The Dallas Opera makes its gripping 2015 production of Giacomo Puccini’s Tosca available free of charge for home viewing.
Registration details in this press release; link below.
The Dallas Opera makes its gripping 2015 production of Giacomo Puccini’s Tosca available free of charge for home viewing.
Registration details in this press release; link below.
103 Applicants for Elite Program; Institute Makes Room for Four Additional Women Conductors to Observe
An International Inaugural Session of The Institute for Women Conductors At The Dallas Opera
Nov. 28 – Dec. 6, 2015
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Launched with Generous Support from the Richard and Enika Schulze Foundation
DALLAS, JUNE 5, 2015 – The Dallas Opera is proud to announce the names of the six distinguished professionals selected to participate in the inaugural session of the Institute for Women Conductors at The Dallas Opera:
Working to address a long-standing career issue in the opera world, The Dallas Opera is launching a unique, new residential program designed to provide training and career support for distinctively talented women conductors. Female conductors age forty and younger, as well as accomplished women singers, opera coaches and accompanists, and instrumentalists with established careers seeking a new career at the podium, were encouraged to apply.
A total of 103 women conductors and professional musicians heeded the call and applied by the April 15th deadline. Of that number, nearly half the applicants (44%) came from the United States. Other nations making a strong showing included Germany, Italy, Israel and Taiwan (followed by Greece, Canada, Australia and Spain).
Applicants from 27 countries included principal and assistant conductors, concertmasters and music staff from top-ranked symphonies, opera companies, and conservatories.
“As a female conductor,” explained IWC Fellow Anna Skryleva, “I’m interested, of course, in programs supporting women—there are still so few of them; I don’t know of any other program of this type in the opera field. These days in Dallas promise to be very intensive.”
Jennifer Condon heartily agreed, writing: “The Dallas Opera’s recognition of the need for encouragement and support of women conductors is fabulous. The programme – so generously offered – touches on all aspects relevant to a career in conducting. So far as I am aware, there is no programme of its kind anywhere else in the world.
“I simply leapt at the chance to be included.”
“I was so thrilled to see The Dallas Opera offer such an innovative initiative for female conductors to further develop their opera skills on the podium,” responded Jessica Gethin. “As a young, female, Australian conductor based in Perth, the opportunity to be a part of the inaugural Institute for Women Conductors is invaluable at this stage of my conducting career.
“Through a generous combination of intense masterclasses on the podium with international mentors, seminars on the challenges we face within the industry and networking opportunities provided, I am looking forward to developing my technical skills and broadening my repertoire knowledge in a uniquely supportive environment and earning my place as an alumna in this brilliant and vital program, watching it grow and nurture the careers of many female conductors from around the world.
“I can’t wait to get my hands on the scores,” added Ms. Gethin, “and head over to the other side of the globe to get started!”
This new institute will be inaugurated on November 28, 2015 and run through December 6, 2015, with key support from the Richard and Enika Schulze Foundation.
The IWC will consist of master classes and one-on-ones with Dallas Opera Music Director Emmanuel Villaume and Principal Guest Conductor Nicole Paiement; seminars, discussions, and networking opportunities; as well as the chance to conduct The Dallas Opera Orchestra in a public concert performance the evening of December 5, 2015 onstage in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in Dallas, Texas.
When asked what she hoped to gain from the experience, Stephanie Rhodes replied: “Everything! The insights of both Emmanuel Villaume and Nicole Paiement into conducting technique, interpretation, and the various business aspects of the profession are something I imagine will be invaluable, given the wealth of experience they bring to the table.
“I’m particularly looking forward to building relationships with fellow female conductors,” Ms. Rhodes added, “as I think the support, strength, and perspective we can offer each other now will be critical throughout our careers.”
IWC Fellow Natalie Murray Beale expressed similar sentiments: “This program is a vital acknowledgement of female conducting talent and a rare opportunity for women conductors.
“I have great hopes to develop my conducting at the Institute for Women Conductors at The Dallas Opera and to make new, positive working relationships with artists and managers alike. I look forward,” she added, “to emerging a stronger and more visible conductor.”
In addition to the six Institute participants, four more conductors – all from the United States – have been invited to observe the proceedings. They are: Arianne Abela, Luçik Aprahämian, Avlana Eisenberg and Co Boi Nguyen.
Those attending will also be encouraged to take part in an annual two-day networking event, beginning in the summer of 2016.
Stated Dallas Opera General Director and CEO Keith Cerny: “The Dallas Opera has demonstrated, in multiple ways, its commitment to reshaping the opera field through the use of innovative public outreach, by exploring new technologies, commissioning new works to expand the operatic repertoire, and programming with passion and imagination.”
“This much-needed program,” Mr. Cerny added, “will enable more women conductors to add their talents and insights to our collective understanding of this art form, while encouraging conversation about the necessity of women in leadership roles.”
The Dallas Opera’s Principal Guest Conductor, Nicole Paiement, who also serves as the Artistic Director and Conductor for San Francisco’s renowned contemporary opera company, Opera Parallèle, commented, “In tandem with my work as a professional conductor, I have spent many years striving to develop and support exceptional young talent, both onstage and in the orchestra pit. I am tremendously pleased to be able to continue this aspect of my career in a leadership role here in Dallas, and to be responsible for guiding each carefully selected group through this newly developed Dallas Opera program.
“The women taking part in this program will have the all-too-rare opportunity to observe another woman in this leadership role, “ Paiement added, “something that, regrettably, I never experienced in my early career as I sought role models from among my professional peers. I sincerely hope my work with the women in this institute can serve as a source of both valuable insights and inspiration.”
Marc A. Scorca, President and CEO of OPERA America, remarked: “The Dallas Opera continues to expand its influence and stature among American opera companies, as shown by this exciting new initiative. The company is to be applauded for taking a significant step to remedy the existing gender imbalance on the podium. This effort complements OPERA America’s support of the work of female opera composers and promises to enrich the art form by encouraging more gifted artists to express themselves through opera.”
Lidiya Yankovskaya, another IWC Fellow, wrote: “The Dallas Opera is known for doing innovative and exciting work that has placed the company at the forefront of American Opera and continues to inspire many within the field, myself included. I relish the opportunity to see this work from the inside and to learn from the company’s phenomenal leadership.
“Taking part in Dallas Opera’s program for Women Conductors will be crucial in giving me the push I need to gain exposure and move forward into more regular high-level work in the opera world. The institute will not only provide the opportunity to receive experience working with the company’s fantastic artists and feedback on my work, but it also represents a chance to gain exposure, and to discover how to make the leap into the next career level.”
Internationally renowned Dallas Opera Music Director Emmanuel Villaume observed: “No conductor ever stands at the podium alone. We raise our baton with those who came before us, and those who will follow in our footsteps.
“It takes a lifetime to become completely at home on the podium,” Villaume adds. “It was my privilege to be guided and taught by geniuses like Spiros Argiris and Seiji Ozawa, who, in turn, always quoted their own masters. In fact, they claimed that, only near the end of their performing careers, did they entirely understand some of the comments and advice they received from their mentors.
“We are always trying to perfect our work. I feel I am now at a place in my career, where I can begin to effectively share my experiences with the next generation of conductors.”
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2015 IWC FELLOWS:
JENNIFER CONDON (Australia/Germany)
Jennifer Condon has been passionate about opera from an absurdly young age – since her teens she has been fortunate to have fellow Australian, Simone Young, as mentor. Jennifer studied piano in Sydney, and conducting in Melbourne and Vienna before commencing work as a souffleuse at the Hamburg State Opera in 2008. She now has a repertoire of over 55 operas. During her time in Hamburg, Jennifer also brought Peggy Glanville-Hicks’ opera Sappho (1963) from the composer’s hand-written manuscript to the recording studio. The CD, with an eminent cast including Deborah Polaski, Sir John Tomlinson and Wolfgang Koch with the Gulbenkian Orchestra, has been released to considerable critical acclaim. Jennifer lives in Berlin and works as a free-lance vocal coach and prompt as she pursues a conducting career. Assistant conducting engagements to date include Lohengrin in Zurich and Salome in Vienna. Future engagements include Reimann’s Lear in Budapest and Ariadne auf Naxos in Tokyo.
JESSICA GETHIN (Australia)
Australian-born conductor Jessica Gethin has won praise from audiences and critics alike for her dynamic energy, outstanding musicianship and abounding presence on the podium. A graduate of the exclusive Symphony Australia Conductor Development Program, Ms. Gethin commenced her official appointment as Chief Conductor of the Perth Symphony Orchestra (Perth, Australia) in 2011. Jessica Gethin has performed on stages throughout Europe, USA, UK, Canada, Asia and Australia as conductor, concert presenter, program writer, orchestrator, guest lecturer, music educator and adjudicator. With a diverse background working across a variety of genres ranging from classical, jazz, opera and ballet to musical theatre, contemporary and film score; Jessica has recorded for numerous CDs, television documentaries, live radio broadcasts and television commercials. Artist collaborations include conducting Welsh bass baritone Bryn Terfel, Divinyl’s Chrissy Amphlette, The Ten Tenors, soprano Rachelle Durkin, Australian screen star Lisa McCune, soprano Marina Prior, tenor David Hobson, jazz trumpeter James Morrison and Dutch violinist Rudolf Koelman, to name a few. Ms. Gethin currently resides in Western Australia with her husband and two children.
NATALIE MURRAY BEALE (UK)
Conductor Natalie Murray Beale is a BBC Performing Arts Fund Fellow and is being mentored by Esa-Pekka Salonen. She has performed with the Welsh National Opera, Opera Holland Park, Spitalfields Festival, Chamber Orchestra of London and the City of London Sinfonia. Ms. Murray Beale has also gained valuable experience as Assistant Conductor for the Théâtre des Champs-Elysées, Festival d’Aix, Wiener Festwochen and Den Nye Opera with the Philharmonia, Bergen Philharmonic, B’Rock Orchestra, Le Cercle de l’Harmonie and the Freiburger Barockorchester. Previous positions include serving on the music staff of Welsh National Opera; as coach at the Royal Opera House, Young Artist Programme; and as Guest Chorus Director of London Symphony Chorus.
Ms. Murray Beale enjoys collaborating with composers and recently conducted the soundtracks to the video game Alien:Isolation (BAFTA nominated) and the British film Robot Overlords. Her performances of the new opera, We are Shadows, received a Royal Philharmonic Society award. This year she will make her debuts with the Royal Liverpool Philharmonic and Malta Philharmonic Orchestra.
STEPHANIE RHODES (USA)
Stephanie Rhodes is a renowned opera collaborator, having served on the music staff of the Bolshoi Theatre of Russia, The Dallas Opera, Houston Grand Opera, LA Opera, San Francisco Opera, Washington National Opera and Wolf Trap Opera, amongst others. She has garnered experience as a conductor, assistant conductor, prompter, chorus master, rehearsal pianist, orchestral keyboardist and diction coach. This summer she joins the Miami Summer Music Festival as the Studio Program Director and conductor of Purcell’s Dido and Aeneas, additionally participating as a fellow in the festival’s Orchestral Conducting Institute. As a Fulbright award recipient, Ms. Rhodes spent the 2012/13 season in Moscow specializing in Russian repertoire and pronunciation for non-native singers. She was recently commissioned by The Dallas Opera to transliterate Tchaikovsky’s Iolanta and is currently working on a book to standardize Russian diction for singers. An alum of the Houston Grand Opera Studio and San Francisco’s Merola Opera program, she holds degrees from the University of Michigan and Utah State University in Collaborative Piano and Piano Performance.
ANNA SKRYLEVA (Russia/Germany)
Russian conductor Anna Skryleva has lived and worked in Germany for the past 15 years. Currently, Ms. Skryleva is engaged as principal resident conductor at The State Theatre, Darmstadt, in addition to performing as a concert pianist and a chamber musician in Russia, other European nations and Mexico. Anna Skryleva’s career as a conductor began in 2002 in Karlsruhe, where she was engaged at the Music College as music assistant of the conductor Prof. Alicja Mounk. From 2007 to 2012, Anna Skryleva was engaged at the State Opera Hamburg as musical assistant of Simone Young, where she acquired a wide repertoire, from German Romanticism to Italian bel canto to modern music of the 20th century. After successfully conducting Richard Strauss’ Salome at the State Theatre Darmstadt in 2013, Anna Skryleva was named Darmstadt’s Principal Resident Conductor. Since then, she has conducted new productions and revivals of works including Otello, Tristan und Isolde, Il trittico, Madame Butterfly, La traviata and many more. The German publication Main-Echo named Anna Skryleva “Person of the Year 2013.” Earlier this year, she was nominated for the “Emotion Award 2015” in the Category “Women in Leadership”; winners will be announced later this month.
LIDIYA YANKOVSKAYA (USA)
Lidiya Yankovskaya’s recent work as a symphonic and opera conductor has been hailed as “superb,” “expert,” and “coax[ing] every possible expressive note from the instrumentalists.” Currently, Ms. Yankovskaya serves as Music Director of Harvard University’s Lowell House Opera, Artistic Director of Juventas New Music Ensemble, and Music Director with Commonwealth Lyric Theater. She also works regularly with Gotham Chamber Opera, Center for Contemporary Opera, and New York Lyric Opera. Last summer, Ms. Yankovskaya served as a conducting fellow under renowned conductor Lorin Maazel at the Castleton Festival, where she had the privilege of assisting Maestro Maazel and filled in for him regularly in rehearsal and performance. Recent productions have received multiple awards ranging from The American Prize to the National Opera Association Award. In addition to her work as a conductor, Lidiya is a pianist and coach, recently serving as Music Director for Opera Boston’s education tours. Presently, she is working as a Russian Diction Coach and occasional rehearsal conductor for Tanglewood Festival Chorus (the chorus of the Boston Symphony). www.LidiyaYankovskaya.com
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2015 IWC OBSERVERS:
ARIANNE ABELA (USA)
Known for her work promoting charitable organizations, conductor Arianne Abela has appeared on NBC’s Today Show and America’s Got Talent as artistic director of “3 Penny,” a non-profit chorus and orchestra, and co-founder of “House of Clouds.” Arianne served as music director of Saybrook College Orchestra and has conducted the Yale Symphony Orchestra, Wesleyan University Orchestra and the Vidin State Philharmonic Orchestra in Bulgaria. As a chorusmaster, Abela has prepared choirs for Michael Tilson Thomas, Leonard Slatkin, Rafael Payare, and Martin Katz, as well as for the University of Michigan Opera in productions of Mozart’s The Magic Flute and Rossini’s The Barber of Seville. As a soloist and professional ensemble singer, Abela has performed with major ensembles across North America, Europe and Asia. Abela is currently a doctoral candidate in conducting at the University of Michigan under the tutelage of Jerry Blackstone. She holds a master’s degree in conducting from Yale University and a bachelor’s degree from Smith College.
LUÇIK APRAHÄMIAN (USA)
Luçik Aprahämian’s versatility as a conductor makes her equally at home in front of an orchestra, leading a vocal ensemble, or guiding outstanding performances on the opera stage. With her profound passion for opera, Dr. Aprahämian has served as co-artistic director of Southern Arizona Opera, worked with Opera Parallèle and Bayshore Lyric Opera (both located in the Bay area), and served as assistant conductor and director of the Opera Theatre Program at the University of California at Santa Cruz. She is an avid exponent of new music and has commissioned and premiered works for choir, orchestra, and opera with ensembles in the Bay Area and Arizona. Recent premieres include Andrew Pascoe’s opera, God: The Opera and David Evan Jones’s chamber opera, The Rehearsal. Dr. Aprahämian received her bachelor’s degree in fortepiano performance practice, as well as a master’s degree in conducting, from the University of California at Santa Cruz. She pursued additional graduate studies to earn her doctorate in conducting from the University of Arizona.
AVLANA EISENBERG (USA)
Music Director of the Boston Chamber Symphony, Avlana Eisenberg has conducted orchestras throughout the United States and in France, Germany, Austria, Scotland, Spain, Bulgaria, the Czech Republic, and Hungary. Her debut CD, with soloist Zina Schiff and the Budapest Symphony Orchestra MAV, features violin concertos by Sibelius and Barber and the world premiere orchestral recording of Ben-Haim’s Three Songs without Words. Eisenberg received a Fulbright Fellowship for conducting study in Paris and apprenticeship at the Paris National Opera and was one of Glamour magazine’s “Top Ten College Women of the Year.” As an undergraduate at Yale University, she founded and directed the Silliman Symphony and was honored with Yale’s “V. Browne Irish Award for Excellence in the Performing Arts.” An alumna of Interlochen Arts Camp and the Aspen Music Festival, Eisenberg holds a Master’s Degree from the University of Michigan and a Graduate Performance Diploma from the Peabody Institute.
CO BOI NGUYEN (USA)
Ms. Co Boi Nguyen has been on the faculty of the University of Redlands, School of Music since 2006, serving as music director of the University of Redlands Orchestra and Opera. From 2005 to 2007, Ms. Nguyen was conductor and faculty member of the C.W. Post Chamber Music Festival at Long Island University, New York. At the same time, she also worked as assistant conductor to Oscar-winning composer Tan Dun in New York. As an alumna of the Vietnam National Academy of Music, Ms. Nguyen returns to Hanoi regularly to perform and to give master classes. She made her highly acclaimed debut with the Vietnam National Symphony Orchestra at the Hanoi Opera House in July 2002, making her the first woman ever to lead the ensemble. Ms. Nguyen is a graduate of the conducting programs at the Curtis Institute of Music in Philadelphia and the Juilliard School in New York.
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EVENTS, GUESTS AND ARTISTS ARE SUBJECT TO CHANGE
VISIT WWW.DALLASOPERA.ORG FOR ADDITIONAL INFORMATION
For high-resolution, digital photographs suitable for print or to arrange an interview
Please contact Suzanne Calvin, Director of Media and Public Relations
214.443.1014 or suzanne.calvin@dallasopera.org
TEXAS INSTRUMENTS, 2015-2016 SEASON SPONSOR FOR THE DALLAS OPERA’S “SEEKING THE HUMAN ELEMENT” SEASON
All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise described. Single Tickets range from $19 to $275 and will be available July 15. Full and Flex Subscriptions are on sale now starting at $75. Family performance tickets (available June 1) are just $5.
For more information or to make your purchase, contact The Dallas Opera Ticket Services Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.
THE DALLAS OPERA 2015-2016 FALL SEASON INFORMATION
The Dallas Opera celebrates its Fifty-Ninth International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District. Evening performances will begin at 7:30 p.m. and Sunday matinees begin at 2:00 p.m. unless otherwise stated. English translations will be projected above the stage at every performance and assistance is available for the hearing impaired. The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain, at most performances excluding FIRST NIGHT of the season.
GREAT SCOTT by Jake Heggie
October 30, November 1(m), 4, 7 & 15(m), 2015
A Thrilling Dallas Opera World Premiere!
Libretto by Terrence McNally*
Time: Present Day
Place: A Major American City
Conductor: Patrick Summers
Stage Director: Jack O’Brien*
Production Design: Bob Crowley
Lighting Design: Brian MacDevitt*
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Starring: Joyce DiDonato* (Arden Scott), Ailyn Pérez (Tatyana Bakst), Frederica von Stade (Mrs. Edward “Winnie” Flato), Nathan Gunn (Sid Taylor), Anthony Roth Costanzo* (Roane Heckle), Kevin Burdette (Eric Gold) and Michael Mayes* (Wendell Swan). A Brand-New Dallas Opera Production!
TOSCA by Giacomo Puccini
November 6, 8(m), 11, 14, 20 & 22(m), 2015
A passionate and timeless masterpiece in a beloved period production
An opera in three acts first performed in Rome, Italy on January 14, 1900
Text by Luigi Illica and Giuseppe Giacosa after Victorien Sardou’s 1887 French-language play, La Tosca
Time: Early 19th century
Place: Locations in and around the City of Rome
Conductor: Emmanuel Villaume
Stage Director: Ellen Douglas Schlaefer*
Production Design: Ulisse Santicchi
Lighting Design: Marie Barrett
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Children’s Chorus Master: TBA
Starring: Emily Magee (Floria Tosca), Giancarlo Monsalve* (Mario Cavaradossi), Raymond Aceto (Baron Scarpia), William Ferguson (Spoletta), Dale Travis* (A Sacristan) and Ryan Kuster (Angelotti).
One of The Dallas Opera’s Most Popular!
BECOMING SANTA CLAUS by Mark Adamo
December 4, 6(m), 9 & 12, 2015
An Eagerly Awaited Dallas Opera World Premiere!
Libretto by the composer, Mark Adamo.
Time: Now
Place: An Elven kingdom in the far, far north; also, the stable of the first Christmas
Conductor: Emmanuel Villaume
Stage Director: Paul Curran
Production Design: Gary McCann*
Video Design: Driscoll Otto*
Lighting Design: Paul Hackenmueller*
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Starring: Jennifer Rivera* (Queen Sophine), Juan José de León (Prince Claus), Matt Boehler* (Donkey) Another New Dallas Opera Production
* 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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It marked her American debut so the pressure was on, but French mezzo-soprano–in two performances last weekend–showed herself more than capable of handling the heat, and generating a few extra gigawatts herself.
The reviews are pouring in, including this one from Olin Chism of KERA’s “Art & Seek” who called Sunday’s matinee “a magnificent hello by Villaume and the company” in Emmanuel Villaume’s first appearance as music director of the Dallas Opera. Chism also praised Clementine Margaine as “a joy to hear…a gifted actress who managed, somehow, to make the Gypsy seductress not only sexily fiery and steel-willed, but even occasionally vulnerable.” Read Olin’s review here.
Over at the Dallas Observer, music critic Katie Womack wrote “TDO’s production of Carmen (borrowed from the San Francisco Opera) is traditional, with hefty sets, warm lighting and vibrant period costumes. The chorus — especially the women — sounded strong and confident on Sunday and the children’s choir performed beautifully as both singers and actors, adding some much needed movement and energy to crowd scenes….other highlights included the trio of Margaine with her female cohorts in crime (Audrey Babcock and Danielle Pastin as Mercédès and Frasquita respectively). Babcock and Pastin not only held their own in scenes with the mezzo star, but added to the beauty with stunning vocals that resulted in a sumptuous blend of sound. As the pitiful Micaela, who loses her lover to Carmen’s grasp, Mary Dunleavy also sang with impressive technique.” Read Katie’s take on the production here.
Gregory Sullivan Isaacs, the Classical Music Critic for “Theater Jones,” was thrilled by the performance of Maestro Villaume: “Expectations were high as Villaume took the podium for the first time, to sustained applause, and he didn’t disappoint. Right from the first energetic downbeat, brimming with confidence, Villaume took change of the production and with that same gesture, he also assertively took charge of the Dallas Opera itself. As a conductor, Carmen was a triumph for the new maestro. As a Music Director, affirming his credentials of all to see, it gave him a solid launching pad for the future.”
And Gregory considered Brandon Jovanovich’s Don José crucial to the success of the performance, writing, “…tenor Brandon Jovanovich dominated the production. His supple Wagner-sized stentorian tenor produced both thrilling high notes and a gorgeous soft sound. The climax at the end of his flower aria (“La fleur que tu m’avais jetée”), usually blasted, floated like gossamer. Even better, he is a superb actor. His disintegration from stiff soldier to crazed madman was completely believable, physically as well as vocally.” Read his “Theater Jones” review right here.
“Dallas Morning News” Classical Music Critic Scott Cantrell applauded the casting of the secondary principle roles: “Secondary roles are splendidly cast: Danielle Pastin and Audrey Babcock as Carmen’s friends Frasquita and Mercédès, Kyle Albertson and John David Boehr as the officers Zuniga and Moralès, William Ferguson and Steven LaBrie as the smugglers Le Remendado and Le Dancaïre.” He also appreciated Villaume’s leadership at the podium, writing: “The orchestra’s playing was mostly quite fine, Villaume giving it finely considered focus, direction, expression and drama.” Read Scott’s complete review here.
Over at D Magazine’s “Front Row” blog, reviewer Wayne Lee Gay was captivated by Carmen herself, Clementine Margaine in her American debut: “The sheer force of Margaine’s voice impresses when she turns up the volume. She possesses, at the same time, the magical ability to project apianissimo above the orchestra. She delivers all of this with a beauty of tone that holds up throughout her range. Margaine likewise infuses her rendition of Carmen with high-heat eroticism, from her constantly surprising interaction with the other performers—yes, even in this most familiar of all operas—to her intriguing caressing of French consonants. There have been many great Carmens of many different nationalities through the years, but Margaine brings a French linguistic and cultural insight that adds unique breadth to the role.” Read Wayne’s commentary on the production here.
David Weuste, writing for the online publication “Opera Pulse,” also had high praise for Don José: “Brandon Jovanovich as Don José brought perhaps the best voice to the stage (perhaps only second to Mary Dunleavy as Micaëla), with a powerful tenor that rang out over even the most powerful parts of Bizet’s fantastic score. He easily melded his voice throughout the performance to match his fellow singers whether it was the bright Dunleavy or the darker Margaine, and his phrasing always seemed to be in touch with Villaume’s direction of the orchestra.” Read David’s entire take on the production here.
More to come…better get your tickets now.
Suzanne Calvin, Director of Media and Public Relations
It’s here! The new Dallas Opera season kicks off in a whole new way tomorrow morning with the inaugural edition of FIRST SIGHT, a reception, fashion show and luncheon sponsored by J.P. Morgan. And that’s just the beginning of what should be a truly landmark weekend. Read on and start planning your picnic now.
FOR IMMEDIATE RELEASE:
Wednesday, October 23, 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 PROUD TO PRESENT
“FIRST SIGHT”
Thursday, Oct. 24th Fashion Show
And Opening Weekend Festivities
10 a.m. in the Winspear Opera House
PRESENTED BY J.P. MORGAN
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Followed on Friday, Oct. 25th at 8:00 p.m. by
GEORGES BIZET’S 1875 MASTERPIECE
CARMEN
THE LINDA AND MITCH HART
SEASON OPENING NIGHT PERFORMANCE
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“FIRST NIGHT 2013”
5:30 p.m. in the Margot and Bill Winspear Opera House
At the AT&T Performing Arts Center
NGP ENERGY CAPITAL MANAGEMENT, Presenting Sponsor
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The Dallas Opera’s Free Klyde Warren Park Simulcast with Support From the Dallas Arts District – Special Features Begin at 6:30 p.m.
Including Tom and Jerry in “Carmen Get It!” and Costume Contest
Park Patrons will also be Introduced to the Exciting
“SHEILA AND JODY GRANT OPERA DISCOVERY” PROGRAM!
DALLAS, OCTOBER 23, 2013 – The Dallas Opera, inspired by the incredible success of FIRST NIGHT festivities that mark the opening of each new season, is delighted to introduce an extraordinary spin-off: The FIRST SIGHT Fashion Show and Luncheon featuring the work of five outstanding and internationally renowned Dallas-based designers with their breathtaking interpretations of the operas that will take centerstage this season in addition to fashions by ESCADA, an international brand synonymous with the highest quality and luxury. This celebration of great opera and fabulous design will take place on Thursday, October 24, 2013 in the acclaimed Margot and Bill Winspear Opera House at the AT&T Performing Arts Center, presented by J.P. Morgan.
The pre-show reception beginning at 10:00 a.m. will set the mood for the fun that follows as the Shannon and Ted Skokos Stage is transformed into a glamorous high-fashion runway to showcase the imagination and talent of five of fashion’s most creative designers:
ELIZABETH ANYAA
MICHAEL FAIRCLOTH
ABI FERRIN
KHANH NGUYEN
And NICOLAS VILLALBA
Followed by
“RESORT 2014”
PRESENTED BY ESCADA
The fabulous fashion show will be capped by a sit-down luncheon at 11:45 a.m. in the C. Vincent Prothro Lobby, artfully prepared by Puck Catering.
Explains FIRST SIGHT & FIRST NIGHT Chair, Lynn Mock: “The overwhelming public interest in the fashion element of FIRST NIGHT prompted us to expand our vision to match the creativity of an iconic brand, ESCADA, as well as these five incredible designers. By giving them the spotlight, exclusively, in this very special event, we hope to excite and engage our patrons while giving art and fashion their due.
“It’s a perfect extension of the FIRST NIGHT celebrations,” Ms. Mock adds.
Following their unveiling at FIRST SIGHT, these one-of-a-kind creations inspired by the operas and theme of the 2013-2014 “By Love Transformed Season” will lend an additional air of excitement to the red carpet on Opening Night.
Several fashion-savvy style leaders are lending their expertise to the Dallas Opera’s inaugural FIRST SIGHT, including Event Architect Jeffrey Horn FPLtd. and Event Designer Larry Leathers.
“There is nothing more glamorous and elegant than our talented designer creations, with ESCADA fashion; all showcased inside the beautiful Winspear Opera House,” says Fashion Show Producer Rhonda Sargent Chambers. “I am thrilled!”
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The Dallas Opera is pleased to revive—by popular demand—the exciting festivities marking the opening of a new season, known as FIRST NIGHT. The one-night-only celebrations presented by NGP Energy Capital Management will take place both inside and outside the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District, on Friday, October 25, 2013 beginning at 5:30 p.m. with a lavish black-tie dinner at 6:00 provided by Puck Catering in a beautifully appointed tent in Sammons Park (located just off the main promenade to the Winspear Opera House).
The menu and dinner music, as well as the artistic design, will reflect the cultural influences that dominate the 2013-2014 Season – “By Love Transformed” (season presenting sponsor Texas Instruments Foundation).
Sophisticated models will show off their extraordinary opera-inspired couture gowns, designed especially for the occasion. Several of the gowns and original sketches will be auctioned online by FIRST SIGHT sponsor, Heritage Auctions, beginning on October 25th.
Adding to the excitement of the Linda and Mitch Hart Season Opening Night Performance is the buzz about the Dallas Opera’s new music director, Maestro Emmanuel Villaume, who will be making his podium debut—as music director—in that evening’s performance (Mr. Villaume has previously conducted productions for the Dallas Opera as a visiting guest conductor). The occasion will also mark the hotly anticipated American debut of award-winning French mezzo-soprano Clémentine Margaine in the title role of Georges Bizet’s 1875 masterpiece, CARMEN.
“FIRST NIGHT has extended the Dallas Opera’s Season Opening Production far beyond the confines of the Winspear Opera House,” explains Dallas Opera General Director and CEO Keith Cerny. “People picnicking on blankets in Klyde Warren Park, enjoying the Dallas Opera’s High-Definition Carmen simulcast, will also share in the excitement of the Linda and Mitch Hart Season Opening Night Performance and the energy and enthusiasm of this newly expanded event.
“We are all tremendously grateful to NGP Energy Capital Management, FIRST SIGHT / FIRST NIGHT Chair Lynn Mock and everyone involved in underwriting, planning and executing this extraordinary, multifaceted experience designed to attract people of all ages and backgrounds: patrons, donors and music lovers. This year, we’re expanding our opening night events in Sammons Park, in order to include as many interested patrons as possible—both for our very first pre-performance black-tie dinner and the distinctive After-Party.”
Elements of the Klyde Warren Park Simulcast, supported by the Dallas Arts District, include a presentation of a rarely seen silent comedy, “Carmen Junior,” starring Baby Peggy Montgomery; the Tom and Jerry WB Classic cartoon, “Carmen Get It!” and a Carmen Costume Contest open to all comers! Hosted, beginning at 6:30 p.m., by KDMX radio personality Jagger along with the popular lecturer and head of UNT’s Opera Program, Dr. Stephen Dubberly.
The occasion will also mark the introduction of an exciting new adventure in 21st century community outreach: The Sheila and Jody Grant Opera Discovery program, designed to transform outdoor enthusiasts and opera lovers enjoying a performance on the Klyde Warren Park lawn to new patrons experiencing opera in the magnificent setting of the Winspear.
Learn more about this fabulous program at Klyde Warren Park this coming Friday night!
Food and drink will be available for purchase onsite; however, picnic baskets and blankets are welcome on the lawn.
~~~~
FIRST NIGHT Red Carpet arrivals will begin at 5:30 p.m. Friday evening supported by FIRST NIGHT Red Carpet Sponsor, Deloitte. The black-tie dinner is from 6:00 – 7:30 p.m., CARMEN curtain is 8:00 p.m. (please note the special time) and the fabulous After Party will commence in the Sammons Park tent adjacent to the Winspear Opera House immediately following the final curtain call.
Modern Luxury is the exclusive media partner for the Dallas Opera’s 2013 FIRST SIGHT and FIRST NIGHT.
FIRST NIGHT complimentary valet service will be provided on the Flora Street side of the Winspear Opera House for all dinner guests.
~~~~
She’s the woman no man can resist and, as performed by renowned French mezzo-soprano Clémentine Margaine in her American debut, who would want to say “non”? Hailed as “Best Newcomer” in the 2011 French Classical Music Awards, Margaine will have her hands full with two head-turning, heart-melting Don Josés: tenors Brandon Jovanovich, who last captivated us as Pinkerton in the Dallas Opera’s 2010 production of Madame Butterfly, and Portuguese tenor Bruno Ribeiro making his eagerly anticipated company debut.
This truly phenomenal cast, from American soprano Mary Dunleavy in the role of Micaëla to bass-baritone Dwayne Croft as Escamillo the Toreador, will bring on the sizzle—as well as the steak! Featuring classic Jean-Pierre Ponnelle scenery from the San Francisco Opera, this production conducted by Mrs. Eugene McDermott Music Director Emmanuel Villaume, an artist of international stature, will make all the other good/bad girls of opera seem tame, if not lame, in comparison.
CARMEN will be staged by American director Chris Alexander, The James R. Seitz, Jr., Stage Director in Honor of John Gage, who earned critical praise in his 2005 Dallas Opera debut for his staging of Offenbach’s The Tales of Hoffmann, starring Mary Dunleavy and Marcus Haddock. Mr. Alexander was welcomed back in the spring of 2009 to direct the company’s final performances in the Music Hall at Fair Park: a delightful and daffy rendering of Rossini’s The Italian Girl in Algiers (L’italiana in Algeri).
American tenor Brandon Jovanovich will sing the role of Don José on Oct. 25, 27, and 30, while TDO newcomer, Portuguese tenor Bruno Ribeiro will portray the obsessed lover on Nov. 2, 8 and 10, 2013.
This outstanding international cast includes soprano Danielle Pastin in her company debut as Frasquita; mezzo Audrey Babcock in her Dallas Opera debut as Mercédès; bass Kyle Albertson (another company debut) as Zuniga; baritone Stephen LaBrie as the smuggler, La Dancaire; tenor William Ferguson in his Dallas Opera debut as Remendado and baritone John David Boehr in his TDO debut as Moralès.
Mr. Jovanovich, who enthralled Dallas audiences in our 2010 production of Madame Butterfly (described by Huffington Post’s Rodney Punt as the definitive Pinkerton of our time) and who will perform the role on FIRST NIGHT, 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.”
The season Opening Night Performance of Carmen receives endowed support from Linda and Mitch Hart.
Additional support is provided by Alice W. and Richard D. Bass, Joy S. and Ronald Mankoff, Betty and Steve Suellentrop, Joanna and Peter Townsend and James R. Seitz, Jr.
~~~~
Corporate Sponsorships
FIRST NIGHT Presenting Sponsor
NGP Energy Capital Management
FIRST SIGHT Presenting Sponsor – J.P. Morgan
FIRST SIGHT/NIGHT Media Partner – Modern Luxury
Platinum Sponsor ($25,000)
Deloitte
Silver Sponsors ($10,000)
Gardere Wynne Sewell, LLP
Heritage Auctions
KPMG
Mary Kay
Thompson and Knight
Bronze Sponsors ($5,000)
Weaver
PT Petroleum, LLC
Individual Sponsorships
Platinum ($2,500 Individual to $25,000 Table)
Alice and David Court
Mary and Dick Covington
Cindy and Charlie Feld
Mary Beth and Jay Marshall
Lynn and Presley Mock
Elizabeth and Richard Naftalis
Robert J. Vladem
Gold ($1,500 Individual to $15,000 Table)
Patti and John Cody
Patsy Donosky
Susan and Mark Geyer
Bobbi and Richard Massman
Tincy Miller
Tanya Roberts
Enika and Richard H. Schulze
Anne and Steven Stodghill
Betty and Steve Suellentrop
Joanna and T. Peter Townsend
Patty and Marty Weiland
Ellen and Don Winspear
Silver ($1,000 Individual to $10,000 Table)
Alice and Richard Bass
Hilary L. Roberts and J.B. Brinkmann in honor of
The Dallas Opera Chorus Master, Alexander Rom
Lucinda Councilman
Jacqueline and Jim Deeken
Bobbi and Leo Fields
Lisa and David Genecov
Carol and Don Glendenning
Jack Harrod
Kaki and Shelton G. Hopkins
Myra and Robert L. Hull
Elizabeth and Scott Kimple
Mike and Barbara Lynn Philanthropic Fund of
The Dallas Jewish Community Foundation
Rhonda and Fraser Marcus
Holly and Tom Mayer
Joyce and Harvey Mitchell
The Northern Trust Company
Mildred M. Oppenheimer
Katherine and Michael Phillips
The Rosewood Corporation
Gloria and Juan Ernesto Snead
Sandra Tucker
Agnes Whitley
Stacie and Mark Whitley
Marnie and Kern Wildenthal
Bronze ($500 Luncheon to $7,500 Dinner Table)
Catherine Ann Carr
Linda Claycomb
Mary Ann Cree
Nick Even
Harriett Gibbs
Faye Gould
Jolie D. Humphrey
Don J. McDermett and Garry Cox
Danna Orr
Betty Secker
FIRST SIGHT – FIRST NIGHT / KEY PERSONNEL
Lynn Mock, Chair, FIRST SIGHT/FIRST NIGHT
Jeffrey Horn FPLtd, Event Architect, Event Design Co-Chair
Larry Leathers, Event Designer, Event Design Co-Chair
Rhonda Sargent Chambers, Fashion Show Producer and Chair
Mary Beth and Jay Marshall, Dinner Chairs
Rhonda and Fraser Marcus, After Party Chairs
Don McDermett and Garry Cox, Table Sales Chairs
Patty and Marty Weiland, FIRST SIGHT Table Sales Chairs
Elizabeth Z. Naftalis, Luncheon Chair
Presley Mock, Underwriting Chair
Debbie and David Burch, Mary and Dick Covington, Cindy Feld, Keith Laycock and Dawna Richter: Underwriting Vice-Chairs
Stacie Whitley, Pre-Events Chair
John Gage, Arrangements Chair
Scott Chase and Greg McConeghy, Arrangements Vice-Chairs
Kaki Hopkins, Advisory Committee Chair
Advisory Committee: Diane Brierley, Patti Cody, Patsy Donosky, Carol Glendenning, Holly Mayer, Lynn McBee, Tincy Miller, Joyce Mitchell, Shannon Skokos, Anne Stodghill, Betty Suellentrop and Ellen Winspear
~~~~
Single tickets for the 2013-2014 Season are subject to dynamic pricing (the earlier they are purchased, the lower the price) and are on sale now – for as little as $19. Subscriptions start at just $76. Boxes and Inner Circle seating may be priced higher.
EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE
ADDITIONAL INFORMATION ABOUT “OCTOBER 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, Director of Media & Public Relations
214.443.1014 or suzanne.calvin@dallasopera.org
The Dallas Opera’s 2013-2014 “By Love Transformed” Season
Is Sponsored by Texas Instruments Foundation
THE DALLAS OPERA WISHES TO EXPRESS ITS GRATITUDE TO OUR EXCLUSIVE PARTNERS:
AMERICAN AIRLINES – OFFICIAL AIRLINE OF THE DALLAS OPERA
LEXUS – OFFICIAL VEHICLE OF THE DALLAS OPERA
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. For more information or to make your ticket purchase, contact the friendly professionals at the Dallas Opera Ticket Services Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.
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.
###
Changes afoot as the Dallas Opera prepares for the upcoming season:
FOR IMMEDIATE RELEASE:
Monday, August 5, 2013
Contact: Suzanne Calvin 214.443.1014 Or Megan Meister 214.443.1071
suzanne.calvin@dallasopera.org megan.meister@dallasopera.org
THE DALLAS OPERA ANNOUNCES
CHRIS ALEXANDER
RETURNING TO STAGE “CARMEN”
~~~~
TENOR WILLIAM FERGUSON
TO MAKE DALLAS OPERA DEBUT
IN THE ROLE OF “REMENDADO”
~~~~
2013-2014 Season Sponsor
Texas Instruments Foundation
DALLAS, TX, AUGUST 5, 2013 – The Dallas Opera is pleased to announce that “theatrically masterly” (Seattle Times) German/American stage director Chris Alexander, has agreed to stage our season-opening production of Georges Bizet’s CARMEN, starring French mezzo-soprano Clémentine Margaine in her American debut. Born in Provo, Utah but a life-long resident of Germany, Alexander recently received critical acclaim for his staging of Seattle Opera’s production of Beethoven’s Fidelio (Mr. Alexander is a favorite of opera audiences in the Pacific Northwest), as well as Cincinnati Opera’s presentation of Der Rosenkavalier by Richard Strauss earlier this summer.
Closer to home, Chris Alexander dazzled in his 2005 Dallas Opera debut with his staging of Offenbach’s The Tales of Hoffmann, starring Mary Dunleavy and Marcus Haddock; returning in the spring of 2009 to direct the company’s final performances in the Music Hall at Fair Park: a delightful and daffy rendering of Rossini’s The Italian Girl in Algiers (L’italiana in Algeri).
Stage director Bliss Hebert, originally scheduled to direct CARMEN, withdrew in July for personal reasons.
“Ever since Chris burst onto the American Opera scene with his brilliantly staged Boris Godunov in 2000,” explains Dallas Opera General Director and CEO Keith Cerny, “demand for his services has been growing exponentially. I’ve lost count of how many times he has directed for Seattle Opera in the years since, and he was honored with that company’s 2003-2004 “Artist of the Year” Award even before going on to stage universally acclaimed productions of Mozart’s Don Giovanni and The Magic Flute.
“He also has a very distinguished career in Europe where, in addition to serving as founder of the Bremen Shakespeare Company, Chris has written, translated, and directed dozens of plays and operas—including CARMEN—in cultural destinations from Bern to Berlin.”
~~~~
There has also been a cast change for the Dallas Opera’s CARMEN, opening in late October for six performances in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center.
William Ferguson, “a mellifluous, charismatic tenor,” (Steve Smith, The New York Times) will make his company debut in the role of the smuggler Remendado, replacing Victor Ryan Robertson (“Sportin’ Life” in TDO’s 2008 production of Porgy and Bess). Mr. Robertson asked to be released in order to sing the title role in Leonard Bernstein’s Candide in France.
Mr. Ferguson, currently portraying “George” in a brand-new production of Ned Rorem’s Our Town for Central City Opera, has performed in many important American opera houses, including the Metropolitan Opera and Sante Fe Opera. He has also garnered praise for his work with symphony orchestras on two continents. Most recently, he sang one of the leading roles in the New York City Opera’s highly acclaimed 2013 production of Powder Her Face by Thomas Adès.
~~~~
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
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.
###