Extreme ongoing COVID concerns force The Dallas Opera to cancel this spring’s subscription season set to open this March. A new slate of four, full-scale grand opera productions returns in February 2022.
Please link to the press release below:
Dallas Opera cancels spring 2021 operas and announces new 2021-2022 season – January 27 2021
FOR IMMEDIATE RELEASE:
Tuesday, July 9, 2019
Contact: Suzanne Calvin 214.443.1014
suzanne.calvin@dallasopera.org
GOING ON SALE JULY 15TH!
SINGLE TICKETS
FOR THE DALLAS OPERA’S
2019-2020 SEASON
CELEBRATING 10 YEARS IN THE
WINSPEAR OPERA HOUSE
STARTING AT $25
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$5 Tickets Now Available for TDO’s Acclaimed
Family Performance Series
DALLAS, JULY 9, 2019 –The Dallas Opera is pleased to announce that single tickets for its star-studded 63rd International “Standing Ovation” Season go on sale to the general public on Monday, July 15, 2019 at 9:00 a.m. (Central Time).
Highlights of the 2019-2020 Dallas Opera Season, which opens on October 18th, include
The “Standing Ovation” Season kicks into high gear this spring with a superb new TDO production of Stravinsky’s ballet with song, Pulcinella, marking its 100th Anniversary, on a double bill with Francis Poulenc’s riveting musical version of Jean Cocteau’s one-woman play, La voix humaine (The Human Voice).
The season finale is a delightful production of Rossini’s ever-popular The Barber of Seville starring Lucas Meachem, Pretty Yende, Lawrence Brownlee and Xabier Anduaga in an international all-star cast!
Additional details can be found at https://dallasopera.org/seasons/mainstage/ or at https://dallasopera.org/seasons/concerts/.
Single tickets may be purchased for as little as $25. Full and Flex subscriptions for every budget can be purchased today. Prices range from just $57 (for three performances of your choice) to a top orchestra floor price of $777 for all five mainstage productions. Call The Dallas Opera Ticket Office at 214.443.1000 or buy online at www.dallasopera.org/tickets.
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MAINSTAGE PRESENTATIONS
2019-2020 DALLAS OPERA SEASON
Season Sponsor
The Nancy A. Nasher and David J. Haemisegger Family
THE MAGIC FLUTE
By Wolfgang Amadeus Mozart
October 18, 20(m), 23, 26, November 1 and 3(m), 2019
THE GOLDEN COCKEREL
By Nikolai Rimsky-Korsakov
October 25, 27(m), 30, and November 2, 2019
THE HART INSTITUTE FOR WOMEN CONDUCTORS
SHOWCASE CONCERT
November 9, 2019
DON CARLO
By Giuseppe Verdi
March 20, 22(m), 25 and 28, 2020
A Dallas Opera Double Bill:
PULCINELLA & LA VOIX HUMAINE
PULCINELLA: Ballet with Song by Igor Stravinsky
LA VOIX HUMAINE (“The Human Voice”)
By Francis Poulenc with a libretto by Jean Cocteau
April 3, 4, 5(m) and 8, 2020
THE BARBER OF SEVILLE
By Gioachino Rossini
April 24, 26(m), 29 and May 2, 8 and 10(m), 2020
In an effort to present each work as it was intended to be experienced by the composer and librettist, The Dallas Opera will continue to produce each opera in its original language with English supertitles projected above the stage for maximum accessibility and enjoyment.
Notable Company Debuts in the 2019-2020 Season Include:
“The Dallas Opera has put together a tremendous 19-20 Season designed to appeal to single ticket purchasers of every musical taste and budget,” explains Dallas Opera Chairman Mark LaRoe.
“From imaginative mainstage productions to brilliant concerts and recitals featuring the women conductors of the Hart Institute as well as stars like Angel Blue, we are committed to providing a top-quality entertainment experience to patrons who prefer the single ticket option.
“And, with prices starting at just $25, we’re optimistic that our tenth-anniversary season in the Winspear Opera House will attract many North Texans who have never been to the opera,” LaRoe adds. “We continue to build new audiences and work to make opera more accessible to everyone. Now is the time to share in the beauty and excitement; there are incredible worlds waiting to be discovered at The Dallas Opera!”
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Hot tickets going on sale July 15th include the Linda and Mitch Hart Institute for Women Conductors Concert on Sunday, November 9, 2019. This extraordinary annual showcase caps the two-week residency of women conductors from around the world: https://dallasopera.org/community/artist-development/hart-institute/
Come January, the New Year kicks off with the sizzling stylings of acclaimed American soprano Angel Blue, the 2020 Titus Art Song Recital Artist. The Sunday afternoon concert on January 26, 2020 will take place in the intimate setting of Moody Performance Hall: https://dallasopera.org/performance/the-titus-art-song-recital-series-concert-2020/
Tickets for Angel Blue’s recital will also go on sale to the public July 15th.
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In addition to presenting world-class opera and providing support for outstanding young artists, established stars, and up-and-coming female conductors; The Dallas Opera is also committed to introducing the joys of opera to as many people as possible. We strive to provide budget-minded, kid-friendly performances that can be enjoyed by all.
Single tickets to the 2019-20 Family Performance Series will be available July 15th for just $5.
2019-2020 FAMILY PERFORMANCE SERIES
PRESENTED BY TEXAS INSTRUMENTS
DOCTOR MIRACLE
By Georges Bizet
Saturday, October 6, 2019
Saturday, March 21, 2020
Georges Bizet’s charming and romantic, one-act operetta: https://dallasopera.org/performance/dr-miracle/
THE BREMEN TOWN MUSICIANS
By John Davies
Saturday, October 13, 2019
Saturday, April 4, 2020
An operatic version of a Brothers Grimm fairytale: https://dallasopera.org/performance/the-bremen-town-musicians-2019/
The Dallas Opera Family Performance Series is generously supported by the Betty and Steve Suellentrop Educational Outreach Fund. TDO Family Performances are a part of the Perot Foundation Education and Community Outreach Programs.
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ABOUT THE DALLAS OPERA
One of the leading opera companies in the country, The Dallas Opera has an extraordinary legacy of world-class productions and thrilling premieres featuring the greatest operatic artists of our time. Inaugurated by the incomparable Maria Callas in 1957, TDO is known for the notable U.S. debuts of a host of legendary artists including Plácido Domingo, Dame Joan Sutherland, Jon Vickers, Franco Zeffirelli, and Sir David McVicar. The company has long been an industry leader and innovator through groundbreaking initiatives like the Hart Institute for Women Conductors; free public simulcasts; acclaimed art song recitals; the national vocal competition; special concerts; and outstanding family and award-winning education programs. TDO’s home is the Margot and Bill Winspear Opera House, a jewel in the Dallas Arts District. As one of the largest performing arts employers in North Texas, TDO is proudly committed to diversity, onstage and off, and is a major contributor to the economic vitality and international cultural reputation of this region.
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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.
All performances in The Dallas Opera’s 63rd International Season will take place in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center, unless otherwise indicated. 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. Full and Flex Subscriptions are available today; single tickets ranging from $25 to $289 (some box seats may be higher) go on sale July 15, 2019. For additional information or to make your purchase, call 214.443.1000 or visit www.dallasopera.org.
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Thursday, January 24, 2019
Contact: suzanne.calvin@dallasopera.org
THE DALLAS OPERA PROUDLY PRESENTS ITS
63rd INTERNATIONAL SEASON
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“STANDING OVATION”
Celebrating Ten Years in the Margot and Bill
Winspear Opera House, AT&T Performing Arts Center
The Magic Flute (Oct. 18-Nov. 3, 2019)
The Golden Cockerel (Oct. 25-Nov. 2, 2019)
Don Carlo (In Concert, March 20-28, 2020)
Pulcinella & La Voix Humaine (April 3-8, 2020)
The Barber of Seville (April 24-May 10, 2020)
And TDO’s Acclaimed Family Performance Series
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SEASON SPONSOR
The Nancy A. Nasher and David J. Haemisegger Family
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Linda and Mitch Hart Season Opening Night Performance:
FRIDAY, OCTOBER 18, 2019 AT 8:00 PM
The Margot and Bill Winspear Opera House
At the AT&T Performing Arts Center, Dallas TX
DALLAS, JANUARY 24, 2019 –The Dallas Opera is proud to announce its spellbinding 2019-2020 Season, “Standing Ovation,” consisting of five mesmerizing mainstage productions, including a Dallas Opera coproduction of a rarely performed work by the composer of “Scheherazade”; a ballet with song—featuring dancers from Dallas Black Dance Theatre, on a double bill with a one-woman drama conceived by French legends Francis Poulenc and Jean Cocteau; in addition to perennial favorites in fresh and glorious productions! Patrons will be pleased to learn that the 63rd Season of The Dallas Opera contains some of the most popular operas ever composed—with exceptional international casts, conductors, directors and designers—working with the critically acclaimed Dallas Opera Orchestra and Dallas Opera Chorus.
In an effort to present each work as written by the composer and librettist, The Dallas Opera will continue to produce each opera in its original language with English supertitles projected above the stage for maximum enjoyment.
2019-2020 DALLAS OPERA SEASON
THE MAGIC FLUTE
By Wolfgang Amadeus Mozart
October 18, 20(m), 23, 26 and November 1 & 3(m), 2019
THE GOLDEN COCKEREL
By Nikolai Rimsky-Korsakov
October 25, 27(m), 30, and November 2, 2019
DON CARLO
By Giuseppe Verdi
March 20, 22(m), 25 and 28, 2020
A Dallas Opera Double Bill:
PULCINELLA & LA VOIX HUMAINE
PULCINELLA: Ballet with Song by Igor Stravinsky
LA VOIX HUMAINE (The Human Voice):
By Francis Poulenc with a libretto by Jean Cocteau
April 3, 4, 5(m) and 8, 2020
THE BARBER OF SEVILLE
By Gioachino Rossini
April 24, 26(m), 29 and May 2, 8 and 10(m), 2020
The company will present renowned conductor Emmanuel Villaume, the Mrs. Eugene McDermott Music Director, at the podium for three of this season’s operas; as well as the Martha R. and Preston A. Peak Principal Guest Conductor Nicole Paiement and Italian conductor Riccardo Frizza.
Every mainstage production in 2019-2020 will be presented in the critically acclaimed Margot and Bill Winspear Opera House at the AT&T Performing Arts Center, located at 2403 Flora Street in the heart of the Dallas Arts District.
Season Sponsors are The Nancy A. Nasher and David J. Haemisegger Family.
Subscription prices for the 2019-2020 Season range from $95 to $939 for all five mainstage operas (not including boxes). Dallas Opera Flex Subscriptions allow patrons to select three or more operas for as little as $19 per performance. Subscription seating goes on sale Monday, April 2, 2019 and seats will be assigned by June 15, 2019.
The benefits of becoming a Dallas Opera subscriber include substantial savings off single ticket prices, priority seating, lost ticket replacement, ticket exchanges and invitations to special events.
Single Tickets, starting at the low price of $19, will go on sale to the public in July. For more information, please contact the friendly staff in The Dallas Opera Ticket Office at 214-443-1000 or visit us online at www.dallasopera.org.
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Notable Company Debuts in the 2019-2020 Season Include:
“The coming season offers a splendid opportunity to both celebrate and recollect our first decade in the Winspear Opera House,” explains Ian Derrer, The Kern Wildenthal General Director and CEO.
“The thrill of working in the Winspear, as well as the prospect of making music with the likes of Emmanuel Villaume, Nicole Paiement, and guest conductors like Riccardo Frizza, continues to attract artists of the highest caliber. That trend continues with eagerly-anticipated TDO debuts of many of the most exciting singers of our day: Jamie Barton, Pretty Yende, Venera Gimadieva, Paolo Fanale, Leah Crocetto, Markus Werba, Lawrence Brownlee, Dallas Opera Guild Vocal Competition winner Samantha Hankey, and Robert Watson—to name a few!
“The upcoming season is also marked,” Derrer continues, “by a balanced mix of great opera in several languages, from classic to modern, in both popular and brand-new productions. The Dallas Opera’s ‘Standing Ovation’ Season offers something for everyone.”
Returning International Artists in the 2019-2020 Season:
“There’s much to celebrate in 2019 at The Dallas Opera. In fact, it’s difficult to imagine a more exciting time to be Chair of the Dallas Opera, as the company enters a new era under the visionary leadership of General Director and CEO Ian Derrer,” explains Dallas Opera Board Chairman Mark H. LaRoe.
“This year, we will mark the tenth anniversary of our move into the beautiful Margot and Bill Winspear Opera House, a twenty-first century reinterpretation of the grand, traditional ‘horseshoe’ engineered specifically for maximum enjoyment of opera and musical theater. 80,000 people in North Texas experienced The Dallas Opera last year through our critically acclaimed mainstage operas, award-winning education programs, free simulcasts, concerts and other community engagements.
However, there’s still much more to be done to make opera accessible to everyone,” LaRoe adds.
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The Dallas Opera’s 2019-2020 Season begins on a high note with The Linda and Mitch Hart Season Opening Night Performance on Friday, October 18, 2018 at 8:00 p.m. (note the special curtain time). Wolfgang Amadeus Mozart’s final operatic masterpiece, The Magic Flute, in a dazzling Sir Peter Hall production designed for Los Angeles Opera by one of the most renowned satirical cartoonists of the 20th century!
Italian tenor Paolo Fanale and American soprano Andrea Carroll make their company debuts as the spirited duo of Tamino and Pamina, braving trial by fire and water in order to be united at last. “Tamino demands a beautiful voice that radiates youthful ardor,” wrote Harper’s Bazaar, “and you’ll hear it from this ‘heart-throb Italian tenor (Paolo Fanale).” Meanwhile, Opera News noted that Miss Carroll is “a favorite of the Vienna State Opera, (lauded for her) vibrant soprano (with its) rich, low register and gleaming top.”
Russian soprano Olga Pudova will account for several of the performance’s high notes as the Queen of the Night. This will be her first appearance in the role in Dallas after conquering the stratospheric heights that make her the Queen of choice on major stages from Edinburgh to Vienna. Another eagerly-anticipated debut is Austrian baritone Markus Werba as the delightfully eccentric Papageno. Bachtrack praised his interpretation as “conveying the character’s good and child-like nature…his singing (was) warm and mellifluous.”
Dallas Opera favorite Morris Robinson, an American bass last seen on the Winspear stage as the Commendatore in our acclaimed 2018 spring production of Don Giovanni, “dominates the stage…with his firm, opulent tone that seems to pour forth from another world” (The Classical Review). He returns in the role of the mysterious Sarastro.
This production, originally directed by the late Sir Peter Hall, was designed by British cartoonist and illustrator extraordinaire, Gerald Scarfe, best known for a half century of scathing political cartoons for The London Sunday Times and for directing and designing the animation sequence for Pink Floyd’s film and concert versions of The Wall. Mr. Scarfe has designed sets and costumes for opera companies from Seattle to New Zealand.
The Mrs. Eugene McDermott Music Director Emmanuel Villaume will conduct The Dallas Opera Orchestra in an eighteenth-century masterpiece that is mixes popular song with show-stopping coloratura and a charming touch of glockenspiel.
Casting the roles of the First, Second, and Third Lady is about choosing complementary voices capable of creating one of the great trios in opera. The First Lady will be sung by American soprano Diana Newman, the Second Lady by American mezzo-soprano Samantha Hankey, and the Third Lady by American contralto Hannah Ludwig – all in their TDO debuts.
The villain of the piece, Monastatos, will be portrayed by character tenor Brian Frutiger with soprano Jeni Houser as the charming Papagena and bass David Pittsinger as The Speaker.
This revival will be staged by Kyle Lang in his company debut. As always, chorus preparation is by Dallas Opera Chorus Master Alexander Rom.
Performances of The Magic Flute continue on October 20(m), 23, 26, and November 1 and 3(m), 2019 in the Margot and Bill Winspear Opera House. Evening performances begin at 7:30 p.m., (except for the opening night performance mentioned above) and the curtain rises on TDO Sunday matinees at 2:00 p.m. There is no late seating.
The Magic Flute will be performed in its original language, German, with English-language translations projected above the stage at every performance.
Tickets may be purchased by phone (214.443.1000), online (www.dallasopera.org) or at the door. Student Rush Tickets are available 90 minutes prior to curtain – a valid student ID is required for each ticket.
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The second production of The Dallas Opera’s 2019-2020 Season is a brand-new Dallas Opera co-production of an opera that has not appeared on our stage since 1973. The Golden Cockerel by Nicolai Rimsky-Korsakov opens on Friday, October 25, 2019 at 7:30 p.m. in the Winspear Opera House. Music Director Emmanuel Villaume will conduct this tart-tongued comedy, imaginatively staged by esteemed Scottish director Paul Curran (Becoming Santa Claus).
This opulent Paul Curran production garnered rave reviews when it opened in Santa Fe during the 2017 summer festival. Rimsky-Korsakov’s cautionary tale about lust and power (or the lust for power) captivated both critics and audiences.
Russian soprano Venera Gimadieva will make her company debut as the exotic and oh-so-sultry Queen of Shemakha. Classical Music Critic Scott Cantrell of The Dallas Morning News wrote, “She weaves her spell with showcase vocalism.”
Russian bass Nikolai Didenko (who, according to The New York Sun, “regularly steals the show with his seemingly effortless subterranean voice” will make his Dallas Opera debut as the delusional King Dodon. Russian tenor Viktor Antipenko and American baritone Corey Crider will sing the roles of Dodon’s backstabbing sons, Prince Guidon and Prince Afron.
Bass Kevin Burdette (Joby Talbot and Gene Scheer’s Everest), described by The New York Times as “the Robin Williams of opera,” is the king’s loyal commander, General Polkan. Contralto Lindsay Ammann sings the role of Amelfa, while English tenor Barry Banks, a favorite of Metropolitan Opera audiences, makes his TDO debut as the Astrologer who seems to know all.
The Golden Cockerel will be conducted by acclaimed Music Director Emmanuel Villaume, praised for the sensitivity of his conducting by Zachary Woolfe of The New York Times. This season, Maestro Villaume was praised for his illuminating conducting of our season opener, The Flying Dutchman, which prompted Gregory Sullivan Isaacs of TheaterJones.com to write, “Emmanuel Villaume was astonishing in the pit. Having observed him for years, there is a steady upward trend from fine conductor to one of the best of our time.” Wayne Lee Gay of Texas Classical Review noted in his analysis of our second production of the current season, Carmen, “Even in the opening phrases of the Overture…Villaume’s command of the nuance and unique musical language of Bizet signaled an outstanding performance in the making.”
Scottish director/choreographer Paul Curran, who made a dazzling 2015 Dallas Opera debut with the world premiere of Mark Adamo’s Becoming Santa Claus, will revive his own production here in Dallas.
Set and costume designs are by internationally acclaimed British designer Gary McCann, whose jaw-dropping designs for The Dallas Opera’s 2015 world premiere of Mark Adamo’s Becoming Santa Claus were the talk of the town. Recent and upcoming projects include designing Der Freischütz and Macbeth for Vienna State Opera; Killology for the Royal Court Theatre; Carmen for Philadelphia Opera; and the sets for My Fair Lady for Teatro San Carlo in Naples.
The acclaimed Dallas Opera Chorus will be ably prepared by Dallas Opera Chorus Master Alexander Rom.
Sung in Russian with English supertitles projected above the stage, The Golden Cockerel can also be experienced on October 27(m), 30, and November 2, 2019. Dallas Opera evening performances begin promptly at 7:30 p.m., Sunday matinees at 2:00 p.m.
The complete season schedule, artist and production team bios, synopses and more can be found online, anytime, at www.dallasopera.org.
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The third production of The Dallas Opera’s 63rd “Standing Ovation” Season is one of the greatest and most challenging works in the opera canon: Giuseppe Verdi’s Don Carlo, opening on Friday, March 20, 2020 for the first of four performances in the magnificent Winspear Opera House.
A generation has passed since The Dallas Opera’s sole presentation of Verdi’s titanic tale of clashing Catholics and Protestants. A French princess is forced to marry King Philip II of Spain against her will when her heart belongs to Don Carlo. In the work described by The New York Times as “The Hamlet of Italian opera—a profound and challenging venture for any opera company,” dangerous secrets and dangerous liaisons abound! A terrifying Grand Inquisitor and a duplicitous mistress of the King send tensions sky high in this explosive mix of sex, politics and religion—thrillingly brought to life by Verdi’s masterful score!
This series of concert version performances will be guided from the podium by Dallas Opera Music Director Emmanuel Villaume.
Soprano Leah Crocetto, “a passionate actress with a beautiful, vibrant voice” (Seattle Times) stars as the conflicted Elizabeth de Valois, torn between desire and duty. Mezzo-soprano Jamie Barton, winner of the BBC’s prestigious Cardiff Singer of the World competition, was praised by Opera Now for giving “a searing account of Eboli’s dramatic conflicts and intense emotions.” American tenor Robert Watson, a frequent guest of Deutsche Oper Berlin, has sung repertoire ranging from Cavaradossi to Lohengrin in U.S. and European opera houses. He will make his Dallas Opera debut singing the title role.
Baritone Mariusz Kwiecień, who sings “with palpable musical and emotional investment” (John von Rhein, The Chicago Tribune), returns to TDO in the role of Rodrigo di Posa. Bass Morris Robinson, who last thrilled local audiences as The Commendatore/Stone Guest in 2018’s Don Giovanni, will apply his “gorgeously rich and sepulchral bass (The Washington Post) to the part of King Philip II—in a role debut.
Other principal singers in the cast include bass Andrea Silvestrelli as the feared Grand Inquisitor, bass David Leigh as a Monk, soprano Ewa Plonka in her house debut as Tebaldo, and soprano Elizabeth Sutphen as A Celestial Voice.
Atmospheric lighting is provided by designer Krista Billings and chorus preparation by Dallas Opera Chorus Master Alexander Rom.
Sung in Italian with English translations projected above the stage, Don Carlo will have three additional concert version performances on March 22(m), 25 and 28, 2020.
Tickets are likely to go quickly; renew your Dallas Opera subscription today!
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The fourth production of The Dallas Opera’s 63rd Season is a double bill of two remarkable twentieth-century works: Pulcinella, a ballet with song by Igor Stravinsky (performed in collaboration with Dallas Black Dance Theatre) and La Voix Humaine (The Human Voice) a one-woman tour de force by Francis Poulenc and Jean Cocteau. The Dallas Opera is proud to present a new production of two works never before seen in Dallas!
The character of Pulcinella was introduced in Italy’s commedia dell’arte in 1620; a witty, sometimes foolish, outspoken, “voice of the common man” who conquered geographical and culture boundaries to become a fixture in European entertainment. This neo-classical ballet is based on an eighteenth-century play entitled Four Identical Pulcinellas—and was commissioned by dance impresario Sergei Diaghilev for the famous company he founded in Paris: the Ballets Russes. The original 1920 production also featured sets and costumes by world-renowned Spanish artist Pablo Picasso.
The composer utilized themes from the earlier work, erroneously attributed to Giovanni Battista Pergolesi, updating them with modern cadences and harmonies. About the project, Stravinsky wrote: “Pulcinella was my discovery of the past, the epiphany through which the whole of my late work became possible. It was a backward look, of course—the first of many love affairs in that direction—but it was a look in the mirror, too.”
Artists from the world-renowned Dallas Black Dance Theatre will command centerstage, accompanied by a trio of outstanding soloists: mezzo-soprano Lindsey Metzger, tenor Matthew White, and bass-baritone Richard Ollarsaba. Director Candace Evans (The Merry Widow, Don Pasquale) returns to The Dallas Opera after recently guiding productions of Daniel Catán’s Florencia en al Amazonas for San Diego Opera, La Tragedie de Carmen for Opera Birmingham, Giulio Cesare for Seagle Music Colony, and The Pearl Fishers for North Carolina Opera.
The ballet is being paired with another work new to Dallas Opera audiences, composer Francis Poulenc’s setting of a raw and riveting drama by French playwright/filmmaker Jean Cocteau, La Voix Humaine (The Human Voice). Starring the remarkable Patricia Racette as a woman on the brink in this, her TDO directorial debut, The Human Voice is a one-woman tour de force in which the audience listens in to one side of a final phone conversation between Elle and the callous ex-lover who has abandoned her for another. The Chicago Tribune raved, “Racette raises the emotional ante…she is mesmerizing from first to last, drawing into her character’s increasing distress…as her life unravels.”
This double bill marks the return of the Martha R. and Preston A. Peak Principal Guest Conductor Nicole Paiement, who last conducted the U.S. premiere of Dutch composer Michel van der Aa’s Sunken Garden in 2018.
Other recent career highlights include Handel’s Xerxes at the Glimmerglass Festival, Kevin Puts’ Silent Night for Atlanta Opera, a reprise of Joby Talbot and Gene Scheer’s Everest (which she conducted in the 2015 Dallas Opera world premiere) and numerous premieres and commissions for the San Francisco company she co-founded, Opera Parallèle. Upcoming engagements include Donizetti’s La favorite for Houston Grand Opera and Mason Bates The (R)evolution of Steve Jobs at Seattle Opera. In March, Maestra Paiement will conduct the world premiere of a new American chamber opera, Today It Rains, inspired by an event in the life of twentieth-century visual artist Georgia O’Keeffe.
This new Dallas Opera production will feature sets and costumes designed by Tommy Bourgeois with lighting design by Krista Billings.
Pulcinella & La Voix Humaine will be presented at the Winspear Opera House at the AT&T Performing Arts Center on April 3, 4, 5(m) and 8, 2020. As always, sung in their original languages: Pulcinella in Italian and La Voix Humaine in French with English language supertitles.
Season subscriptions will go on sale to the public on April 2, 2019. Current season subscribers may renew at any time by contacting the friendly professionals in The Dallas Opera Ticket Services Office, at 214.443.1000.
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The final production of the 63rd International Season is a comedy that transcended styles, cultures and languages to become an all-time favorite: Gioachino Rossini’s The Barber of Seville, opening Friday, April 24, 2020 at 7:30 p.m. in the Margot and Bill Winspear Opera House.
Disguises and false identities abound as men—young and old—vie for the hand of the beautiful Rosina in one of the funniest and most frenetic operas ever composed! Rossini’s delightful 19th century comedy centers on “Figaro, Figaro, Figaro!” a scheming barber and jack-of-all-trades, sung by Grammy Award-winning baritone Lucas Meachem, described by San Francisco Classical Voice as a scene-stealer “who draws all eyes…with his charismatic Figaro.”
Figaro plots with Count Almaviva (sung in their TDO debuts by Spanish tenor Xabier Anduaga in the first two performances, and by tenor Lawrence Brownlee, “a super nova in the grand opera firmament” in all subsequent performances) to release Bartolo’s headstrong ward, Rosina, from her gilded cage. South African soprano Pretty Yende, who displays “a voice that has a lilting, silvery quality that is both bright and delicate,” portrays the willful Rosina in her company debut. Italian baritone Renato Girolami blusters as the easily duped Doctor Bartolo.
American bass Adam Lau will delight audiences as the music master, Don Basilio, and soprano Margaret Gawrysiak portrays Berta, the governess.
Conducted by Italian Maestro Riccardo Frizza, who will guide our spring performances of Verdi’s Falstaff, this Minnesota Opera production will be staged by director Christopher Mattaliano in his company debut. The sets were designed by Allen Moyer, costumes by the late Jamie Scott, and chorus preparation by Dallas Opera Chorus Master Alexander Rom.
Sung in Italian with English translations projected above the stage, this uproarious production will captivate patrons in additional performances on April 26(m), 29, May 2, 8 & 10(m), 2020.
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Evening performances during the 2019-2020 Season will begin at 7:30 p.m., unless otherwise stated (including the 8:00 p.m. curtain for the Linda and Mitch Hart Season Opening Night Performance). All Sunday matinees are slated to begin at 2:00 p.m.
The “Joy and Ronald Mankoff Pre-Opera Talks,” a free background lecture designed to enhance your enjoyment of the opera being performed, takes place in Nancy B. Hamon Hall located just off the Winspear Opera House lobby, one hour prior to each performance, except for Opening Night of the Season.
Dallas Opera performs mainstage works in their original languages. Easy-to-read English translations are projected above the stage during every Dallas Opera performance—even those sung in English—and special headsets are available for the hearing impaired.
No late seating is permitted at Dallas Opera performances once the house doors are closed. Latecomers will be seated at the first available opportunity (usually, intermission).
Flex subscriptions for three mainstage performances of your choice begin at $24 for the 2019-2020 Season. Full Subscriptions begin at $100 for all five productions. New subscriptions will become available on April 2, 2019.
Single Tickets for next season will start at $19 and are expected to go on sale in early July. Group rates are available. Student Rush Tickets are available 90 minutes prior to curtain. With a valid Student ID you can obtain “the best available seat” for as little as $15.
For additional information about the “Standing Ovation” Season, call The Dallas Opera Ticket Services Office at 214-443-1000 or visit us online at www.dallasopera.org.
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Put aside those computers, tablets, and smart phones—and grab the kiddos—in order to take advantage of budget-minded, kid-friendly performances offered by The Dallas Opera in the 2019-2020 Season!
In addition to presenting world-class opera, and to providing support for outstanding young artists, established stars, and up-and-coming female conductors; The Dallas Opera is also committed to introducing the joys of opera to as many people as possible, and to provide budget-minded, kid-friendly performances that can be enjoyed by North Texans of every age, background and educational level.
The always popular Dallas Opera Family Performance Series is generously supported by the Betty and Steve Suellentrop Educational Outreach Fund.
TDO Family Performances are a part of the Perot Foundation Education and Community Outreach Programs.
Five dollar single tickets will be available through The Dallas Opera Ticket Services Office at 214.443.1000 or 24/7 at dallasopera.org/family.
2019-2020 FAMILY PERFORMANCE SERIES
DOCTOR MIRACLE
By Georges Bizet
Sunday, October 6, 2019
Saturday, March 21, 2020
Georges Bizet’s romantic, one-act operetta about love and omelets was composed for a music competition when the composer (world-renowned for his operas Carmen and The Pearl Fishers) was just eighteen years old. A youthful vitality permeates this story set in 19th century Padua, Italy, in the home of the Mayor, his wife Veronica, and his love-struck daughter, Laurette. She’s enamored of the ever-resourceful Silvio, an army captain, who dons one disguise after another to infiltrate the household, in order to win the hand of the girl he adores. Sound simple? Guess again! The classic storybook set and costumes were designed by Production Designer Tommy Bourgeois.
THE BREMEN TOWN MUSICIANS
By John Davies
Sunday, October 13, 2019
Saturday, April 4, 2020
An operatic version of a Brothers Grimm classic fairytale: “The Town Musicians of Bremen,” enhanced with music by Rossini, Donizetti, Offenbach, Arthur Sullivan and Verdi.
Eddie Pensier, a rooster with operatic aspirations, is chased away from his farm for waking the barnyard with tenor arias. On the very same day, Barcarolle, the dog, and Dorabella, the cat, are cast out by their owner for being too old to catch rabbits and mice. The three animals run into the woods near the road to Bremen where General Boom, a retired army donkey, is marching along playing his drum. He’s on his way to Bremen to begin a new band. As each of the runaways cross the General’s path, he invites them to join his band. They have plans of their own, however, and decline the invitation. The woods surrounding the Bremen Road are filled with uncertainty. Eddie, Dorabella and Barcarolle become lost and argue angrily until General Boom hears their shouting and rescues them. With rumors of robbers approaching, they accept the General’s suggestion to overlook their differences, join his band and march to Bremen. Working together as a team they overcome difficult circumstances further down the road, and as they approach their new home, the newly formed Bremen Town Musicians celebrate the idea that friendship, cooperation, and respect for others is far better than facing problems alone.
$5 performances in the Winspear Opera House. Tickets may be purchased in advance or at the door. Learn more online at www.dallasopera.org/family.
MARK YOUR CALENDARS FOR THIS SPECIAL EVENT!
THE 5th HART INSTITUTE FOR WOMEN CONDUCTORS SHOWCASE
NOVEMBER 9, 2019 at 7:30 p.m.
THE MARGOT AND BILL WINSPEAR OPERA HOUSE
AT&T PERFORMING ARTS CENTER
Six of the world’s most promising conductors—all of them women—take the podium to conduct a concert of opera favorites featuring some of the nation’s top young singers performing with The Dallas Opera Orchestra. Hundreds of conductors from countries around the globe have competed for the handful of places available in this young-but-prestigious institute. Six are chosen each year to participate in the Linda and Mitch Hart Institute for Women Conductors, an intensive, two-week residency—and an opportunity to work with some of the music industry’s most renowned leaders, artists, conductors, and agents.
Tickets for this exceptional annual concert event start at just $10. Season ticket holders and donors receive priority seating—place your order when you subscribe! Call 214.443.1000.
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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.
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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 AT 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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July 8th at 10:00. Single tickets go on sale for the upcoming Dallas Opera Season – have your credit card standing by!
FOR IMMEDIATE RELEASE:
Tuesday, July 2, 2013
Contact: Suzanne Calvin 214.443.1014
Suzanne.Calvin@dallasopera.org
Or Megan Meister 214.443.1071
Megan.Meister@dallasopera.org
THE DALLAS OPERA IS PLEASED TO ANNOUNCE
SINGLE TICKETS
FOR THE 2013/2014 SEASON
“BY LOVE TRANSFORMED”
Presented by Texas Instruments Foundation
GO ON SALE MONDAY, JULY 8TH
Single Tickets Start at Only $19!
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Two-Opera Subscriptions
Also Go on Sale, Starting at Just $50
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Three-Opera Subscriptions
For as Little as $75
DALLAS, JULY 2, 2013 – The Dallas Opera is pleased to announce that single tickets for the 2013/2014 “By Love Transformed” Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center will go on sale to the general public next Monday, July 8, 2013 at 10:00 am.
Single tickets for each of the four productions, starting at the low price of $19, may be purchased at your convenience online at dallasopera.org or by contacting the friendly staff at the Dallas Opera Ticket Services Office at 214.443.1000.
The Dallas Opera, that same day, will also begin selling two-performance and three-performance subscriptions. Season 2-Pack subscriptions for our mainstage productions begin at the low, low price of $50. Take your pick of two mainstage productions you’ve been yearning to see. Season 3-Pack subscriptions start at just $75.
Season subscriptions for TDO’s mainstage productions begin at the exceptional price of $76—that’s for all four productions! The 2013-2014 “By Love Transformed” Season presented by Texas Instruments Foundation consists of:
• CARMEN by Georges Bizet, with Clémentine Margaine making her American debut in the title role.
(Oct. 25 – The Linda and Mitch Hart Season Opening Night Performance, 27m, 30, Nov. 2, 8, 10m, 2013)
• DEATH AND THE POWERS by MIT Media Lab’s Tod Machover, with Robert Orth as Simon Powers, a man transformed by the best technology that money can buy.
(Feb. 12, 14, 15 & 16m, 2014)
• DIE TOTE STADT (“The Dead City”) by late-Romantic Viennese composer Erich Wolfgang Korngold, with Ann Petersen as Marietta and Jay Hunter Morris as Paul.
(March 21, 23m, 26, 29, April 6m, 2014)
• THE BARBER OF SEVILLE by Gioachino Rossini, with Nathan Gunn as the ever-resourceful Figaro!
(March 28, 30m, April 2, 5, 11 & 13, 2014)
“The upcoming Dallas Opera season beautifully combines popular favorites, a remarkable rarity and a thrillingly high-tech, twenty-first-century opera,” explains Dallas Opera Marketing Director Carrie Ellen Adamian, “and, as always, each of these works will be presented with world-class singers in phenomenal stage productions.
“These operas have a very distinct look, as well as sound: from a classic San Francisco Opera Carmen with sets by the legendary Jean-Pierre Ponnelle, to the extraordinary projections of the Royal Danish Opera’s Die tote Stadt, the Magritte-inspired surrealism of Chicago Lyric’s Barber of Seville, and the amazing designs of Steven Spielberg collaborator, Alex McDowell (“Minority Report”), for Death and the Powers.” Adds Ms. Adamian, “If you have ever had the slightest interest in discovering what opera is all about, this is the perfect season to begin that journey.”
Attention-grabbing Dallas Opera debuts this season include:
• Hal Cazalet, a British tenor, making his company debut, originated the role of Nicholas in Tod Machover’s Death and the Powers in 2010. The Chicago Tribune noted Cazalet “uses an athletic body and agile tenor to fine effect as the assistant Nicholas.”
• Isabel Leonard, The Classical Review after seeing Miss. Leonard said she has “genuine star quality is a rarity on the opera stage – or anywhere – but it’s abundantly clear that Isabel Leonard has it in spades.” She is making her TDO debut as Rosina in Rossini’s The Barber of Seville.
• Clémentine Margaine, “a rich, gorgeous blooming, warm mezzo-soprano” caused the Opera Currently to say “a great promise of a career!” is making her American Debut in the title role of Bizet’s Carmen.
• Ann Petersen, the Danish soprano making her American Debut as Marietta in Korngold’s Die Tote Stadt. Seen and Heard praised her for “an easy flexibility to her sound…that adds enormously to the intrinsic beauty of her singing.”
• Bruno Ribeiro, Portuguese tenor making his TDO debut as Don José (Nov. 2, 8 & 10) who “gives rich voice to soulful pleadings” and was praised by Examiner.com for allowing “vulnerability to color his expressive tenor.”
• Alek Shrader, making his TDO debut as Count Almaviva in The Barber of Seville, “showed himself gifted with a still youthful, energetic personality, and an emotional fire that burns passionately” according to San Francisco Classical Voice.
Among the notable artists returning to the Dallas Opera stage this year are:
• Donato DiStefano, one of the most sought-after buffo basses in the world, who most recently charmed Dallas audiences in the title role of Don Pasquale, and he rarely fails to steal the show. Wrote Gregory Sullivan Isaacs of Theater Jones, “Musically, he was unassailable; as an actor, he was believable and funny” in that critically acclaimed production.
• Mary Dunleavy “melds outstanding acting ability with a flexible and gorgeous voice” (William Thomas Walker, cvnc.org), characteristics on display in her tour de force portrayal of all four love interests in the Dallas Opera’s 2005 production of Offenbach’s The Tales of Hoffmann, earning rave reviews and that season’s “Maria Callas Debut Artist of the Year Award.”
• Nathan Gunn, charmed TDO audiences in the much darker role of The Lodger in Argento’s The Aspern Papers last season. TheaterJones noted that “Gunn has one of the most beautiful baritone voices around, and is handsome in a Cary Grant sort of way.” Nathan is sure to continue his love affair with Dallas audiences as Figaro in The Barber of Seville.
• Brandon Jovanovich, an American tenor singing the role of Don José (Oct. 25, 27 & 30), enthralled Dallas audiences in our 2010 production of Madame Butterfly (and was described by Huffington Post’s Rodney Punt as the definitive Pinkerton of our time). He has been dazzling critics recently in the title role of Wagner’s Lohengrin. San Francisco Chronicle Classical Music Critic Joshua Kosman wrote: “Jovanovich combined sweet-toned lyricism and ardent heroism in just the proportions required for this tricky role. His singing was thrillingly pure and tireless, his stage presence simultaneously tender and aloof.”
• Jay Hunter Morris has been conquering the opera world, one production at a time. About his performance in the San Francisco revival of Jake Heggie and Gene Scheer’s Moby-Dick, Mercury News critic Richard Scheinin wrote: “He sang with a pressurized fury that practically shook the seats of the War Memorial Opera House. Think Old Testament. Think King Lear.” As Siegfried in the Metropolitan Opera’s new Ring, Morris “found his own way to sing this heldentenor role with a lighter yet athletic and youthful sound. His clarion top notes projected nicely over the orchestra” (Anthony Tommasini, The New York Times).
• Robert Orth, “one of the finest singer/actors working in opera today” (Gregory Sullivan Isaacs, Theater Jones) made memorable Dallas Opera appearances as Officer 2/Blazes in our critically acclaimed 2012 production of Peter Maxwell Davies’ The Lighthouse and as Stubb in the Dallas Opera world premiere of Jake Heggie and Gene Scheer’s Moby-Dick, was praised by Heidi Waleson of The Wall Street Journal for giving the opera “a touch of levity.”
• Morgan Smith made an indelible impression on Dallas audiences in the world premiere production of Jake Heggie and Gene Scheer’s Moby-Dick. Critic Joshua Kosman of The San Francisco Chronicle felt that same depth of humanity in Smith’s recent recap of the role: “The real star of the cast was baritone Morgan Smith, whose Starbuck joined vocal splendor, moral authority and deep empathy in a phenomenal combination.”
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Single tickets for the 2013-2014 Season are subject to dynamic pricing (the earlier they are purchased and the less-in-demand, the lower the price). Subscriptions are on sale now, starting at just $76. Inner Circle seating may be priced higher.
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EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE
ADDITIONAL INFORMATION ABOUT “JULY AT THE DALLAS OPERA”
IS CONVENIENTLY AVAILABLE ONLINE, 24/7
VISIT WWW.DALLASOPERA.ORG AND CHECK THE CALENDAR LISTINGS
For high-resolution, digital photographs suitable for print
To arrange an interview
Or for additional information
Please contact Suzanne Calvin, Manager/Director Media & PR
214.443.1014 or suzanne.calvin@dallasopera.org
The Dallas Opera’s 2013-2014 “By Love Transformed” Season
Is Coming Soon to an Opera House Near You!
Presented 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 (2 or 3-performance) go on sale Monday, July 8. Family performances are $5 (Family Performance Subs are $12 for three family performances) 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, 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: Bliss Hebert
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), Victor Ryan Robertson (Remendado), John David Boehr*(Moralès).
DEATH AND THE POWERS by Tod Machover
February 12, 14, 15 & 16(m), 2014
Science fiction and poignant family drama combine in a major regional premiere!
An opera in one act first performed in Monte Carlo, Monaco at the Salle Garnier on September 24, 2010.
Text by Robert Pinsky, based on a story by Pinsky and Randy Weiner
Time: Unknown time in the future
Place: Earth, the home of billionaire Simon Powers
Conductor: Nicole Paiement
Stage Director: Diane Paulus*
Associate Director: Andrew Eggert*
Scenic Design: Alex McDowell*
Costume Design: David Woolard*
Lighting Design: Don Holder
Choreography: Karole Armitage*
Wig & make-up Design: David Zimmerman
Starring: Robert Orth (Simon Powers/Robot One), Joélle Harvey (Miranda/Robot Four), Patricia Risley(Evvy/Robot Three), Hal Cazalet*(Nicholas/Robot Two), Frank Kelley*(The United Way), David Kravitz*(The United Nations), Tom McNichols*(The Administration).
DIE TOTE STADT (“THE DEAD CITY”) by Erich Wolfgang Korngold
March 21, 23(m), 26, 29 and April 6(m), 2014
The Hitchcock-like tale of one man’s dark obsession with the woman he loved and lost.
An opera in three acts first performed in Hamburg & Cologne, Germany on December 4, 1920
Text by Erich Wolfgang Korngold and Paul Schott based on a novel by Georges Rodenbach, Bruges la morte
Time: End of the 19th century
Place: The city of Bruges in northwestern Belgium
Conductor: Sebastian Lang-Lessing*
Stage Director: Mikael Melbye
Scenic Design: Mikael Melbye*
Costume Design: Dierdre Clancy*
Video Design: Wendall Harrington*
Lighting Design: Mark McCullough
Wig & make-up Design: David Zimmerman
Choreography: Matthew Ferraro*
Chorus Master: Alexander Rom
Starring: Anne Petersen**(Marietta) , Jay Hunter Morris (Paul), Morgan Smith (Fritz), Weston Hurt (Frank), Katherine Tier*(Brigitta), Andrew Bidlack (Albert), Jan Lund**(Victorin), Jennifer Chung (Juliette), Angela Turner Wilson (Lucienne).
THE BARBER OF SEVILLE by Gioachino Rossini
March 28, 30(m), April 2, 5, 11 & 13(m), 2014
Figaro, a scheming barber and jack-of-all-trades plots to release a headstrong girl from her gilded cage!
An opera in two acts first performed in Rome on February 20, 1816
Text by Pierre-Augustin de Beaumarchais, from his comedy Le Barbier de Séville
Time: 18th century
Place: Seville, Spain
Conductor: Giuliano Carella*
Stage Director: Herb Kellner
Original Production: John Copley
Scenic Design: John Conklin
Costume Design: Michael Stennet
Lighting Design: TBD
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Starring: Nathan Gunn (Figaro), Isabel Leonard*(Rosina), Alek Shrader*(Count Almaviva), Donato DiStefano (Dr. Bartolo), Burak Bilgili*(Don Basilio), Nathan De’Shon Myers (Fiorello), Christian Teague*(Ambrogio).
DALLAS OPERA FAMILY PERFORMANCES
Jack and the Beanstalk: October 26, 2013 and April 5, 2014
Family Concerts: November 3, 2013 and February 1, 2014
The Elixir of Love: November 9, 2013 and April 12, 2014
* Dallas Opera Debut
** American Debut
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The Dallas Opera is supported, in part, by funds from: 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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