers paired six of Adamo’s newly-published choral scores with the complete chamber-choral work of John Corigliano. This concert featured the New York premières of Cantate Domino (after Psalm 91,) Pied Beauty and God’s Grandeur (Gerard Manley Hopkins; commissioned by the Gregg Smith Singers,) Matewan Music(Appalachian folk-tune variations,) Supreme Virtue (Stephen Mitchell’s translation of the Tao te Ching,) and The Poet Speaks of Praising (Rilke: commissioned and introduced by Chanticleer.)
Composer-in-residence at New York City Opera from 2001 through 2006, where he led the VOX: Showcasing American Composers program, Adamo also served as Master Artist at Atlantic Center for the Arts in May 2003. Since 2007 he has served as the principal teacher of American Lyric Theatre’s Composer-Librettist Development Program in New York, in which he coaches teams of composers and librettists in developing their work for the stage.

Adamo began his education in the Tisch School of the Arts at New York University, where, as a freshman in the Dramatic Writing Program, he received the Paulette Goddard Remarque Scholarship for outstanding undergraduate achievement in playwriting. He went on to earn a Bachelor of Music Degree cum laude in composition in 1990 from the Catholic University of America. His music is published exclusively by G. Schirmer, Inc.

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EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

ADDITIONAL INFORMATION ABOUT “NOVEMBER 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’s 2013-2014 “By Love Transformed” Season
Is Sponsored by Texas Instruments Foundation

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

AMERICAN AIRLINES – OFFICIAL AIRLINE OF THE DALLAS OPERA
LEXUS – OFFICIAL VEHICLE OF THE DALLAS OPERA

Ticket Information for the 2013-2014 Dallas Opera Season

All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center. Single Tickets start at $19 and Flex Subscriptions are also on sale from $50 to $720. Family performances tickets are $5 apiece or $12 for three family productions or concerts. For more information or to make your purchases, contact The Dallas Opera Ticket Services Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.

THE DALLAS OPERA 2013-2014 SEASON INFORMATION
The Dallas Opera celebrates its Fifty-Seventh International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District. Evening performances will begin at 7:30 p.m. and Sunday matinees will begin at 2:00 p.m. unless otherwise stated. English translations will be projected above the stage at every performance and assistance is available for the hearing impaired.

CARMEN by Georges Bizet
October 25 (special time, 8:00 p.m.), October 27(m), 30, November 2, 8 & 10(m), 2013
The most irresistible bad girl in opera—How can you possibly say “non”?
An opera in four acts first performed in Paris on March 3, 1875
Text by Henri Meilhac and Ludovic Halévy based on the novella by Prosper Mérimée
Time: 19th century
Place: Seville, Spain
Conductor: Emmanuel Villaume
Stage Director: Chris Alexander
Scenic Design: Jean-Pierre Ponnelle
Costume Design: Werner Iverke
Lighting Design: Thomas Hase
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Children’s Chorus Master: Melinda Cotten
Starring: Clémentine Margaine**(Carmen), Brandon Jovanovich (Don José Oct. 25, 27, 30), Bruno Ribeiro* (Don José Nov. 2, 8, 10), Mary Dunleavy (Micaëla), Dwayne Croft (Escamillo), Danielle Pastin*(Frasquita), Audrey Babcock*(Mercédès), Kyle Albertson*(Zuniga), Steven LaBrie (Le Dancaïre), William Ferguson* (Remendado), John David Boehr*(Moralès).

DEATH AND THE POWERS by Tod Machover
February 12, 14, 15 & 16(m), 2014
Science fiction and poignant family drama combine in a major regional premiere!
An opera in one act first performed in Monte Carlo, Monaco at the Salle Garnier on September 24, 2010.
Text by Robert Pinsky, based on a story by Pinsky and Randy Weiner
Time: Unknown time in the future
Place: Earth, the home of billionaire Simon Powers
Conductor: Nicole Paiement
Stage Director: Diane Paulus*
Associate Director: Andrew Eggert*
Scenic Design: Alex McDowell*
Costume Design: David Woolard*
Lighting Design: Don Holder
Choreography: Karole Armitage*
Wig & make-up Design: David Zimmerman
Starring: Robert Orth (Simon Powers/Robot One), Joélle Harvey (Miranda/Robot Four), Patricia Risley(Evvy/Robot Three), Hal Cazalet*(Nicholas/Robot Two), Frank Kelley*(The United Way), David Kravitz*(The United Nations), Tom McNichols*(The Administration).

DIE TOTE STADT (“THE DEAD CITY”) by Erich Wolfgang Korngold
March 21, 23(m), 26, 29 and April 6(m), 2014
The Hitchcock-like tale of one man’s dark obsession with the woman he loved and lost.
An opera in three acts first performed in Hamburg & Cologne, Germany on December 4, 1920
Text by Erich Wolfgang Korngold and Paul Schott based on a novel by Georges Rodenbach, Bruges la morte
Time: End of the 19th century
Place: The city of Bruges in northwestern Belgium
Conductor: Sebastian Lang-Lessing*
Stage Director: Mikael Melbye
Scenic Design: Mikael Melbye*
Costume Design: Dierdre Clancy*
Video Design: Wendall Harrington*
Lighting Design: Mark McCullough
Wig & make-up Design: David Zimmerman
Choreography: Matthew Ferraro*
Chorus Master: Alexander Rom
Starring: Anne Petersen**(Marietta) , Jay Hunter Morris (Paul), Morgan Smith (Fritz), Weston Hurt (Frank), Katherine Tier*(Brigitta), Andrew Bidlack (Albert), Jan Lund**(Victorin), Jennifer Chung (Juliette), Angela Turner Wilson (Lucienne).

THE BARBER OF SEVILLE by Gioachino Rossini
March 28, 30(m), April 2, 5, 11 & 13(m), 2014
Figaro, a scheming barber and jack-of-all-trades plots to release a headstrong girl from her gilded cage!
An opera in two acts first performed in Rome on February 20, 1816
Text by Pierre-Augustin de Beaumarchais, from his comedy Le Barbier de Séville
Time: 18th century
Place: Seville, Spain
Conductor: Giuliano Carella*
Stage Director: Herb Kellner
Original Production: John Copley
Scenic Design: John Conklin
Costume Design: Michael Stennet
Lighting Design: TBD
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Starring: Nathan Gunn (Figaro), Isabel Leonard*(Rosina), Alek Shrader*(Count Almaviva), Donato DiStefano (Dr. Bartolo), Burak Bilgili*(Don Basilio), Nathan De’Shon Myers (Fiorello), Christian Teague*(Ambrogio).

DALLAS OPERA FAMILY PERFORMANCES
Jack and the Beanstalk: October 26, 2013 and April 5, 2014
Family Concerts: November 3, 2013 and February 1, 2014
The Elixir of Love: November 9, 2013 and April 12, 2014

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

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