The Dallas Opera is offering a collection of free chamber music concerts at community and arts partner sites throughout April and May.
Details in the release that follows.
The Dallas Opera is offering a collection of free chamber music concerts at community and arts partner sites throughout April and May.
Details in the release that follows.
FOR IMMEDIATE RELEASE:
Tuesday, January 8, 2019
Contact: Suzanne Calvin 214.443.1014
suzanne.calvin@dallasopera.org
The Dallas Opera is Privileged to Announce
The Spring Semi-Staged Production of Puccini’s MANON LESCAUT
Will Include Images from the Collection of
The Dallas Museum of Art
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Opening Night: March 1, 2019 at 7:30 p.m.
The Margot and Bill Winspear Opera House
AT&T Performing Arts Center, Dallas, TX
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Single Tickets and Flex Subscriptions
Are on Sale Now for The Dallas Opera’s First
“MARCH MINI-FEST: PUCCINI”
Featuring MANON LESCAUT & LA BOHÈME
DALLAS, TX, JANUARY 8, 2019 – The Dallas Opera is proud to announce that the company’s semi-staged production of Manon Lescaut, the first production in a two-part Puccini mini-festival in March, will incorporate images from the collection of the Dallas Museum of Art into the production design, in a special collaboration between the two prominent arts organizations.
Manon Lescaut, which opens on Friday, March 1, 2019, for the first of four mainstage performances in the Margot & Bill Winspear Opera House at the AT&T Performing Arts Center, stars an internationally-acclaimed cast conducted by The Mrs. Eugene McDermott Music Director Emmanuel Villaume.
Director Edward Berkeley, staging the production in his company debut, has selected several charming images of mid-eighteenth-century Aubusson tapestries from the DMA’s Decorative Arts and Design collection. These works made of wool are characterized by a three-dimensional look developed by French artists over a period of hundreds of years and achieved during the weaving process.
The DMA tapestries depict genteel scenes of aristocratic courtship and leisure pursuits in peaceful pastoral settings, framed by a profusion of fruit-laden vines, flowers and birds.
These tapestries were a gift of Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, Incorporated in 1968.
“Often times, creativity blooms from inspiration found afar but, sometimes, that same inspiration can be found close to home,” notes Ian Derrer, The Kern Wildenthal General Director and CEO.
“We are very fortunate in Dallas to have world-class art available at our fingertips and, in our case, right down the block. Any opportunity to remind our community of the inherent complement between the visual and performing arts is an opportunity to be seized. Our ongoing partnership with the Dallas Museum of Art has found a powerful new bloom in this meeting of art and music onstage at the Winspear.”
Dallas Opera patrons will also enjoy a 1776 French work of art featuring the Duke of Penthièvre with Benjamin Franklin next to his chateau at Rambouillet.
Created with gouache (a more-opaque form of watercolor) and white chalk on paper, the work was made by Louis-Nicolas van Blarenberghe and his son, Henri-Joseph, who both lived and worked at the Palace at Versailles. The father-and-son team often collaborated on the same projects. This panoramic view in subtle pastel hues was acquired by the Museum in 2010.
“The Dallas Museum of Art is always seeking opportunities to expand our partnerships within the Dallas Arts District in ways that benefit the community,” said the DMA’s Eugene McDermott Director Dr. Agustín Arteaga. “We are excited to collaborate with the Dallas Opera to offer a new way for the public to experience the DMA’s collection, as part of the Opera’s dynamic program.”
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Manon Lescaut, composed by Giacomo Puccini in 1892, premiered early the following year in Turin, Italy. The opera was re-introduced in 1894 at Milan’s La Scala (newly revised) and propelled Puccini to the front ranks of his contemporaries. Set in France and America in the latter half of the 18th century, the opera traces the amorous twists-and- turns of its title character, who loses love only to find it again before being separated forever on a distant, foreign shore.
The Dallas Opera’s semi-staged production will star soprano Kristin Lewis making her TDO debut in the title role. While performing Aida at Vienna State Opera, Larry Lash of Musical America Worldwide described her as “a beautiful woman with a luminous stage presence and a luscious, dark voice; she scored a triumph with her elegant, sensitive phrasing highlighted by ethereal pianissimos, held, seemly, forever.”
Manon Lescaut also stars tenor Gregory Kunde as Manon’s one true love, Chevalier des Grieux; South African bass-baritone Musa Ngqungwana as Manon’s brother, Lescaut; tenor Jonas Hacker as Edmondo; bass-baritone Mark S. Doss as the Innkeeper and Italian bass Andrea Silvestrelli as a wealthy government official, Geronte de Revoir.
“To visualize Manon Lescaut as she journeys from town (Amiens) to city (Paris) to port (LeHavre) to wilderness (Louisiana!),” explains Director Edward Berkeley, “I looked for evocative images that, with one stroke, would transport audiences.
“The images from the DMA seemed ideal for Amiens with the innocent pastel depiction of the town square and for Paris, where the Aubusson tapestries have the intricacy of Manon’s new-found life. The uniqueness of the Aubusson hangings make Manon’s plunge into elegance feel like a drowning in luxury. As the journey of Manon turns to grimmer realities, I chose natural images of a black-and-white port and the Beckett-esque desert just outside of New Orleans.”
Additional performances of The Dallas Opera’s semi-staged concert production of Manon Lescaut will take place on Sunday, March 3 (2:00 p.m. matinee), with additional evening performances on March 6 and 9, 2019.
Single tickets start at just $19 and may be purchased online at dallasopera.org or by contacting the friendly and experienced professionals in The Dallas Opera Ticket Office: 214.443.1000.
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The second half of TDO’s Puccini mini-fest will be a fully-staged production of La bohème, performed on a set never before seen in Dallas. It opens Friday, March 15, 2019 for the first of six performances, ending on Sunday, March 31st.
The superb international cast includes French tenor Jean-François Borras in his house debut as the romantic poet, Rodolfo; South African soprano Pumeza Matshikiza in her American debut as the shy seamstress, Mimi; baritone Anthony Clark Evans as the fiery Marcello; soprano Sara Gartland as the irrepressible Musetta; baritone Will Liverman in his TDO debut as Schaunard; bass Nicolas Brownlee as Colline and the one-and-only Samuel Ramey in the dual roles of Benoit and Alcindoro.
Conducted by Maestro Giuliano Carella and staged by director Tomer Zvulun in a fitting finale to a month of performances crafted by one of the greatest names in opera.
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ABOUT THE DALLAS OPERA
Founded in 1957, The Dallas Opera is an internationally-recognized innovator dedicated to the overall advancement of the operatic art form and the support of established and emerging artists, as well as the education and development of new opera audiences in North Texas—and beyond. These goals are achieved by commissioning and producing world-class opera; through ground-breaking institutes, national competitions and topical programs; and by presenting opera in both traditional and non-traditional formats and venues in order to attract patrons of every age, background, educational level, and ethnicity—while engaging with more than 87,000 people in our community each year. TDO is equally committed to the task of responsible stewardship and is managed with efficiency and accountability, to the highest possible standards.
ABOUT THE DALLAS MUSEUM OF ART
Established in 1903, the Dallas Museum of Art (DMA) is among the 10 largest art museums in the country and is distinguished by its commitment to research, innovation, and public engagement. At the heart of the Museum and its programs is its global collection, which encompasses more than 24,000 works and spans 5,000 years of history, representing a full range of world cultures. Located in the nation’s largest arts district, the Museum acts as a catalyst for community creativity, engaging people of all ages and backgrounds with a diverse spectrum of programming, from exhibitions and lectures to concerts, literary events, and dramatic and dance presentations. Since the Museum’s return to free general admission in 2013, the DMA has welcomed more than 4 million visitors. For more information, visit DMA.org.
The Dallas Museum of Art is supported, in part, by the generosity of DMA Members and donors, the citizens of Dallas through the City of Dallas Office of Cultural Affairs, and the Texas Commission on the Arts.
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2018-2019 SEASON SPONSOR
The Nancy A. Nasher and David J. Haemisegger Family
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EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE
ADDITIONAL INFORMATION ABOUT THE DALLAS OPERA
IS AVAILABLE ONLINE, 24/7. VISIT WWW.DALLASOPERA.ORG
FOR HIGH-RESOLUTION PHOTOGRAPHS
Contact Suzanne Calvin, Director of Media and PR at suzanne.calvin@dallasopera.org
The Dallas Opera is supported, in part, by funds from: Elsa von Seggern Foundation, Texas Instruments Foundation, the 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.
The Dallas Opera Family Performances are generously supported by
Texas Instruments, Lockheed Martin, and
The Betty and Steve Suellentrop Educational Outreach Fund
TDO Family Performances are a part of the
Perot Foundation Education and Community Outreach Programs
TICKET INFORMATION FOR THE 2018-2019 DALLAS OPERA SEASON
All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise indicated. Flex Subscriptions are on sale now; single Tickets range from $19 to $289 (excluding boxes). Family performance tickets are just $5. For more information or to make your purchase, contact The Dallas Opera Ticket Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.
THE DALLAS OPERA 2018-2019 MAINSTAGE SEASON: SPRING
The Dallas Opera celebrates its 62nd 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. With the exception of FIRST NIGHT, The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain, at most performances.
MANON LESCAUT by Giacomo Puccini
Semi-Staged Concert, March 1, 3 (m), 6, 9, 2019
Featuring images of select art works from the collections of The Dallas Museum of Art!
The woman who has everything discovers too late that she has nothing – without true love!
Libretto by Domenico Oliva and Luigi Illica
Time: Late 18th century
Place: France and America
Conductor: Emmanuel Villaume
Director: Ed Berkeley
Costume Designer: Tommy Bourgeois
Lighting Designer: Krista Billings
Wig & Make-up Designer: Dawn Rivard
Chorus Master: Alexander Rom
Starring: Kristin Lewis* (Manon Lescaut), Musa Ngqungwana (Lescaut), Gregory Kunde (Chevalier des Grieux), Andrea Silvestrelli (Geronte de Ravoir), Jonas Hacker* (Edmondo), Mark S. Doss (Innkeeper), Alyssa Martin (Singer), Matthew Grills* (Dance Master), Clay Hilley* (Lamplighter), Mark McCrory (Sergeant of the Royal Archers) and David Leigh* (Naval Captain).
LA BOHÈME by Giacomo Puccini
March 15, 17 (m), 20, 23, 29, 31 (m), 2019
The most timeless love story in all of opera returns to break your heart!
Libretto by Giuseppe Giacosa and Luigi Illica
Time: 19th century
Place: The Latin Quarter of Paris, France
Conductor: Giuliano Carella
Director: Tomer Zvulun
Set Designer: Erhard Rom
Costume Designer: Peter J. Hall
Lighting Designer: Robert Wierzel
Wig & Make-up Designer: Dawn Rivard
Chorus Master: Alexander Rom
Starring: Jean-Francois Borras* (Rodolfo), Pumeza Matshikiza** (Mimi), Anthony Clark Evans* (Marcello), Sara Gartland (Musetta), Will Liverman* (Schaunard), Nicholas Brownlee* (Colline), and Samuel Ramey (Benoit/Alcindoro).
FALSTAFF by Giuseppe Verdi
April 26, 28 (m), May 1, 4, 2019
Shakespeare’s uproarious comedy brought to musical life!
Libretto by Arrigo Boito
Time: During the reign of Henry IV of England
Place: Windsor
Conductor: Riccardo Frizza
Original Director: Lee Blakeley
Revival Director: Shawna Lucey*
Set and Costume Designer: Adrian Linford*
Lighting Designer: Rick Fisher*
Wig & Make-up Designer: Dawn Rivard
Chorus Master: Alexander Rom
Starring: Mark Delavan* (Sir John Falstaff), Angela Meade (Alice Ford), Quinn Kelsey* (Ford), Mojca Erdmann* (Nanetta), Airam Hernández* (Fenton), Stephanie Blythe* (Dame Quickly), Megan Marino* (Meg Page), Alex Mansoori* (Bardolfo), Andrea Silvestrelli (Pistola), and Robert Brubaker (Dr. Caius).
* Dallas Opera Debut
** American Debut
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It’s not just the weather that’s heating up, it’s the first events of the fall season at the Dallas Opera – including a new “Music & Masterpieces” program in partnership with the Dallas Museum of Art. Details to follow:
FOR IMMEDIATE RELEASE:
Wednesday, August 14, 2013
Contact: Suzanne Calvin 214.443.1014 Or Megan Meister 214.443.1071
suzanne.calvin@dallasopera.org megan.meister@dallasopera.org
THE DALLAS OPERA PRESENTS
IN PARTNERSHIP WITH
THE DALLAS MUSEUM OF ART
AN ENCORE SEASON OF
“MUSIC & MASTERPIECES”
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TENOR DAVID PORTILLO IN RECITAL
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Special Gallery Tour of Hispanic Art and Artists
In the DMA Collection
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Sunday, September 15, 2013 at 2:00 p.m.
Horchow Auditorium, Dallas Museum of Art
DALLAS, AUGUST 14, 2013 – The Dallas Opera is excited to announce details of the first performance of a new season of “Music & Masterpieces,” in partnership with the Dallas Museum of Art and in celebration of National Hispanic Heritage Month. “Music and Masterpieces,” an increasingly popular project developed by these two leading arts organizations, seeks to partner the performing and visual arts by style, era, or country of origin to create a more fully rounded understanding of both. Experts from the field of opera and the visual arts will underscore subtle connections and define movements within the culture that influenced their creations—in addition to underscoring the way we experience these great masterpieces on canvas, in stone, or on stage today.
Join the Dallas Opera on Sunday, September 15th at 2:00 p.m. at the DMA’s Horchow Auditorium when Texas-born Tenor David Portillo, accompanied by pianist Jason Smith, will perform a recital steeped in the complex and sophisticated Hispanic heritage of North, South and Latin America.
Tours of the DMA’s collection at 3:00 pm will feature works of art ranging from pre-Columbian works from Mesoamerica and South America to modern Mexican paintings and mosaics.
Metroplex audiences will remember David Portillo from his appearance last spring as Tonio in Fort Worth Opera’s production of The Daughter of the Regiment. John Norine Jr. of Theater Jones wrote that the singer was “Always at ease, always intensely musical—Portillo navigates the tricky score with ease. The real benchmark comes early for the role of Tonio with the aria ‘Ah! Mes Amis!’ (‘Ah! My Friends!’). This minefield of an aria ends with nine high C’s in the final section, coming in rapid succession. Its place in the opera doesn’t allow for the singer to warm into it; the notes are there or they’re not. On opening night, they were, wowing the audience and bringing the opera to a halt with the audience applause.”
Highlights from the afternoon program will include Alberto Evaristo Ginastera’s “Cinco Canciones populares Argentinas” (“Five Popular Argentine Songs”). Also on the program will be several Carlos Gardel art songs. One very popular song that will be performed is “El Dia Que Me Quieras” (“The Day You Love Me”). Composer Gustavo Santaolalla proclaimed it “one of the most beautiful melodies ever written.”
Joaquín Turina’s “Poema en forma de canciones” (“Poem in the Form of Songs”) also will be included in this memorable afternoon program; a work widely considered one of Turina’s best-known and best-loved songs.
Also on the program will be three art songs by Maria Grever, the first successful Mexican woman composer. One of the songs to be performed is “Te quiero, dijiste” (“Magic Is the Moonlight”) written for the 1944 Esther Williams film Bathing Beauty. Among the legendary artists who recorded this song were Rosemary Clooney, Dean Martin and Nat King Cole.
The program is carefully designed to enhance a special gallery tour of Hispanic art and artists represented in the DMA’s collection; a tour that will take place immediately following the recital on Sunday, September 15th.
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Each year, Americans observe National Hispanic Heritage Month from September 15 to October 15, by celebrating the histories, cultures and contributions of American citizens whose ancestors came from Spain, Mexico, the Caribbean and Central and South America.
The observation started in 1968 as Hispanic Heritage Week under President Lyndon Johnson and was expanded by President Ronald Reagan in 1988 to cover a 30-day period. The day of September 15 is significant because it is the anniversary of independence for Latin American countries Costa Rica, El Salvador, Guatemala, Honduras and Nicaragua. In addition, Mexico celebrates its independence day on September 16.
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KEY BIOS:
DAVID PORTILLO (Tenor)
Texas tenor David Portillo has established a reputation as an accomplished vocalist with “honeyed, perfectly focused singing” (Chicago Tribune). The 2012-2013 season brought David’s return to the Lyric Opera of Chicago as David in Die Meistersinger von Nürnberg, the premiere of Jean-Jacques Rousseau with Grand Theatre Geneve in Switzerland, his role and house debut as Percy in Anna Bolena with Minnesota Opera, Tonio in The Daughter of Regiment at Fort Worth Opera Festival followed by Almaviva in Il barbiere di Siviglia with Central City Opera. The 2013-2014 season and beyond brings Gonzalve in L’heure Espagnole with the Seito-Kinen Festival in Japan, Ralph Rackstraw in HMS Pinafore with Arizona Opera, Narciso in Il Turco in Italia with both Les Théâtres de la Ville de Luxembourg and Opera Angers –Nantes, a reprise of his Almaviva for his Palm Beach Opera debut, his return to Opera Company of Philadelphia as Don Ottavio in Don Giovanni and to the Opera Theatre of St. Louis in The Dialogues of the Carmelites, and house debuts with Washington National Opera and the Aix-en-Provence Festival.
In 2011 David split the summer between Don Ottavio with Opera Theatre of St. Louis and Rinuccio in Gianni Schicci with the Castleton Festival in Virginia. David joined the roster of Teatro alla Scala last fall, where he covered the role of Don Ottavio. His other engagements for the 2011-2012 season included his house debut as Almaviva with Tulsa Opera, his role debut as Belmonte in Die Entführung aus dem Serail with Pittsburgh Opera, his role debut as Renaud in Gluck’s Armide presented by the Metropolitan Opera and Juilliard School, and his return to Opera Theatre of St. Louis as Ferrando in Cosí fan tutte. He also sang the role of Ferdinand in Thomas Ades’ The Tempest for the Accademia Nazionale di Santa Cecilia in Rome, Italy.
David recently sang Almaviva in Il barbiere di Siviglia with Pittsburgh Opera, Ferrando in Cosí fan tutte for Virginia Opera, Tonio in La fille du Regiment for Dayton Opera, and returned to the Lyric Opera of Chicago to sing Trin in La Fanciulla del West and cover Hyllus in Hercules. David’s performance as Don Ottavio in Don Giovanni with Fort Worth Opera was heralded by Opera News as “passionate and fully-fleshed, not the ineffective blusterer of many productions.” That same year, he returned to Wolf Trap Opera Company as Narciso in Il Turco in Italia and Francis Flute in Britten’s A Midsummer Night’s Dream. He also took the concert platform as soloist for Haydn’s Creation, Beethoven’s Symphony No.9, and Verdi’s Requiem for the Colorado Music Festival, Phoenix Symphony, and Elmhurst Symphony, respectively. A graduate of the Ryan Opera Center at Lyric Opera of Chicago, he performed Gastone in La traviata and the Sailor in Tristan und Isolde for the company. He has also covered Fenton in Falstaff, Nadir in Les pêcheurs de perles, and Conte Almaviva in Il barbiere di Siviglia.
David is also an alumnus of both the Merola Opera Program at San Francisco Opera and Wolf Trap Opera in Vienna, Virginia where his performances were met with public and critical acclaim. Other roles to his credit include Albert Herring, Alfredo in La traviata, Sam Kaplan in Street Scene and the Chevalier de la Force in Dialogues of the Carmelites.
A versatile recitalist, David has appeared with Steven Blier and also performed a Schwabacher Debut Recital under the auspices of the San Francisco Opera Center. In response, the San Francisco Chronicle found that “His tenor rang out clearly and brightly, his diction was exemplary, and he moved with easy assurance from the 17th century to the 20th and through realms in between.” David is the recipient of numerous prizes for his artistry, including a 2009 Shoshana Foundation Grant, 2009 American Opera Society of Chicago Award, 2009 Sullivan Foundation Encouragement Award, 2008 Winner of the Men’s Prize of the Union League of Chicago Young Adult’s Music Competition, and 2009 Winner of the Bel Canto Scholarship Foundation Competition. He is also a two-time recipient of a Shouse Career Development Grant from the Wolf Trap Foundation.
JASON SMITH (Accompanist)
Jason Smith serves as a Vocal Coach on faculty at Southern Methodist University, a position he has held since 2007. He first came to Texas to serve as the Young Artist Coach and Pianist, then Principal Coach for the Ft. Worth Opera. Besides his responsibilities at SMU, he still is active on the musical rosters of both Ft. Worth and Dallas Opera companies. Jason has also been on the Vocal Coaching faculty at the Seagle Music Colony in the Adirondack State Park for ten consecutive summers. He received a Masters of Music in Opera Coaching from Florida State University after completing a two-year Young Artist appointment at the Utah Opera in Salt Lake City. His Bachelor’s in Music in Piano Performance comes from the University of Utah.
EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE
ADDITIONAL INFORMATION ABOUT “AUGUST 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
About the Dallas Museum of Art
Established in 1903, the Dallas Museum of Art (DMA) ranks among the leading art institutions in the country and is distinguished by its innovative exhibitions and groundbreaking educational programs. At the heart of the Museum and its programs is its global collection, which encompasses more than 22,000 works and spans 5,000 years of history, representing a full range of world cultures. Located in the vibrant Arts District of downtown Dallas, the Museum welcomes more than half a million visitors annually and acts as a catalyst for community creativity, engaging people of all ages and backgrounds with a diverse spectrum of programming, from exhibitions and lectures to concerts, literary events, and dramatic and dance presentations. In January 2013, the DMA returned to a free general admission policy, and launched DMA Friends, the first free museum membership program in the country.
The Dallas Museum of Art is supported, in part, by the generosity of Museum Partners and donors and by the citizens of Dallas through the City of Dallas/Office of Cultural Affairs and the Texas Commission on the Arts.
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. Subscriptions are now on sale to the general public, starting at just $76. Single Tickets starting at $19 and Flex Subscriptions are also on sale. Family performances are $5 (Family Performance Subs are $12 for three family performances) and are on sale now. 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 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
______________________________________________________________________________________
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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…for the venue, not so much.
Here’s one man’s take on last Sunday afternoon’s Laura Claycomb recital at the DMA’s Horchow Auditorium, from “Dallas Morning News” Classical Music Critic Scott Cantrell.
Suzanne Calvin, Manager/Director Media and PR
My, what pearly white teeth she has! With good reason, it turns out. But I don’t want to take away too much from the CultureMap story below.
(Photo of Laura Claycomb as Gilda in the Dallas Opera’s RIGOLETTO by production photographer Karen Almond)
CULTURE MAP
SOPRANO SPOTLIGHT
5 questions for hometown girl and Dallas Opera diva Laura Claycomb
BY ELAINE LINER
09.30.12 | 12:25 pm
Before her October 7 afternoon recital at Dallas Museum of Art’s Horchow Auditorium, opera star Laura Claycomb had to see the dentist. She lives in Italy now, but the Highland Park High School and SMU grad still gets her teeth cleaned in Dallas. (She was also visiting her parents.)
Claycomb, who wowed audiences and critics last year in Dallas Opera’s Rigoletto (watch her sing that opera’s “Caro Nome” aria) and was named 2012’s Maria Callas Debut Artist of the Year, opened her mouth again to answer five questions for us.
CultureMap: “Recital” sounds so old-fashioned. Why not “concert”?
Laura Claycomb: I should just say “in concert with piano.” The whole word “recital” sounds like I’m going to recite poems or something. But a recital is a great way to introduce yourself to opera. It’s like a mini-opera in every song. Not only do you get this person singing acoustically with no microphones, you’re sitting close to them. You don’t have to look at me with binoculars. It’s just me and the piano. It’s a journey through a lot of songs with your favorite singer.
“Something opera newbies may not know is that there are no microphones. In opera you hear these voices that are powerful enough to be heard over a 60-piece orchestra.”
(Get the bulk of Elaine Liner’s up-close interview with Laura Claycomb right here, ending in the rather surprising “either-or” proposition below.)
CM: When opera singers get together offstage, what do they talk about?
LC: The conversation usually turns to mucous or sex. Or sometimes both, which is not the greatest thing to put together. Those are the big topics.
Soprano Laura Claycomb will star next in Bellini’s La Sonnambula at Moscow’s Bolshoi Ballet and Opera Theatre.
For her DMA recital (October 7, 2 pm), she’ll be accompanied by pianist Keith Weber. On the program are some of Claycomb’s personal favorites, including Francis Poulenc’s 1939 song cycle “Fiançailles pour rire” with poetry by Louise de Vilmorin; Richard Strauss’ “Brentano Lieder, Op. 68,” a vocal showcase with texts by poet Clemens Brentano; and Olivier Messiaen’s “Chant de terre et de ciel” (“Songs of Earth and Sky”).
Tickets are $25 (which includes admission to the museum) and may be purchased at dallasopera.org or by calling 214-443-1000.
Why settle for one celebrated art form when you can just as easily enjoy two? The Dallas Opera and the Dallas Museum of Art are working in partnership to bring you a brand-new series, “Music & Masterpieces.” Details in the release that follows. (Image courtesy of dreamstime.com)
FOR IMMEDIATE RELEASE:
Wednesday, September 19, 2012
Contact: Suzanne Calvin 214.443.1014 / suzanne.calvin@dallasopera.org
Or Megan Meister 214.443.1071 /megan.meister@dallasopera.org
THE DALLAS OPERA ANNOUNCES
“MUSIC & MASTERPIECES”
IN PARTNERSHIP WITH
THE DALLAS MUSEUM OF ART
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SOPRANO NATHALIE PAULIN IN RECITAL
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POSTERS OF PARIS
Gallery Tour
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Saturday, November 10, 2012 at 2:00 p.m.
Horchow Auditorium, Dallas Museum of Art
DALLAS, SEPTEMBER 19, 2012 – The Dallas Opera is delighted to announce an outstanding new program, “Music & Masterpieces,” in partnership with the Dallas Museum of Art. “Music and Masterpieces”, an arts enhancement project developed by these two leading arts organizations, seeks to partner the performing and visual arts by style, era, or country of origin to create a more fully rounded understanding of both. Experts from the field of opera and the visual arts will underscore subtle connections and define movements within the culture that influenced their creation, in addition to underscoring the way we experience these great masterpieces on canvas, in stone, or onstage today.
This ambitious experimental partnership combining great music and the visual arts will be launched on Saturday, November 10th at 2:00 p.m. at the DMA’s Horchow Auditorium with a special program devoted to the exhibition Posters of Paris: Toulouse-Lautrec and His Contemporaries. French-Canadian soprano Nathalie Paulin will perform in a recital with pronounced Gallic roots, accompanied by Michael Heaston, Head of the Music Staff at TDO. Nathalie Paulin has sung with TDO in productions as varied as The Magic Flute, The Cunning Little Vixen, Manon and The Merry Widow. Heidi Waleson of The Wall Street Journal wrote that Miss Paulin “displayed a rich, creamy soprano and excellent comic timing.”
“When it was suggested that we bring a singer who could enhance our understanding of mid-to-late nineteenth-century French posters soon to be on exhibit at the Dallas Museum of Art,” explains Dallas Opera Artistic Director Jonathan Pell, “Nathalie was the very first artist who came to mind.
“Since making her U.S. stage debut with TDO as Frasquita in Carmen (1996), and in her return engagements in roles like Pousette in 2001’s Manon and Valencienne in our 2007 production of The Merry Widow, the utterly beguiling Miss Paulin has shown a gift that enables her not merely to express authentic French style and charm—but somehow to embody it through her music making.”
Highlights from the afternoon program—picked to enhance the DMA’s exhibition Posters of Paris—will include Maurice Ravel’s “Cinq Mèlodies Populaires Grecques” (“Five Popular Greek Songs”). Also on the program will be a selection of Reynaldo Hahn art songs. One very popular song Ms. Paulin will sing is “Si mes vers avaient des ailes” (“If My Verses Had Wings”). Hahn wrote this piece when he was just fifteen years old and is one of his earliest compositions. Another of Hahn’s early songs included on the program is “Rêverie” with poetry by that titan of nineteenth-century French Literature, Victor Hugo. In 1851, Camille Saint-Säens used the same text for his version of “Rêverie.”
Erik Satie’s songs “J’avais un ami,” “Je te veux,” and “La Diva de l’empire” will be on this afternoon program. Both “Je te veux” and “La Diva de l’empire” were written and performed by Paulette Darty, known in her day as the “Queen of the Slow Waltz.”
The program will create an atmosphere for a special gallery tour of Posters of Paris: Toulouse-Lautrec and His Contemporaries, an exhibition exploring the earliest days of the affiche artistique (artistic poster) and its flowering in Paris, first under Jules Chéret in the 1870s and 1880s, and then with a new generation of artists including Henri de Toulouse-Lautrec and Pierre Bonnard. These artists brought the poster to new heights in the 1890s.
On view October 14, 2012 through January 20, 2013, the exhibition brings together the finest French examples from the golden age of the poster.
“Art critics praised the artistic posters for giving Paris a free ‘museum for the masses’ that changed daily as new posters were pasted up,” said Heather MacDonald, The Lillian and James H. Clark Associate Curator of European Art at the Dallas Museum of Art, and curator of the Dallas presentation.
The Dallas Museum of Art and the Dallas Opera are also announcing two additional programs in this series—“Music & Masterpieces”—scheduled for Sunday, January 27, 2013 (Diference?, featuring contemporary women artists) and on Saturday, May 4, 2013 (Cindy Sherman). The singers taking part will be announced at a later time.
KEY BIOS:
NATHALIE PAULIN (Soprano)
Soprano Nathalie Paulin has established herself in the United States, Canada, Europe and the Far East as an interpretive artist of the very first rank. Winner of a Dora Mavor Moore Award for Outstanding Opera Performance, she has collaborated with internationally renowned conductors including Jane Glover, Yannick Nézet-Séguin, Antony Walker, Sir Roger Norrington, Andrew Parrott, Jonathan Darlington, Hervé Niquet, David Agler, Richard Bradshaw, Bernard Labadie, Mario Bernardi, Graeme Jenkins, Andrew Litton and Yoav Talmi on both the concert platform and in opera. As well, critics have been lavish in their praise. Reviewing from Chicago, John van Rhein noted that “Paulin in particular is a real find; her rich, agile voice possesses great depth and allure, her manner radiates sensuous charm.” Ms. Paulin debuted for L’Opéra de Montréal as Mélisande in PÉLLÉAS ET MÉLISANDE and for Chicago Opera Theater as Galatea in ACIS AND GALATEA. She was re-engaged by Chicago Opera Theater for the title role in SEMELE and for Mary in LA RESURREZIONE, both by Handel. She has also been heard as Constance in DIALOGUES DES CARMÉLITES for Calgary Opera, Zerlina in DON GIOVANNI for L’Opéra de Québec, and Susanna in LE NOZZE DI FIGARO for Cincinnati Opera. The Dallas Opera featured her in CARMEN and CUNNING LITTLE VIXEN.
In the summer of 2012, Ms Paulin debuts for Bard Summerscape (New York) in Chabrier’s LE ROI MALGRE LUI, a production that will be seen at the Wexford Festival in the fall. Further engagements include performances of Mozart’s REQUIEM for Tafelmusik and the Alberta Ballet (Calgary and Edmonton), LALA ROUKH for Opera Lafayette, Beethoven’s Symphony No. 9 for Orchestra London Canada and a return to the Aldeburgh Connection for ‘Madame Bizet’.
Ms. Paulin’s 11/12 season included MESSIAH for the Seattle Symphony, her debut for Ireland’s Wexford Festival as La Baronne in LA COUR DE CELIMENE, Handel’s HERCULES for Tafelmusik, Hetu’s LES CLARTES DE LA NUIT for the National Arts Centre Orchestra, MATTHÄUS PASSION and Bach Cantatas for the Calgary Philharmonic, Marcellina in FIDELIO for Edmonton Opera, the title role in RODELINDA for Houston’s Mercury Baroque and CARMINA BURANA for the Québec Symphony.
In the summer of 2010, Ms. Paulin made her Rotterdam Philharmonic debut in L’ENFANT PRODIGUE with Nézet-Séguin, who was also her conductor for Mahler’s SYMPHONY No. 8 at the National Arts Centre in Ottawa and Place des Arts in Montréal. She was featured in the Elora Festival’s Beethoven MASS IN C with Noel Edison in and began the fall season as Susanna in LE NOZZE DI FIGARO for Opera Hamilton, followed immediately by the title role in RODELINDA for Pacific Opera Victoria. Highlights of her concert schedule included MESSIAH in Portland and Trois Rivières, LES INDES GALANTES for Boston Baroque, Vivier’s LONELY CHILD for the Windsor Symphony, recitals for Toronto’s Aldeburgh Connection, Toronto Summer Music, Camp Musical in Quebec, Caraquet in New Brunswick and Indian River, PEI and the role of Emmy in DER VAMPYR for the Lanaudiere Festival.
Summer activities in 2009 included a number of events built around the Congres Mondiale d’Acadien in Nova Scotia and New Brunswick, while further into the season, she sang the title role in Massenet’s MANON for Calgary Opera and reprised the role for Opera Lyra Ottawa. She rounded out her fall with
MESSIAH for the Brott-McGill Chamber Orchestra. The balance of the season was an exciting lineup including Haydn’s DIE JAHRESZEITEN for the Calgary Philharmonic (Taurins), performances for Opera Lafayette in Washington D.C. and New York (LES ARTS FLORISSANTS and ARMIDE) and MESSIAHs in Montreal and works of Graupner for Les Idées Heureures.
The 2008-2009 season was notable for her Atlanta Symphony debut in Mozart’s REQUIEM, Haydn with Boston’s Handel and Haydn Society and Washington Concert Opera concerts co-starring with Stephanie Blythe. Also on her schedule were SEMELE for Pacific Opera Victoria, Handel’s HERCULES with Chicago’s Music of the Baroque, Mahler’s SYMPHONY #4 with Somerville and the Hamilton Philharmonic as well as concerts with the Fredericton Chamber Music Festival, Ottawa Chamber Music Festival, Scotia Festival (MALHER # 2) and the CBC Vancouver Radio Orchestra.
Her 2007-2008 season included DON CARLOS (Thibault) for the Canadian Opera Company, DIE LUSTIGE WITWE (Valencienne) for the Dallas Opera and DIE ZAUBERFLÖTE (Pamina) for Arizona Opera and further engagements with the Phoenix Symphony, the Arion Ensemble of Montreal and the Laval Symphony. In 2006-2007 Ms. Paulin’s schedule included Handel’s ORLANDO for Washington Concert Opera, WEIHNACHTSORATORIUM for the Toronto Bach Consort conducted by Jane Glover, Pamina in DIE ZAUBERFLÖTE for Vancouver Opera, Micaëla in CARMEN for Calgary Opera, Poulenc’s GLORIA for L’Orchestre Metropolitain du Grand Montréal and PEER GYNT for L’Orchestre symphonique de Québec. For the Brooklyn Philharmonic, she was featured in Gorecki’s Symphony No. 3 and Mozart’s EXULTATE JUBILATE and returned to Cincinnati for Despina in COSI FAN TUTTE.
Her 2005-2006 season included Constance in DIALOGUES DES CARMÉLITES and Zerlina in DON GIOVANNI (Vancouver Opera), Micaëla in CARMEN (L’Opéra de Québec), the title role in SEMELE for Arizona Opera and Laoula in L’ÉTOILE and Antonia in LES CONTES D’HOFFMANN (Cincinnati Opera). These were balanced by MESSIAH for the Toronto Symphony, Orchestra London and the Elora Festival Singers as well as Mozart’s REQUIEM for the Calgary Philharmonic and Bach’s MASS IN B MINOR for the Thunder Bay Symphony.
Notable debuts for 2004–2005 included her first appearance in New York City when she was featured in a Handel programme for the New York Collegium. Ms. Paulin’s Dora Award was for her portrayal of Belinda in Opera Atelier’s production of DIDO AND AENEAS and also on her schedule were Leila in LES PECHEURS DE PERLES for Festival Vancouver, Antigone in Sacchini’s OEDIPE A COLONNE for Washington D.C.’s Opera Lafayette and Norina in DON PASQUALE for L’Opéra de Montréal. On the concert stage, her schedule called for Mendelssohn’s LOBGESANG with L’Orchestre symphonique de Québec, Poulenc’s GLORIA with the Spokane Symphony and the works of Bach, Pergolesi and Vivaldi with the Calgary and Edmonton symphonies. On the festival circuit for 2005, Ms. Paulin was heard in Berlin, Montreal and Vancouver in Caldara’s LA CONVERSIONE DI CLODOVEO, RÈ DI FRANCIA, in Scarlatti’s STABAT MATER for the Elora Festival and at Lamèque for Handel’s LAUDATE PUERI and ODE TO SAINT CECILIA.
Other roles include Adina in L’ELISIR D’AMORE, Despina in COSI FAN TUTTE, Oscar in UN BALLO IN MASCHERA, Andromède in Lully’s PERSÉE and Héro in BÉATRICE ET BÉNÉDICT. Further credits include the Montreal Symphony, the St. Lawrence Choir, Les Idées Heureuses, the Ottawa Choral Society, and she has toured Europe as a recitalist. Frequently heard on both the French and English CBC networks, she is a past winner of the Montréal Symphony Competition and holds a Master’s Degree from the University of Montréal. She won the Dvorak prize and has also received awards and prizes from the George London Foundation in New York, the Young Mozart Singers’ Competition in Toronto and the Canadian Music Competition.
MICHAEL HEASTON (Accompanist)
Michael Heaston is a collaborative pianist, vocal coach, and artistic administrator who principally divides his time between New York and Dallas. Maintaining active associations with The Dallas Opera, The Glimmerglass Festival, and The Metropolitan Opera, he has quickly established himself as one of the most versatile artists of his generation.
Mr. Heaston returned to The Dallas Opera as Head of Music Staff and Assistant Conductor last season for critically acclaimed productions of Lucia di Lammermoor, Tristan und Isolde, The Lighthouse, La traviata, and Die Zauberflöte. In this, his sixth season with the company, he also celebrates the completion of more than twenty productions, including Salome, Porgy & Bess, Così fan tutte, Madama Butterfly, as well as the world premiere of Jake Heggie and Gene Scheer’s Moby-Dick.
Michael is the Director of the Young Artists Program and Head of Music Staff at The Glimmerglass Festival. Now in his fifth year, Mr. Heaston remains one of the youngest people to assume the directorship of any major training program to date. Last season marked the arrival of Francesca Zambello as the new Artistic & General Director of the company, as well as Deborah Voigt, who was the inaugural Artist in Residence with the Young Artists Program. Mr. Heaston also continues his work as Score Consultant for the Metropolitan Opera’s Emmy and Peabody Award-winning “Live in HD” movie theater transmission series, including this season’s Faust and The Enchanted Island. Past “Live in HD” credits include Die Walküre, Il trovatore, Capriccio, La fanciulla del West, Der Rosenkavalier, Les contes d’Hoffmann, Tristan und Isolde, La Cenerentola, Hansel and Gretel, Dr. Atomic, and La rondine, to name a few.
On the concert stage, Mr. Heaston will appear with soprano Laura Claycomb and with baritone Rod Gilfry this season. He has partnered Stephen Costello and Ailyn Pérez. He also enjoys a long-term collaboration with Katharine Goeldner, mezzo soprano, and Amy Morris, flute as a founding member of The Prairie Song Project. The trio has performed to great acclaim in Scotland, England, Austria, Iowa, Nebraska, and Minnesota.
Mr. Heaston is a judge for The Metropolitan Opera National Council Auditions and The Dallas Opera Guild Vocal Competition. A sought-after clinician, he has served as Artist in Residence, and presented master classes, at Southern Methodist University, Drake University, The University of Wisconsin Stevens Point, Abilene Christian University, and Dordt College. He was invited by Opera America to serve as pianist for the master classes of Harolyn Blackwell and William Burden. Additionally, he has played for the master classes of baritone Håkan Hagegård and tenor Stanford Olson. Mr. Heaston has served as collaborative pianist for the studio of operatic luminary Diana Soviero in New York. He has also played in the studios of Ruth Falcon and Ruth Golden.
Mr. Heaston’s principal teachers have included Margo Garrett, Brian Zeger, Timothy Lovelace, and Chiu-Ling Lin. He has coached with Karl Paulnack. He holds the Master of Music in Accompanying & Coaching from the University of Minnesota, Twin Cities, and completed undergraduate studies in Piano Pedagogy and Arts Administration at Drake University in his hometown of Des Moines, IA.
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ADDITIONAL INFORMATION ABOUT “SEPTEMBER AT THE DALLAS OPERA”
IS CONVENIENTLY AVAILABLE ONLINE, 24/7
VISIT WWW.DALLASOPERA.ORG AND CHECK THE CALENDAR LISTINGS
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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 2012-2013 “Pursuits of Passion Season”
Is Presented by Texas Instruments Foundation
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Ticket Information for the 2012-2013 Dallas Opera Season
All performances are in the new Margot and Bill Winspear Opera House at the AT&T Performing Arts Center. Subscriptions start at just $75 and are on sale now. Single Tickets for AÏDA and family performances go on sale September 10th. For more information, contact The Dallas Opera Ticket Services Office at 214.443.1000 or visit us online at www.dallasopera.org.
THE DALLAS OPERA 2012-2013 SEASON INFORMATION
The Dallas Opera celebrates its Fifty-Sixth International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in downtown Dallas. Evening performances will begin at 7:30 p.m. and Sunday matinees will begin at 2:00 p.m. English translations will be projected above the stage at every performance. Assistance is available for the hearing impaired.
AÏDA by Giuseppe Verdi
October 26 –The Linda and Mitch Hart Season Opening Night Performance
Starring Latonia Moore, The Charron and Peter Denker Rising Star! (2012)
October 28(m), 31, November 3, 9, 11(m), 2012
Verdi’s Complex and Intimate Love Story Set in Spectacular Ancient Egypt!
An opera in four acts first performed at Khedivial Opera House, Cairo on December 24, 1871.
Text by Antonio Ghislanzoni, based on a scenario written by French Egyptologist Auguste Mariette.
Time: Old Kingdom
Place: Egypt
Conductor: Graeme Jenkins
Stage Director: Garnett Bruce
Costume Design: Peter J. Hall
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Starring: Latonia Moore (Aida), Antonello Palombi (Radames), Nadia Krasteva* (Amneris), Lester Lynch (Amonasro), Orlin Anastassov* (Ramfis), Ben Wager (The King of Egypt), Jonathan Yarrington* (Messenger), and NaGuanda Nobles* (Priestess).
TURANDOT by Giacomo Puccini
April 5, 7(m), 10, 13, 19 & 21(m), 2013
Puccini’s Last Masterpiece—Riddled with Passionate Romance and Unforgettable Music!
An opera in three acts first performed in Milan at La Scala, April 25, 1926
Text by Giuseppe Adami and Renato Simoni, based on Carlo Gozzi’s fable, Turandot.
Time: Legendary times
Place: Peking, China
Conductor: Marco Zambelli
Stage Director: Garnett Bruce
Production Design: Allen Charles Klein
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Starring: Lise Lindstrom* (Princess Turandot), Antonello Palombi (Calaf), Hei-Kyung Hong (Liu), Christian Van Horn* (Timur), Jonathan Beyer (Ping), Joseph Hu (Pang), Daniel Montenegrio* (Pong), Ryan Kuster* (A Mandarin), Steven Haal (Emperor Altoum).
THE ASPERN PAPERS by Dominick Argento
April 12, 14(m), 17, 20, 28(m), 2013
The Games People Play—Both Young and Old—To Achieve Their Twisted Desires!
An opera in two acts first performed in Dallas, November 19, 1988.
Text by Dominick Argento, based on a Henry James novella.
Time: Legendary
Place: Lake Como, Italy
Conductor: Graeme Jenkins
Stage Director: Tim Albery
Scenic Design: Andrew Lieberman*
Costume Design: Constance Hoffman*
Lighting Design: Thomas Hase
Wig & make-up Design: David Zimmerman
Assistant Director: Michael Mori
Chorus Master: Alexander Rom
Starring: Susan Graham* (Tina), Alexandra Deshorties (Julianna Bordereau), Nathan Gunn (The Lodger), Joseph Kaiser* (Aspern), Dean Peterson (Barelli), Sasha Cooke* (Sonia), Eric Jordan* (A painter), Jennifer Youngs* (Olimpia).
* 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. 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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