Finalists for Dallas Opera Guild Vocal Competition Announced!

by Celeste Hart

The Finalists for The Dallas Opera Guild Vocal Competition are: Baritone Sol Jin, Bass Adam Lau, Mezzo-Soprano Virginie Verrez, Bass Daniel Miroslaw, Soprano Alexandra Loutsion and Tenor Kang Wang! They will be competing Saturday, April 30, 2016 beginning at 7:30pm at the Winspear Opera House! Congratulations to all the Finalists and to all who competed! You’re all extremely talented!


L-R: Sol Jin, Adam Lau, Virginie Verrez, Daniel Miroslaw, Alexandra Loutsion, Kang Wang

Cast Change for Eugene Onegin

by Celeste Hart



DALLAS, TX, APRIL 29, 2016 – Acclaimed American soprano Ailyn Pérez, winner of the Richard Tucker Award and the 2016 Beverly Sills Artist Award, is withdrawing from her scheduled starring role in The Dallas Opera’s 2016 Season Opener, Eugene Onegin.

Citing concerns that her voice may not yet be right for the demands of “Tatyana” in Tchaikovsky’s late-nineteenth-century masterpiece, Ms. Pérez has requested and received permission to delay this role debut.

Ms. Pérez thrilled Dallas Opera audiences earlier this season in the title role of Manon and in her scene-stealing role of “Tatyana Bakst” in the world premiere of Jake Heggie and Terrence McNally’s Great Scott.  Willard Spiegelman of Opera News noted, “…with dazzling vocal coloratura and a commanding dramatic presence she lit up the stage.”

“We knew how lucky we were to be able to enjoy Ailyn’s incredible artistry twice in the same season,” says The Dallas Opera’s Kern Wildenthal General Director and CEO, Keith Cerny.  “Her voice, her beauty, her captivating stage presence and acting abilities have catapulted her into the top echelon of stars working onstage today.  We look forward to casting her again soon at The Dallas Opera, and we hope our audiences will applaud Ailyn’s courage, in making this carefully considered decision.”

The role of Tatyana in The Dallas Opera’s Eugene Onegin will be recast immediately.  The upcoming production, from Tel Aviv Opera, stars the electrifying Ukrainian baritone Andrei Bondarenko and marks the American debut of Estonian mezzo-soprano Kai Rüütel as “Olga.”  



by Celeste Hart

Finals Round Scheduled for Saturday, April 30, 2016 at 7:30 p.m.

Opening Remarks at 7:20 p.m.

Margot and Bill Winspear Opera House

The AT&T Performing Arts Center, Dallas, Texas

General Admission Seating $5 / Lexus Red Parking $5

DALLAS, TX, APRIL 26, 2016 -- The Dallas Opera wishes to remind music lovers that the expanded and revised 2016 Dallas Opera Guild Vocal Competition will take place on Friday, April 29, 2016 at 11:00 a.m. (Semi-Final Round) and Saturday, April 30, 2016 at 7:30 p.m. (Finals Round).

Competitors in the critically acclaimed 2015 Competition took home prize monies totaling $18,500.  As the competition sought to gain even greater prominence and significance, The Dallas Opera and The Dallas Opera Guild made two significant changes last year, prompting Dallas Morning News Classical Music Critic Scott Cantrell to write that the competition had “considerably upped its ante”:

  • In order to attract the most talented applicant pool with the greatest potential, the eligibility criteria for applicants changed. Today, it is open to residents of all 50 states and U.S. Territories (including residents with a valid Green Card or H-1, H-2, H-3, I-20, K-1, O-1, P-2 and P-3 visas). 
  • The Finals Round, taking place on Saturday, April 30, 2016 at 7:30 p.m. in the Winspear Opera House, will be accompanied by The Dallas Opera Orchestra, conducted by TDO’s acclaimed Music Director, Emmanuel Villaume. Up to six finalists will participate.

The impact of these changes was immediately perceived.  Senior Classical Music Critic Gregory Sullivan Isaacs of wrote: “The results surely exceeded expectations for this newly re-envisioned competition…It won’t take long to situate itself at the top of such events and become an important gold star on any young artist’s résumé.” 

Judges for the expanded 28th Annual Dallas Opera Guild Vocal Competition have been drawn from distinguished performers and opera administrators and will also include General Director & CEO Keith Cerny, Music Director Emmanuel Villaume and TDO Artistic Administrator Ian Derrer.

Commented General Director & CEO Keith Cerny: “The Guild Competition took a bold step forward last year and the result was electrifying!  Emmanuel Villaume and The Dallas Opera Orchestra brought a tangible level of excitement to these performances and clearly inspired the finalists to do their absolute best. 

“I’m quite certain that this year’s competition will bring a whole new set of challenges and give us new opportunities to build on our previous success.  Working closely with Dr. Brian Zeger, our esteemed adjudicators, and the Guild, we are well on our way to creating an event that attracts the very finest young singers of this generation.”

Judges for the 2016 Dallas Opera Guild Vocal Competition:

Brian Zeger, Chair, Artistic Director of Juilliard’s Marcus Institute for Vocal Arts and Executive Director for the  Lindemann Young Artist Development Program of the Metropolitan Opera

Keith Cerny, General Director and CEO, The Dallas Opera

Emmanuel Villaume, Music Director, The Dallas Opera

Ian Derrer, Artistic Administrator, The Dallas Opera

Aidan Lang, General Director, Seattle Opera

Leonore Rosenberg, Associate Artistic Administrator, The Metropolitan Opera

Joshua Winograde, Senior Director of Artistic Planning, Los Angeles Opera

Diane Zola, Director of Artistic Administration, Houston Grand Opera

Dallas Opera Guild Co-President Jana Irwin explained that “the life of The Dallas Opera Guild revolves around this annual competition, because all of us feel so strongly about the need to support the future of opera.  Greater prominence within the music industry can only translate into greater benefits for those lucky enough to be selected to participate, making this a win-win situation for all concerned.”

Admission for the Semi-Final Round is free, general admission tickets for the Finals Round are $5 – Lexus Red Parking for either round of the competition is just $5, as well.

Purchase now at





Contact Suzanne Calvin, Director of Media and PR at

Or Celeste Hart, Communications Manager at


The Dallas Opera Family Performances are generously supported by

Texas Instruments and the Betty and Steve Suellentrop Educational Outreach Fund.


TDO Family Performances are a part of the

Perot Foundation Education and Community Outreach Programs

The Dallas Opera Orchestra Performing Shostakovich’s Symphony No. 13

by Celeste Hart

Presented by AT&T Performing Arts Center 

Sunday, April 24, 2016 – 2:00 p.m.

Margot and Bill Winspear Opera House

Dallas –The nonprofit AT&T Performing Arts Center announced tickets are on sale for The Dallas Opera Orchestra performing Shostakovich’s Symphony No. 13  Shostakovich’s Symphony No. 13 which will be performed by The Dallas Opera Orchestra at 2:00 p.m. Sunday, April 24, 2016 at the Winspear Opera House in the Dallas Arts District.  The Dallas Opera Orchestra performing Shostakovich’s Symphony No. 13 is part of The Classical Criterion 2015/2016 season.

The afternoon will feature a rare opportunity to experience The Dallas Opera Orchestra on stage as they perform Symphony No. 13 in B flat minor, Op. 113 “Babi Yar” by Dmitri Shostakovich.

A ravine outside the Ukrainian capital of Kiev, a chasm that no amount of tears can ever heal, became one of the most notorious “killing fields” on the eastern front of World War II: Babi Yar.  It was here that a series of brutal massacres was carried out, that took the lives of an estimated 70 to 150 thousand people—most of them Jews. 

Two decades after this infamous slaughter, renowned Russian composer Dmitri Shostakovich turned his attention to the “loathsome” problem of anti-Semitism, inspired by Yevgeny Yevtushenko’s searing 1961 poem, “Babi Yar.”  The controversial project, which skewered many aspects of Soviet life in addition to the horrors committed during the Nazi occupation, overcame every obstacle to premiere in Moscow in December 1962.  Described as “a symphonic cantata” and “orchestral song cycle,” this highly original work is a symphony in both structure and in scope, and today is regarded as one of the composer’s most deeply personal works of art. 

The afternoon will begin with a performance of Beethoven’s Leonore Overture No. 3, composed for the 1806 Viennese revival of his only opera, Fidelio, another work forged in the fires of suffering and oppression, yet, ultimately triumphant.

Center Members get access to the best available seats. Call Membership Services at 214-978-2888 or go to to join.

Ticket prices for Shostakovich’s Symphony No. 13 range from $125 to $20 and can be purchased online at, by phone at 214-880-0202 or in person at the AT&T Performing Arts Center Information Center at 2353 Flora Street (Tuesday thru Saturday 10 a.m. – 9 p.m.; Sunday starting at 10 a.m.).

Note: Photos and logos for media use are available at:

Please use the provided photo credits when publishing photos. 

#      #      #

ATTPAC Media Contact:      
Cindy Evans 214-978-2882


A rare opportunity! Pre-Opera Talk with Yevgeny Yevtushenko and Performance of Babi Yar!

by Celeste Hart

The Russian Nobel Prize-nominated poet and author of the acclaimed poem, Babi Yar, Yevgeny Yevtushenko, will participate in a Pre-Opera Talk prior to The Dallas Opera Orchestra’s performance of Shostakovich’s Symphony No. 13 in B flat minor, Op. 113, based on the poem. 

The lecture will take place on Sunday, April 24, 2016 at 12:30 pm at Hamon Hall in the Margot and Bill Winspear Opera House. The Dallas Opera Orchestra Concert, part of ATTPAC’s “The Classical Criterion” series will take place at 2:00 pm. Also performed will be the Beethoven Overture No. 3 Lenore. 

The Dallas Opera Orchestra
Emmanuel Villaume, Conductor

Mikhail Kazakov, Soloist
Members of The Dallas Opera Chorus
Guest Concertmaster, Peter Manning

For tickets please call the ATTPAC Box Office at 214-880-0202.

Please click for more details.

Deadline for 2016 Institute for Women Conductors – April 22!

by Celeste Hart

The Linda and Mitch Hart Institute for Women Conductors at The Dallas Opera


2016 Program: Nov. 26 – Dec. 11 in Dallas, TX
Deadline to Apply: April 22, 2016


Initial Support from the Richard and Enika Schulze Foundation

Additional Support from The Andrew W. Mellon Foundation and the

TACA Bowden & Embrey Family Foundations Artist Residency Fund


This Year’s Master Classes Will Be Led By:

 Nicole Paiement

The Martha R. and Preston A. Peak Principal Guest Conductor

Carlo Montanaro

International Opera Conductor

And Marin Alsop

Music Director of the Baltimore Symphony Orchestra


 DALLAS, APRIL 13, 2016 – Working to address a long-standing career issue in the opera world, The Dallas Opera is accepting applications through 11:59 p.m. Central Time on Friday, April 22, 2016 for a unique residential program designed to provide training and career support for distinctively talented women conductors: The Linda and Mitch Hart Institute for Women Conductors at The Dallas Opera

Female conductors, as well as accomplished women singers, opera coaches and accompanists, and instrumentalists with established careers seeking a new career at the podium are encouraged to apply for the expanded institute, now in its second year.  Although the emphasis is on women conductors on the cusp of major careers in opera, more seasoned applicants will be considered on a case-by-case basis.

The Linda and Mitch Hart Institute for Women Conductors will reconvene for the second time November 26, 2016 through December 11, 2016 in Dallas, Texas.  This year’s institute will include two public concerts (December 4th and 10th) in addition to intensive one-on-one’s, master classes, career advancement curriculum, and opportunities to conduct superb young singers and the highly regarded Dallas Opera Orchestra.

The institute, conceived by Dallas Opera Kern Wildenthal General Director and CEO Keith Cerny, was created a year ago with initial support from the Richard and Enika Schulze Foundation.  Since that time, it has garnered additional generous support from Linda and Mitch Hart, The Andrew W. Mellon Foundation, and the TACA Bowden & Embrey Family Foundations Artist Residency Fund.


Stated Mr. Cerny: “The Dallas Opera has demonstrated, in multiple ways, its commitment to reshaping the opera field through the use of innovative public outreach, and by exploring new technologies, commissioning new works to expand the operatic repertoire, and programming with passion and imagination.

“This much-needed program, generously supported by benefactors here in Dallas and elsewhere,” Mr. Cerny adds, “will enable more women conductors to add their talents and insights to our collective understanding of this incredible art form.”


The 2016 Linda and Mitch Hart Institute for Women Conductors will provide a host of career-building opportunities:

  • To rehearse and conduct The Dallas Opera Orchestra, a full-sized professional ensemble, with outstanding young opera artists
  • Participate in master classes with Martha R. and Preston A. Peak Principal Guest Conductor Nicole Paiement, renowned Italian conductor Carlo Montanaro, and special guest Marin Alsop, Music Director of the Baltimore Symphony Orchestra and the São Paulo State Symphony Orchestra
  • Attend seminars and discussions, guided by a variety of experts, on how women conductors can make a greater impact on their field and advance their conducting careers
  • Network with peers and take part in a media “refresher” course


Six women will be selected from among those applying, along with four additional American observers.

Those attending are also eligible to take part in an annual summer networking event in Dallas.  There is also the potential for one or more participants to be invited back to serve as Assistant Conductors on future Dallas Opera productions.


Nicole Paiement’s residency for this institute is supported by the TACA Bowden & Embrey Family Foundations Artist Residency Fund.




The Dallas Opera’s Martha R. and Preston A. Peak Principal Guest Conductor, Nicole Paiement, who also serves as Artistic Director and Conductor for San Francisco’s renowned contemporary opera company, Opera Parallèle, was singled out for praise in a recent Musical America “Profile in Courage” which wrote: “Working in a profession that often leaves women scandalously underrepresented, Paiement has established stellar credentials.”  This contemporary music specialist has conducted numerous new productions and world premieres to great critical acclaim.

As the subject of a 2015 article in Opera News (“The Mountain Climber” by Matthew Sigman), Paiement was described as “one of opera’s most adventurous spirits.”  She also serves as Artistic Director of BluePrint, a contemporary music series at the San Francisco Conservatory of Music where she holds the Deléage Chair, and has broken important new ground in Dallas, where she was invited to conduct critically acclaimed performances of Peter Maxwell Davies’ The Lighthouse, Death and the Powers by Tod Machover, and the recent successful world premiere of Joby Talbot and Gene Scheer’s Everest.  She returns in 2017 to conduct Benjamin Britten’s The Turn of the Screw.  Next season’s engagements for Paiement include conducting at Glimmerglass Summer Festival, The Atlanta Opera, Washington National Opera, Other Minds (an annual new music festival in San Francisco) and the Monterrey Jazz Festival.

About the institute itself, Maestra Paiement commented, “In tandem with my work as a professional conductor, I have spent many years striving to develop and support exceptional young talent, both onstage and in the orchestra pit.  I am tremendously pleased to be able to continue this aspect of my career and to help guide each carefully selected group through this still-evolving Dallas Opera program.

“I sincerely hope my work with the women in this institute can serve as a source of both valuable insights and inspiration.”


Maestro Carlo Montanaro, music director of Teatr Wielki in Warsaw, Poland from 2011 through 2014, has conducted both opera and concert repertoire on many of the world’s leading stages including La Scala, the Bastille Opera in Paris, Teatro dell’Opera in Rome, the Mariinsky Theatre in St. Petersburg, Seattle Opera, Teatro Massimo in Palermo, Verona’s Arena, Deutsche Oper Berlin, Teatro Communale in Florence, Vienna State Opera, Canadian Opera Company, Opera Australia, the Arturo Toscanini Foundation in Parma, the Atlanta Symphony Orchestra, the New National Theatre in Tokyo, Munich Opera, Seattle Symphony, Monte Carlo Opera, the Boston Symphony Orchestra, and Teatro Verdi in Trieste (a collaboration which led to a Japanese tour with the orchestra).

Future opera engagements (already announced) include Madama Butterfly in Seattle, La bohème in Sydney, Carmen for San Francisco Opera, and Rigoletto in Frankfurt.


Maestra Marin Alsop is an inspiring and powerful voice in the international music scene, a Music Director of vision and distinction who passionately believes that “music has the power to change lives”. She is recognized across the world for her innovative approach to programming and for her deep commitment to education and to the development of audiences of all ages.

Her outstanding success as Music Director of the Baltimore Symphony Orchestra since 2007 has been recognized by two extensions in her tenure, now confirmed until 2021. As part of her artistic leadership in Baltimore, Marin Alsop has created bold initiatives that have contributed to the wider community and reached new audiences. Alsop took up the post of Principal Conductor of the São Paulo Symphony Orchestra (OSESP) in 2012 and became Music Director in July 2013.

In September 2013, Marin Alsop made history as the first female conductor of the BBC’s Last Night of the Proms in London. She returned to the Proms in 2015 to conduct the Last Night and an all-Brahms program with the OAE. 2015/16 highlights include a historic return for an American musician to Cuba, conducting Lang Lang and the National Symphony Orchestra of Cuba. In March 2016, Alsop celebrated Carnegie Hall’s 125th anniversary conducting Bernstein’s West Side Story in the Knockdown Center, a restored factory in Queens.

Marin Alsop is the recipient of numerous awards and is the only conductor to receive the prestigious MacArthur Fellowship, given to US residents in recognition of exceptional creative work. She was only classical musician to be included in the Guardian’s “Top 100 women”, celebrating the centenary of International Women’s Day in 2011. Alsop is an Honorary Member of the Royal Academy of Music, London and the Royal Philharmonic Society and was recently appointed Director of Graduate Conducting Program at the Johns Hopkins Peabody Institute.



Those chosen to participate in the institute will receive travel and housing benefits.


Marc A. Scorca, President and CEO of OPERA America, remarked earlier: “The Dallas Opera continues to expand its influence and stature among American opera companies, as shown by this exciting new initiative.  The company is to be applauded for taking a significant step to remedy the existing gender imbalance on the podium.  This effort complements OPERA America’s support of the work of female opera composers and promises to enrich the art form by encouraging more gifted artists to express themselves through opera.”



The tremendous success of the inaugural institute became apparent by the evening of the concluding public concert attended by music lovers, opera VIPs and media.

Scott Cantrell, Classical Music Critic for The Dallas Morning News lavished praise on individual performances and wrote: “Some fine conducting talents were displayed; one hopes to see and hear more from them.”

The Senior Classical Music Critic for Theater Jones, Gregory Sullivan Isaacs, agreed: “They all did a fine job and got most of the details correct. Every one of them delivered involving performances and was, for the most part, right with the singers and clear in their stick technique.  Most importantly, the orchestra responded to one and all with good ensemble playing and responsiveness to each conductor’s desires.”


The Institute experience continues to resonate with participants, many months later. 

American conductor Lidiya Yankovskaya wrote: “The opportunity to get to know a group of accomplished, talented women conductors was invigorating and inspiring.  We all gained a group of colleagues from across the world and mentors to whom we can always turn for support and advice.”

Since the conclusion of the 2015 Linda and Mitch Hart Institute last fall, Ms. Yankovskaya became a finalist for the position of Music Director of the Flagstaff Symphony Orchestra, where she will work as a guest conductor next season.  She will also tour a production of Tchaikovsky’s Iolanta and scenes from Boris Godunov with New Opera NYC before conducting the world premiere of The Body Politic by Leo Hurley and Charles Osborne.  Yankovskaya will also be launching her Refugee Orchestra Project in the very near future.


British conductor Natalie Murray Beale added, “The Institute was a fantastic opportunity to meet and work with a wide range of music professionals.  The level of support given was truly amazing.”

In the months since the Institute, Ms. Murray Beale has conducted a new production of Le nozze di Figaro for the Croatian National Theatre, Zagreb, and served as Music Director for The Return at London’s Barbican, which earned five stars from The Guardian.  This month, she will conduct the Royal Liverpool Philharmonic, begin rehearsals on a new opera by composer John Barber, and then serve as assistant conductor to Esa-Pekka Salonen for the series, Myths & Rituals, exploring the music of Igor Stravinsky.


Noted German conductor Anna Skryleva, “The most important point I learned at the Institute for Women Conductors is the necessity of networking with others in our field.  It’s not enough to improve your professional skills, regardless of whether you are a man or a woman—you must also build your professional community.  Even today, in the 21st century, women tend to fight on alone. 

“Recently, a great Russian maestro created controversy by comparing female conductors with weightlifters!  Clearly, there is more work to be done, to change social attitudes towards women in positions of artistic leadership. The Dallas Opera Institute has taken a leading role in addressing these ongoing issues.”

Upcoming engagements for the Russian-born conductor include concerts with the Philharmonic Orchestra of the UNAM, Mexico, as well as Verdi & Company in Dallas.  Skryleva is also preparing her second CLASSIC FOR PEACE event next August, supporting multicultural dialogue through classical music.


Conductor Jessica Gethin acknowledges, “There have been several aspects of the IWC that I have brought home to Australia with me.  I have been able to try out some of the technical suggestions made by Emmanuel and Nicole, and am now incorporating them into my work on the podium.  Just as valuable, however, were the discussions around the seminars we attended and the viewpoints of other female conductors of my generation working in all parts of the world.  The Institute opened my eyes to see things from a wider global perspective.  I arrived home inspired, empowered and with a new regard for my cultural identity, responsibility and opportunity.”

Since the Institute last December, Ms. Gethin has conducted several concerts for Perth Symphony and Perth Chamber Orchestra (Australia), including a tremendously well-received concert commemorating the hundredth anniversary of the 1916 Irish uprising—for which she arranged half the orchestral works and appeared as a soloist!  Currently, Gethin is rehearsing her first fully staged opera as a conductor, Donizetti’s Anna Bolena for OperaBox, which will tour to Albany in West Australia in mid-April.


American conductor Stephanie Rhodes, currently serving as an assistant conductor on Washington National Opera’s Ring Cycle, summed up the experience this way: “While the initial residency as an IWC Fellow was invaluable, the follow up and support from the company and program faculty have been an immense asset in evaluating my career and determining the best path of progress.

“Months later, I continue to benefit from the Institute.”

Ms. Rhodes will return to Dallas in the 2016-2017 Season as an assistant conductor after working on the San Francisco Opera world premiere of David Henry Hwang’s Dream of the Red Chamber this fall.








For high-resolution digital photographs suitable for print

To arrange an interview or obtain additional information

Please contact Suzanne Calvin, Director of Media and Public Relations

214.443.1014 or

Or Celeste Hart, Communications Manager

214.443.1071 or



Ticket Information for the 2015-2016 Dallas Opera Season

All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise described.  Single Tickets range from $19 to $275.  Family performance tickets are just $5.  For more information or to make your purchase, contact The Dallas Opera Ticket Services Office at 214.443.1000 or visit us online, 24/7, at



The Dallas Opera celebrates its Fifty-Ninth 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 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.  The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain, at most performances excluding FIRST NIGHT of the season.

A Symphonic Memorial to Babi Yar

by Celeste Hart
Keith Cerny

General Director and CEO Keith Cerny

Mark your calendar for a powerful and poignant presentation by The Dallas Opera Orchestra as it performs Dmitri Shostakovich’s Symphony No. 13 in B flat minor, Op. 113 “Babi Yar” and Beethoven’s Leonore Overture No. 3. The performance, April 24, at 2 p.m. memorializes the 75th anniversary of the tragic massacre at “Babi Yar.” 

This month’s “Off the Cuff” by Keith Cerny in Theater Jones describes the unique and special program. Please click the link for the story.


The Great American Musical – Show Boat – Opens April 15th!

by Celeste Hart

The Groundbreaking 1927 Masterpiece By Jerome Kern and Oscar Hammerstein II

Starring Andriana Chuchman as Magnolia, Michael Todd Simpson as Gaylord Ravenal, And Morris Robinson as Joe


An Acclaimed Francesca Zambello Production

Conducted by Music Director Emmanuel Villaume

Directed by E. Loren Meeker


In Artistic Partnership with Dallas Black Dance Theatre


Underwritten by Tom and Phyllis McCasland and TACA


Opening Friday, April 15, 2016, 7:30 p.m.

The Margot and Bill Winspear Opera House at the AT&T Performing Arts Center

DALLAS, TX, MARCH 29, 2016 - The Dallas Opera is proud to present the final production of the company’s ambitious 2015-2016 Season, composer Jerome Kern and Oscar Hammerstein II’s SHOW BOAT.  This groundbreaking 1927 masterpiece marks TDO’s first ever presentation of a Great American Musical, providing a showcase for a host of stars from both the opera world and Broadway, as well as the company’s first major artistic collaboration with Dallas Black Dance Theatre in the Winspear Opera House.

SHOW BOAT will open on the evening of April 15, 2016 at 7:30 p.m. for the first of six performances in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in Dallas.

This production stars Canadian soprano Andriana Chuchman, praised by The Chicago Tribune for radiating “enough vocal allure, physical beauty and charm to light up the stage,” in the role of Magnolia Hawks and “elegant” baritone Michael Todd Simpson (Huffington Post), a Dallas Opera favorite, as the irresistible Gaylord Ravenal. 

SHOW BOAT also marks the company debut of “fearless” soprano Alyson Cambridge (Milwaukee Magazine) as Julie LaVerne, a mixed-race singer at a time when social conventions and unjust laws conspired to keep blacks and whites apart. 

In the iconic role of “Joe,” bass Morris Robinson, a commanding Commendatore in TDO’s 2010 Don Giovanni, “brings a penetratingly deep operatic bass to ‘Ol’ Man River’,” according to Mark Swed of the Los Angeles Times

Soprano Angela Renée Simpson, with a sublime vocal instrument that can “bring the house down” (Opera News) will perform the role of Queenie.

Broadway dancer, singer and actor Lara Teeter charms as Cap’n Andy Hawks, the owner of The Cotton Blossom, and mezzo-soprano Mary-Pat Green makes a delightful Parthy Ann Hawks—both, in their Dallas Opera debuts.

Conducted by Mrs. Eugene McDermott Music Director Emmanuel Villaume—fresh from triumphant productions in London’s Covent Garden and at Lyric Opera of Chicago—and directed by E. Loren Meeker (Manon), “whose megawatt talent lights up the stage” (Berkshire Fine Arts), our season finale is a high watermark in this season’s altogether extraordinary journey. 

This production of SHOW BOAT is made possible through the generous contributions of Tom and Phyllis McCasland and TACA.

Additional performances will take place on April 17 (2:00 p.m. Sunday matinee), April 20, 23 and 29 at 7:30 p.m., and Sunday, May 1, 2016 at 2:00 p.m.  Ticket prices for SHOW BOAT start at just $19 and can be purchased conveniently online at or by contacting The Dallas Opera Ticket Services Office at 214.443.1000.

SHOW BOAT courageously addressed some of the most contentious social issues of the day within the context of a beautifully told story of a bittersweet, lifelong romance.  Originally produced by the legendary showman Florenz “Flo” Ziegfeld, this musical also marked one of the first times Anglo and African-American performers shared the same stage and equal billing on “The Great White Way” (an early twentieth-century reference to the theater district’s dazzling electrical lights).  Broadway would never be the same.

Based on the best-selling 1926 novel by Edna Ferber, SHOW BOAT is the source of many memorable and much-loved musical numbers including “Make Believe,” “Can’t Help Lovin’ Dat Man” and “Ol’ Man River.”  The landmark musical also tackled such taboo subjects as racism, alcohol addiction and miscegenation on this journey through several transformative decades of American life in the rural south and urban north.

Stylistically, Kern and Hammerstein combined the traditions of Vaudeville, African- American musical entertainments, and operetta to craft something altogether new.

This brilliant Francesca Zambello production of SHOW BOAT was first created for Lyric Opera of Chicago and subsequently performed at Houston Grand Opera, Washington National Opera and San Francisco Opera.  This groundbreaking musical carries us down the Mississippi, through love’s choppy waters, as life rolls on for the inexperienced daughter of a show boat captain and the gambling man she genuinely adores.


“SHOW BOAT was one of the first musicals to tell our story, the American story, in all its diversity and complexity,” explains The Dallas Opera’s Kern Wildenthal General Director and CEO Keith Cerny.  Its heroes and heroines are ordinary human beings—working hard, struggling with oppression, addiction and despair; yet finding love, success, and forgiveness along the way.

“Although Hollywood often attempted to ‘sugar coat’ SHOW BOAT’s messages, the lyricist Oscar Hammerstein II, who tackled the topic of racial prejudice on more than one occasion, never allows us to forget the injustice at the heart of this culture and time period.  And it is a work,” Cerny adds, “that continues to speak to us today.”

 The massive set pieces for this production were designed by Peter J. Davison (The Rake’s Progress, Le nozze di Figaro and Cyrano de Bergerac for The Met), the colorful and authentic costume designs are by Paul Tazewell (Hamilton, On the Town, In the Heights, Guys and Dolls) and the original lighting design by Mark McCullough.

For these performances, lighting design is by Erik Watkins and sound design by Mark Grey.  Wig and make-up design is by David Zimmerman.

 Dance is a major element in SHOW BOAT, here choreographed by the dynamic Michele Lynch.  Assistant Choreographer and Ballet Master William Gill, a former performing artist at Dallas Black Dance Theatre now based in Chicago, returns to familiar territory to both work and perform with artists from Dallas Black Dance Theatre II on a host of musical numbers designed to move both SHOW BOAT’s story—and timeline—forward.

The DBDT II dancers participating in this production are: Akila Brooks, Ricardo Burgess, Lailah Duke, Herman Houston III and Christen Ashley Williams

“Dallas Black Dance Theatre is looking forward to this artistic partnership with The Dallas Opera and our DBDT II dancers, as we bring to life a groundbreaking American musical that courageously addressed contentious social issues in its day,” said Dallas Black Dance Theatre Founder Ann Williams.

“We are looking forward to this unique adventure of collaborating with another resident company of the AT&T Performing Arts Center to present a high-caliber performance in the Dallas Arts District.”


“One of my goals since coming to The Dallas Opera six years ago has been to seek out impactful artistic collaborations with our peers in the Arts District,” explains Mr. Cerny.  “Dallas Black Dance Theatre was one of the arts organizations at the top of that wish list and I am enormously grateful to Ann Williams, Zenetta Drew and Nycole Ray for responding with such enthusiasm to our overtures.”

“I am confident that the participation of dancers from DBDT II will lend an even greater dimension of elegance, vitality and authenticity to these outstanding performances.”

Other members of the SHOW BOAT dance ensemble include Caradee Cline, Bryan Cunningham, Jason Fowler, Jen Gorman, Tony Howell and Devyn Woodruff.

The chorus will be prepared by the distinguished Dallas Opera Chorus Master, Alexander Rom.


The Dallas Opera performs all works in their original languages.  Easy-to-read English language supertitles are projected above the stage during every Dallas Opera performance and special headsets are available for the hearing impaired.

No late seating is permitted at Dallas Opera performances once the house doors are closed.

For additional information about SHOW BOAT or the productions of the 2016-2017 Season, call The Dallas Opera Ticket Services Office at 214-443-1000 or visit us online at


Emmanuel Villaume (Conductor) (Mrs. Eugene McDermott Music Director in honor of Graeme Jenkins) is in his third season as Music Director of The Dallas Opera and recently conducted the world premiere of Mark Adamo’s Becoming Santa Claus, as well as Tosca. He recently led acclaimed productions of Tosca for Royal Opera House Covent Garden and Roméo et Juliette for Lyric Opera of Chicago and remains a frequent guest conductor at the world’s leading opera companies including the Metropolitan Opera, San Francisco Opera, Los Angeles Opera, the Washington National Opera, Santa Fe Opera, Paris Opera, Monte Carlo Opera,Venice’s La Fenice, the Munich Staatsoper, Berlin’s Deutsche Oper, the Hamburg Staatsoper, Madrid’s Teatro Real, and Buenos Aires’ Teatro Colón. He has led the Montreal Symphony both in Montreal and at Carnegie Hall, the Chicago Symphony, the Boston Symphony, the orchestras of Los Angeles, San Francisco, Houston, St. Louis, Detroit, Minnesota, Orchestre de Paris, Orchestre Philharmonique de Radio France, Beethovenhalle Orchestra of Bonn, and the China National Opera Orchestra for the 2008 Olympic Games. He is currently Chief Conductor of the National Slovak Philharmonic Orchestra. He served as the Spoleto Festival USA’s Music Director for Opera and Orchestra from 2001 to 2010. Maestro Villaume has recorded for Deutsche Grammophon, Decca, and EMI. In addition to his work in Dallas, Maestro Villaume serves as Music Director and Chief Conductor of the PKF -- Prague Philharmonia.

Francesca Zambello (Stage Director) An internationally recognized director of opera and theater, Ms. Zambello’s work has been seen at the Metropolitan Opera, La Scala, Bolshoi, Royal Opera House, Munich State Opera, Paris Opera, New York City Opera, Lyric Opera of Chicago, Houston Grand Opera and The Dallas Opera. Her work ranges from her recent production of The Ring in San Francisco, a co-production with Washington National Opera, to her acclaimed Show Boat presented recently in Chicago, Houston, Washington and San Francisco. She has staged plays and musicals on Broadway, at the Royal National Theatre, BAM, the Guthrie Theater, Vienna’s Raimund Theater, the Bregenz Festival, Sydney Festival, Disneyland, and at the Kennedy Center. She is Artistic Director of the Washington National Opera and General and Artistic Director of Glimmerglass Festival.

 Loren Meeker (Stage Director) made her Dallas Opera debut with Manon and has returned to lead Show Boat. She is a diverse artist with a background in dance and theatre that allows her to bring a unique vision to her work. As a director, she has received critical acclaim for recent productions of Die Fledermaus at Lyric Opera of Chicago and The Tales of Hoffmann at Martina Arroyo’s Prelude to Performance. Other recent directing credits include Die Fledermaus (San Francisco Opera), La bohème (San Diego Opera), Manon Lescaut (Singapore Lyric Opera), Manon (Teatro Colón), Trial by Jury and the HGO Studio Showcase (Houston Grand Opera). She has directed five world premieres for Houston Grand Opera’s HGOco initiative and she has directed Così fan tutte, Don Giovanni, La Cenerentola and Don Pasquale for the Lyric Opera of Chicago’s Ryan Opera Center.

Peter J. Davison (Set Designer) Tony and Olivier Award nominee Peter J. Davison returns to The Dallas Opera with Show Boat after making his debut with Salome in the 2014-2015 Season. Other opera credits include The Rake’s Progress, Le nozze di Figaro, and Cyrano de Bergerac for the Metropolitan Opera; Porgy and Bess and Heart of a Soldier for the San Francisco Opera, The Queen of Spades for the Royal Opera House Covent Garden; Manon Lescaut for Opera Australia; Der Rosenkavalier, Carmen, and Maria Stuarda for English National Opera; Guillaume Tell for Paris Opera; Anna Bolena for the Bavarian State Opera; La Rondine at Venice’s La Fenice; Cyrano de Bergerac at Milan’s La Scala; and Mitridate, re di Ponto for the Salzburg Festival, among others.

Paul Tazewell (Costume Designer) has received five Tony Award nominations for costume design, four Helen Hayes Awards for Outstanding Costume Design, and two Lucille Lortel Awards (On the Town and Hamilton). He is also the recipient of the Princess Grace Statue Award bestowed by the Princess Grace Foundation to artists of excellence in various disciplines. Mr. Tazewell’s Broadway credits include Hamilton, Memphis, In the Heights, Guys and Dolls, and The Color Purple. His opera credits include Faust at the Metropolitan Opera; Porgy and Bess at Washington National Opera, LA Opera and the San Francisco Opera; Magdelena at Théâtre du Châlet; Margaret Garner at Michigan Opera Theatre, Little Women at Glimmerglass Opera Festival and New York City Opera and Treemonisha at Opera Theatre of Saint Louis.

Mark McCullough (Original Lighting Designer) made his Dallas Opera debut in 2001 with Tobias Picker’s Thérèse Raquin, and has subsequently lit Anna Bolena, Roberto Devereux and Le nozze di Figaro. Among the other opera companies for whom he has designed lighting are the Metropolitan Opera (Le nozze di Figaro), Washington Opera (Die Walküre, Das Rheingold and Porgy and Bess), Royal Opera House Covent Garden (The Queen of Spades), Boston Lyric Opera (Aida, Madama Butterfly and Tosca), Glimmerglass Opera (The Glassblowers and The Mother of Us All), San Francisco Opera (Rigoletto and The Mother of Us All), Teatro Real de Madrid (Luisa Miller). The American designer is an alumnus of the North Carolina School of the Arts and holds a Master of Fine Arts degree from the Yale School of Drama.

Erik Watkins (Lighting Designer) creates lighting designs for opera and theatre and is currently based in Chicago. Recent engagements include productions at Opera Santa Barbara (A Streetcar Named Desire), Kentucky Opera (A Streetcar Named Desire), the Lithuanian National Opera and Ballet Theatre (Il barbiere di Siviglia), and the world premiere of the klezmer opera The Property for Lyric Opera of Chicago. Active in the Chicago theatre scene, he recently designed lights for the world premiere of Fallen with Mozawa, an international multidisciplinary performing arts company. He holds a Master of Fine Arts in lighting design from Boston University and a Bachelor of Science degree in Electrical Engineering and Physics from the University of Alabama.

Mark Grey (Sound Designer) made history as the first sound designer for The New York Philharmonic (On the Transmigration of Souls, 2002) and The Metropolitan Opera (Doctor Atomic, 2008; Nixon in China, 2011; Death of Klinghoffer, 2014; and others). He designed and toured extensively with Kronos Quartet for 15 years and has been a close collaborator of composer John Adams for more than two decades. As a composer, he has currently undertaken commissions by The Atlanta Symphony Orchestra and The Los Angeles Philharmonic, and is writing an evening-length opera, Frankenstein, for the Théâtre Royal de la Monnaie in Brussels. In 2016 works premiere with Atlanta Symphony, Berkeley Symphony and the New York Philharmonic’s Biennial festival.

Alexander Rom (Chorus Master) is a native of Kharkov, Ukraine, and holds a Master’s Degree in Choral Conducting from Leningrad Conservatory of Music. Since immigrating to the U.S., he has worked as a performer, conductor, educator, voice teacher, opera coach, and composer. He has been the chorus master for The Dallas Opera since 1990 and an opera coach with the Metropolitan Opera, Houston Grand Opera, Savonlinna Opera Festival (Finland), Cincinnati Festival, and Ravinia Festival. He has worked with world renowned singers including Paul Plishka, Mirella Freni, Nicolai Ghiaurov, Jorma Hynninen, Helga Dernesch, Martti Talvela, Joyce DiDonato, and Jerry Hadley. Maestro Rom is an honorary Visiting Professor at Sibelius Academy Helsinki Conservatory and was a Visiting Professor at Savonlinna Opera Festival Music Institute.

Michele Lynch (Choreographer) is making her Dallas Opera debut with these performances. She just completed choreography for the movie The Last Five Years by Jason Robert Brown and the movie Joyful Noise by Todd Graff starring Dolly Parton and Queen Latifah. She also choreographed Dolly Parton’s Better Day World Tour. On Broadway, Ms. Lynch choreographed Everyday Rapture directed by Michael Mayer and The Coast Of Utopia directed by Jack O’Brien.  For opera she has choreographed three highly successful productions of Show Boat directed by Francesca Zambello at The Kennedy Center, Chicago Lyric Opera, and Houston Grand Opera. She choreographed a benefit of Cabaret at The Public Theatre, starring Anne Hathaway and two National Tours of well-renowned TV series, Little House on the Prairie and Happy Days, The Musical.

David Zimmerman (Wig and Make-up Designer) has worked with The Dallas Opera and other opera companies around the world. These include the Metropolitan Opera, Opera Theatre of Saint Louis, Santa Fe Opera, Paris National Opera, and Opera Santa Barbara. Mr. Zimmerman’s career extends to Broadway as well, where he has worked on shows including Wicked, Rocky Horror, Show Boat, South Pacific and Evita. His personal clients include Deborah Voigt, Joyce DiDonato, Patricia Racette, Martha Stewart, Olympia Dukakis, and Ricky Martin. He has also done the make-up for the DIFFA Fashion Runway, Dallas Fashion and Art Charity, and the fashion event. His print credits include two features in Opera News plus features in both Vanity Fair and The New Yorker. Television and film credits include Glamour magazine’s Women of the Year and a feature film.

Andriana Chuchman (Magnolia Hawks) This season the Canadian soprano sang the title role in Hänsel und Gretel on the Glyndebourne Opera Tour, and made her debut at the Metropolitan Opera as Adina in L’elisir d’amore and Miranda in The Enchanted Island. Recent U.S. engagements have included her debuts at the Washington National Opera, Canadian Opera Company, Glimmerglass Festival, Michigan Opera Theater; Bard Music Festival, Spoleto Festival USA, Chicago Opera Theater, and Lyric Opera of Chicago. Ms. Chuchman is a graduate of the Ryan Opera Center at the Lyric Opera of Chicago and of the San Francisco Opera’s prestigious Merola Program.  In concert, she recently made her debut at the Toronto Symphony, Detroit Symphony Orchestra, the Ravinia Festival and with the International Music Foundation of Chicago.

Michael Todd Simpson (Gaylord Ravenal), baritone, returned this season to Washington National Opera as Escamillo in Carmen and Seattle Opera as Cecil in Maria Stuarda. Recent appearances include A Midsummer Night’s Dream at the Metropolitan Opera, The Consul at Seattle Opera and his San Francisco Opera debut as Ravenal in Show Boat. His many roles include the title role or leading roles in Eugene Onegin, Le nozze di Figaro, Così fan tutte, Lucia di Lammermoor, Pagliacci, Carmen, The Pearl Fishers, Manon, Carousel, and The Pirates of Penzance. He has also appeared at opera houses including New York City Opera, Pittsburgh Opera, Cleveland Opera, Florida Grand Opera, Portland Opera, Fort Worth Opera, Opera North (U.K), Opera Australia and the NCPA in Beijing.

Lara Teeter (Cap’n Andy Hawks) The Tony nominee and Broadway veteran is making his Dallas Opera debut with these performances. Broadway credits include On Your Toes (Tony nomination), Seven Brides for Seven Brothers, Happy New Year, and The Pirates of Penzance. Other credits include: the Scarecrow in The Wizard of Oz at Madison Square Garden, Don Lockwood in the national tour of Singin’ in the Rain, Will Parker in the national tour of Oklahoma!, Buddy Plummer in Follies at Barrington Stage Company, Steven Kodaly in She Loves Me at the Ahmanson Theatre, and Henry Higgins in My Fair Lady at North Shore Music Theatre. Other credits: New York City Opera’s Naughty Marietta and The Most Happy Fella at Lincoln Center; Lyric Opera of Chicago’s Street Scene and Show Boat with both Houston Grand Opera and Washington National Opera, directed by Francesca Zambello.

Alyson Cambridge (Julie La Verne), American soprano, has over a decade of success on the world’s leading opera and concert stages including The Metropolitan Opera, Lyric Opera of Chicago, Washington National Opera, Los Angeles Opera, Carnegie Hall, London’s Royal Albert Hall, Deutsche Oper Berlin, Vienna Konzerthaus, among others. Recent and upcoming engagements: her role debut as Cio-Cio-San in Madame Butterfly with Florentine Opera, her company debuts with Kentucky Opera, and her return to the Spoleto Festival USA for her role debut of Bess in Porgy and Bess. Ms. Cambridge’s recently released debut album, “From the Diary of Sally Hemmings” by William Bolcom premiered at Carnegie Hall’s Weil Recital Hall to rave reviews and she has just released an album of crossover and jazz standards, “Until Now.”

Morris Robinson (Joe), bass, is a graduate of the Metropolitan Opera Lindemann Young Artist Development Program. He has since performed there in several roles. He has also appeared at the San Francisco Opera, Lyric Opera of Chicago, The Dallas Opera, Houston Grand Opera, Florida Grand Opera, Pittsburgh Opera, Opera Philadelphia, Seattle Opera, Los Angeles Opera, Cincinnati Opera, Boston Lyric Opera, Opera Theater of Saint Louis, Wolf Trap Opera, and the Aix-en-Provence Festival. Mr. Robinson has appeared with the Chicago Symphony Orchestra, Atlanta Symphony Orchestra, National Symphony Orchestra, Houston Symphony, L’Orchestre Symphonique de Montreal, Baltimore Symphony, Met Chamber Orchestra, Nashville Symphony Orchestra, São Paulo Symphony Orchestra, and at the Ravinia, Mostly Mozart, Tanglewood, Verbier, and Aspen Music Festivals. Mr. Robinson’s first album, “Going Home,” was released on the Decca label.

Angela Renée Simpson (Queenie), dramatic soprano, is a native of Brooklyn, New York and is a frequent performer in opera and concerts throughout the United States and Europe. Ms. Simpson has had an active performing schedule, including making her debut in Kentucky Opera’s production of Show Boat this past February. Ms. Simpson has performed in many major U.S. opera houses such as San Francisco, Los Angeles, Chicago, Houston, Miami, Seattle, San Diego, Cleveland, Portland, Michigan, Peoria, and Denver. She has also performed to critical acclaim at La Scala in Milan, Italy and the Opera Bastille in Paris, France.

Mary-Pat Green (Parthy Ann Hawks), mezzo-soprano, makes her Dallas Opera debut with this production. She has appeared on Broadway in the original casts of Sweeney Todd and Hal Prince’s Candide, and in the Off-Broadway and multiple regional productions of Nunsense. Her film appearances include Yes Man, The Break Up, In Her Shoes, xXx, and My Best Friend’s Wedding. On television, she recently guest starred on American Horror Story: Asylum, The Mentalist, and Castle, and she had recurring roles on The West Wing, Six Feet Under, Any Day Now, Desperate Housewives, and Cold Case. She is a director and acting coach in Los Angeles and New York. 

Kate Loprest (Ellie Mae Chipley), mezzo-soprano, is a native of Deerfield, Illinois. She began her professional acting career at age 15 before attending The University of Michigan’s prestigious Musical Theatre Department. Broadway credits include: First Date (Allison) OBC, Hairspray (Amber Von Tussle), Wonderland, Xanadu, The Drowsy Chaperone. Tours: Wicked (Galinda, Nessarose u/s) Chicago Company, Little House on the Prairie (Nellie Oleson). Off-Broadway: Under My Skin (Victoria), Sistas! (Heather). TV/Film: Boardwalk Empire (Corrine), Running Wilde, All My Children, Made For Each Other. Her regional theatre credits include: Steve Martin and Edie Brickell’s Bright Star (Lucy Grant) The Old Globe, Show Boat (Ellie Mae) Washington National Opera, and others. Concert venues include: Bennett Hall at Ravinia, 54 Below, the Plaza Hotel, the Boathouse in Central Park and Carnegie Hall.

Jeffry Denman (Frank Schultz) One of the nation’s foremost song and dance men, Mr. Denman has performed on Broadway, in national tours, with symphonies and in regional theatres all across the country and is proud to be making his Dallas Opera debut. He was nominated for an Astaire Award for his portrayal of the Danny Kaye role in the World Premiere and Original Broadway companies of Irving Berlin’s White Christmas, won an IRNE Award for the Boston run of the show and can be heard on the Original Cast recording. Other Broadway credits: Cats, The Producers, How to Succeed and Dream. He was nominated for Drama Desk, Lortel and Callaway Awards for YANK! and won a Bistro Award -- Outstanding Song and Dance Man -- for his one man concert at the legendary club, Birdland in New York City. He is author of the critically acclaimed book, A Year with The Producers.

David Matranga (Steve Baker/Max Greene) is making his debut at The Dallas Opera and thrilled to be returning to Show Boat from the Houston Grand Opera production. He recently made his Lincoln Center debut in A Coffin in Egypt opposite the incomparable Frederica von Stade. After premiering A Coffin in Egypt at Houston Grand Opera, he has been a part of productions in Los Angeles, Philadelphia, and Chicago. Recent theatre: Straight White Men, Marie Antoinette, Failure: A Love Story, Dollhouse, Mistakes Were Made (Stages) You Can’t Take It With You, The Hollow (Alley Theatre), Miss Julie (CTC), Pride and Prejudice (Dallas Theatre Center), The King Stag (Yale Rep). Film/TV: Be Not Afraid, Occupy Texas, Patriot Act, Law & Order. He has also voiced over 100 characters in Anime. Training: Yale School of Drama.

Andrew Love (Pete/Manager/Emcee) is delighted to make his debut with The Dallas Opera. He performs regularly at the Houston Grand Opera having appeared in Die Valkyrie, Il Trovatore, and Show Boat (Pete). His previous theatre credits include: Henry V (Westmoreland, Constable and Fluellen) and The Speckled Band: An Adventure of Sherlock Holmes (Dr. Watson) at the Classical Theatre Company; A Christmas Carol (Fred) at the Alley; Cymbeline (Posthumous) and Romeo and Juliet (Romeo) at the Houston Shakespeare Festival. He is known for his voiceover work with Sentai Filmworks and Funimation Studios, where he has voiced more than 100 characters and has appeared on Cartoon Network. Mr. Love won Behind The Voice Actor’s 2013 Best Male Voice Actor of the Year in Anime. Film credits include: Starship Troopers: Invasion.

Katherine Pottkotter (Young Kim) has appeared with the Dallas Opera Children’s Chorus in La bohème and Tosca. She most recently danced in Dallas Ballet Company’s production of The Nutcracker where she was a Gingerbread Child. Along with singing and ballet Ms. Pottkotter enjoys playing the piano, reading and math. She is grateful to be a part of this outstanding production! 


Dallas Black Dance Theatre was founded in 1976 by Ann Williams to inspire minority boys and girls to appreciate dance as an art form. Now DBDT offers dance opportunities for the entire population. DBDT is renowned in the U.S. for its high-level of artistic excellence in contemporary modern dance and educational programs. Designated “American Masterpiece Touring Artist” by the National Endowment for the Arts, DBDT has performed across the globe in 31 states, 14 countries; including Lincoln Center in New York City, The Kennedy Center in Washington D.C., and two Olympic Games. DBDT’s is a resident performing company in the Dee and Charles Wyly Theatre in the AT&T Performing Arts Center. DBD Academy offers dance technique classes in ballet, modern, jazz, tap, African, and Hip Hop to 500 students weekly.





For high-resolution digital photographs suitable for print

To arrange an interview or obtain additional information

Please contact Suzanne Calvin, Director of Media and Public Relations

214.443.1014 or

Or Celeste Hart, Communications Manager

214.443.1071 or



Ticket Information for the 2015-2016 Dallas Opera Season

All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise described.  Single Tickets range from $19 to $275.  Family performance tickets are just $5.  For more information or to make your purchase, contact The Dallas Opera Ticket Services Office at 214.443.1000 or visit us online, 24/7, at


The Dallas Opera celebrates its Fifty-Ninth 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 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.  The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain, at most performances excluding FIRST NIGHT of the season.

Morris Robinson, starring as Joe in Show Boat, was recently featured on NBC-TV’s “TODAY” show!

by Celeste Hart
Morris Robinson - Photo by Ron Cadiz

Bass Morris Robinson — Photo by Ron Cadiz

In this segment which aired March 13, Morris shares fascinating insights about his unusual path to career success as an opera singer, a comparison of film and opera, why young people should check out opera and …he SINGS! Please click and share! Experience his magnificent talent in our production of SHOW BOAT opening April 15th!

The Dallas Opera’s Riverboat Adventure!

by Celeste Hart

Our final production of the 2015-2016 season is Jerome Kern and Oscar Hammerstein II’s SHOW BOAT! The work that changed American Musical Theater forever, opens on Friday, April 15, 2016.

In this edition of OFF THE CUFF from Theater Jones, Keith Cerny, the Kern Wildenthal General Director and CEO, explores and offers insights in to the show.