“No opera ever composed has music more gorgeous, more sumptuous,
than Erich Wolfgang Korngold’s Die tote Stadt.”
— Scott Cantrell, The Dallas Morning News
by Erich Wolfgang Korngold Sung in German with English supertitles
Before Hitchcock filmed Vertigo, Korngold created Die tote Stadt, the tale of one man’s dark obsession with the woman he loved and lost.
Featuring state-of-the-art projections and composed by a prodigy who evolved into one of the great masters of music for the Golden Age of Cinema (The Adventures of Robin Hood, Deception, The Sea Hawk), Die tote Stadt features an extraordinary cast that includes Jay Hunter Morris in the role of Paul, fresh from his triumphs as Ahab in the San Francisco Opera revival of Moby-Dickand as Siegfried in the Met’s new Ring Cycle; Mardi Byers as Marietta; and Morgan Smith, the poignant voice of reason in TDO’s world premiere production of Moby-Dick, as Fritz. Paul’s fierce grip on the memory of his dead wife will be challenged by the equally determined Marietta. Can he let go of his fantasy in order to live again?
Paul is in the home he shared with his late wife, Marie, mourning her loss. The decaying city around him serves as a constant reminder of the past. Paul has transformed one of his rooms into a “temple of memories” in which he has enshrined relics and reminders of his life with Marie, including a treasured braid of her hair. He is in an excitable state when his friend, Frank, comes to visit and Paul tells him of a young woman he just met. Marietta, a dancer, bears an uncanny resemblance to Marie and he has invited her to his home in an effort to bring new life into this place of grief and death. When the girl arrives, Paul is so overwhelmed that he attempts to embrace her on the spot. Marietta pulls away, and in the ensuing “play,” she accidentally reveals a portrait of his late wife. Hearing friends singing in the street on their way to rehearsal, she departs, while Paul agonizes over his conflicting emotions: loyalty to his dead spouse and desire for her living double. An apparition of Marie steps from her portrait, counseling Paul to choose the living as she morphs into an image of the dancer.
Weeks later, Paul continues to struggle with the boundary between fantasy and reality. He tells his friend Frank about his agony, tormented by guilt. He sees his housekeeper, Brigitta, who left his service due to his perceived “infidelity” to the dead Marie, and Frank, after his well-meant help, is no longer perceived as a friend, but rather a contender for Marietta’s charms. Marietta and her friends approach as Paul steps into the shadows to secretly observe her. She begins to rehearse a scene she is performing in the ballet Robert le diable, in which her character rises from the tomb. Paul confronts her, outraged at this mock resurrection and she sends her friends away. Paul angrily denounces Marietta and claims her only attraction is her resemblance to his dead wife. Marietta refuses to believe this and seduces Paul, suggesting they spend the night at his home in order to banish the ghost of Marie, once and for all.
The following morning, Marietta stands gazing at Marie’s portrait, triumphant. A religious procession passes by and the couple watch from the window until Paul, seeing the bishop, falls to his knees. Marietta is put off by Paul’s piety and she attempts to distract him. They begin to quarrel, with Paul trying to defend himself while Marietta denounces him as a hypocrite and weakling. She begins to dance erotically, taunting him, and drapes Marie’s braid around her neck. Seized with rage, Paul strangles Marietta and is horrified as he watches her turn into Marie in death. After a restless and exhausted sleep, Paul suddenly awakes and realizes that none of this actually occurred: the braid is in place and the housekeeper announces Marietta’s return for her umbrella and the roses she left behind when she hastily departed. She suggests to Paul that perhaps she should stay with him; however, Paul is noncommittal. After Marietta leaves, Frank tries to convince him to abandon Bruges—this city of death—forever. The past is gone and with it, the love of his life.
Mardi Byers (Marie/Marietta)American soprano Mardi Byers is making her Dallas Opera debut with these performances. She has already made her mark on international opera and concert stages including appearances with the Hamburg State Opera, the Bregenz Festival, Moscow’s Bolshoi Theater, Opera Frankfurt, Finnish National Opera and at the New York City Opera. Her triumphant opera debut as Floria Tosca at Theater Lübeck in 2003 earned her both critical and public acclaim, prompting invitations from leading opera houses to sing such roles as Amelia in Simon Boccanegra at the Hamburg State Opera, Aida at Finnish National Opera, Opera Toulon, as well as in Graham Vick’s production for the Bregenz Festival, Donna Anna in Don Giovanni for Opera Frankfurt and with the New York City Opera directed by Harold Prince, Giorgetta and Suor Angelica Il trittico for New Orleans Opera, Elisabetta in Don Carlo for Theater Basel directed by Calixto Beito, Marietta in Die tote Stadt, the title role of Tosca, and Elisabeth Tannhäuser at the Nürnberg State Theater. In 2011 she was nominated for Russia’s most prestigious theater award, “The Golden Mask” for her portrayal of Marie in the Dmitri Tcherniakov’s celebrated production of Wozzeck with the Bolshoi Theater conducted by Teodor Currentzis.
Jay Hunter Morris (Paul) Texas-born tenor Jay Hunter Morris returns to Dallas Opera after appearances with the company as Alfredo in La traviata, Steva in Jenufa and Bacchus in Ariadne auf Naxos. He began the 2013-14 season with his debut as Calaf in Turandot at Hawaii Opera Theatre, and joined Calgary Philharmonic Orchestra for concert performances of Cavaradossi in Tosca. Later this season he appears as Don Jose Carmen at Opera Colorado. He closes the season returning to the title role in Wagner’s Siegfried in Budapest for the prestigious Wagner Days Festival at the Palace of Arts under the baton of Adam Fischer. In 2011, he made his debut as Siegfried at the San Francisco Opera under the baton of Donald Runnicles, and then went on to sing the role at the Metropolitan Opera in the complete new Ring cycle staged by Robert Lepage, broadcast live to cinemas worldwide and televised in the United States on PBS. Other recent appearances include Captain Ahab in Jake Heggie’s celebrated opera, Moby-Dick, at San Diego Opera and at the San Francisco Opera (also broadcast on PBS), Erik in Der fliegende Holländer at Glimmerglass Festival and at Los Angeles Opera, his debut at Vienna’s Konzerthaus under the baton of Kent Nagano for performances of Schoenberg’s Gurrelieder; and concert performances as Tristan in Tristan und Isolde at Palau de les Arts Reina Sofia, Valencia under the baton of Zubin Mehta.
Morgan Smith (Fritz) American baritone, Morgan Smith, made his Dallas Opera debut in 2010 as Starbuck in Jake Heggie and Gene Scheer’s Moby-Dick , a role he subsequently performed with the San Diego Opera and at the San Francisco Opera, which was recently televised on PBS. A member of the ensemble at Oper Leipzig since 2009, he has appeared there in such roles as Figaro in Il barbiere di Siviglia , Papageno in Die Zauberflöte , Marcello La bohème and Guglielmo in Così fan tutte . Mr. Smith sang in the world premiere of composer Jake Heggie’s dramatic chamber work, For a Look or a Touch, which premiered in Seattle in April, 2011, and was subsequently recorded for the Naxos label, and which will have a multi-city European tour in June 2014. Adept in all kinds of contemporary repertoire, Morgan Smith created the role of Ted Steinert in Thomas Pasatieri’s Frau Margot in the world premiere at Fort Worth Opera and on the recording released by Albany Records. He inaugurated the role of “Harry or Larry” in the New York premiere of Elliot Carter’s What Next? He also created the title role in the Tony Kushner/Maurice Sendak adaptation of Hans Krasa’s children’s opera, Brundibar, recorded by Naxos. A regular on the concert stage, Mr. Smith recently made his Dallas Symphony debut in Bach’s St. Matthew Passion.
Weston Hurt (Frank) Baritone Weston Hurt returns to the Dallas Opera for this production of Die tote Stadt. Earlier this season he made his debuts at the Virginia Opera as Ford in Falstaff and Opera Grand Rapids as Sharpless in Madama Butterfly, returned to Portland Opera as Enrico Lucia di Lammermoor, and appeared in concert with Dallas Symphony. Other recent opera engagements have included his role debut at the title role in Rigoletto with the Boston Youth Symphony, Germont in La traviata at the Seattle Opera and Atlanta Opera, Ford at the Seattle Opera and Portland Opera, Sharpless at the Boston Lyric Opera, Lyric Opera of Kansas City, New York City Opera and Atlanta Opera, Enrico at the Arizona Opera and Austin Lyric Opera, the Count in Le nozze di Figaro at Michigan Opera Theater, and Frank in Die tote Stadt at the New York City Opera. He made his Dallas opera debut as Schaunard in La bohéme in 2009. Also a concert singer and recitalist, Mr. Hurt has performed recitals sponsored by the prestigious Marilyn Horne Foundation in the United States, and has toured South American with performances of Brahms’ Ein Deutsches Requiem.. A graduate of the prestigious Juilliard Opera Center, Mr. Hurt has received many notable vocal awards, including First Place and the People’s Choice Award from the Dallas Opera Guild Vocal Competition and various awards from the Licia Albanese-Puccini Foundation International Competition, Liederkranz Foundation, the Metropolitan Opera National Council, and two career grants conferred by The Santa Fe Opera.
Katharine Tier (Brigitta) Australian Mezzo-soprano Katharine Tier, who is making her Dallas Opera debut with these performances, has sung with Opera Australia, the Deutsche Oper Berlin, the San Francisco Opera, the Sydney Symphony, Melbourne Symphony, Western Australia Symphony and the American Philharmonic. The 2013-2014 season sees Ms. Tier undertaking significant projects in Germany including a reprise of Mrs. Sedley in Peter Grimes, Kitty Oppenheimer in Dr. Atomic, and Prince Orlofsky in Die Fledermaus at the Badisches Staatstheater Karlsruhe. The 2012-2013 season in Karlsruhe included the title role in Carmen and Waltraute in Die Walküre, along with the 2nd Norn in Götterdammerung. Other roles with the company comprise Didon in Les Troyens and Octavian in Der Rosenkavalier. Ms. Tier has performed Frau Mary in Wagner’s The Flying Dutchman for State Opera of South Australia, Annina, Erda, the Third Lady and Flosshilde at the Deutsche Oper Berlin, and was Herodias’s Page in Salome for Japan’s Saito Kinen Festival under the direction of Seiji Ozawa. A graduate of the distinguished Adler Fellowship program of the San Francisco Opera, Ms. Tier made her mainstage debut with the company as the Third Lady in Mozart’s Die Zauberflöte and performed Brigitta in their production of Die tote Stadt. Cover assignments with the company included Flosshilde in Das Rheingold, Polinesso in Ariodante, Idamante in Mozart’s Idomeneo, Dalila in Samson et Dalila and Octavian in Der Rosenkavalier.
Andrew Bidlack (Albert) Tenor Andrew Bidlack made his Dallas Opera debut in Peter Maxwell Davies’ The Lighthouse in 2012. Recent successes include his role debut as Rodrigo in Rossini’s Otello at Opera Southwest, the tenor solos in Händel’s Messiah with the Lexington Philharmonic and Tamino Die Zauberflöte at Florida Grand Opera. He appeared at Carnegie Hall for his debut with Lyric Opera of Chicago as The Young Collector in their production of A Streetcar Named Desire with Renée Fleming, a role he also sang in Chicago. He has also appeared as Tonio La fille du régiment with PORTopera, and Damon in Acis and Galatea at the Macau International Music Festival. Highlights of previous seasons include his New York City Opera debut as Baron Lummer in Intermezzo, and his return to Florida Grand Opera as Don Ottavio in Don Giovanni and Count Almaviva Il barbiere di Siviglia. In 2010 he made his South American debut as Oronte Alcina at Teatro Municipal de Santiago in Chile. At the Spoleto Festival in Italy, he appeared in The Saint of Bleecker Street, which was recorded and released on the Chandos label. As an Adler Fellow at San Francisco Opera, he made his debut in The Little Prince and went on to appear as Arturo Lucia di Lammermoor, Count Albert Die Tote Stadt, the Simpleton Boris Godunov and Pedrillo Die Entführung aus dem Serail.
Jan Lund (Victorin) Danish tenor Jan Lund makes his Dallas Opera debut with this production of Die tote Stadt. He has performed with all the Danish opera companies, including performances with the Royal Danish Opera (most recently as Monostatos in Mozart’s The Magic Flute) and the Danish National Opera (including performances of Victorin in a new production in Korngold’s Die tote Stadt.). His repertoire includes a wide selection of character, comic and lyric tenor roles such as Count Almaviva in The Barber of Seville, Ferrando in Così fan tutte, and Goro in Madame Butterfly. In contemporary repertoire he has appeared as the Vicar in Peter Maxwell Davies’ Resurrection at Wiener Taschenoper/Transparant Muziektheater in Belgium, Holland and Great Britain, and as Houdini in Houdini the Great at Den Anden Opera and in New York. He has also sung the tenor part in Kurt Weill’s Berlin to Broadway at Det Nordyske Opera. He has a huge concert repertoire and has performed with symphony orchestras and ensembles throughout Austria, Belgium, Denmark, Great Britain and Holland. Among his many recordings are Saint-Saëns’ Christmas Oratorio, Carl Nielsen’s Third Symphony and Songs as well as Delius’s Songs from the Norwegian with the Royal Liverpool Philharmonic.
Jennifer Chung (Juliette) Jennifer Chung returns for her eighth season with The Dallas Opera in this production of Die tote Stadt . After winning the 2001 Marguerite McCammon voice competition, she made her debut with the Fort Worth Opera as Micaëla in Carmen. She made her Dallas Opera debut as “Cefisa” in Rossini’s Ermione in 2003 and also appeared that season as Zerlina in school matinee performances of Don Giovanni. Other roles with the company include Prilepa in The Queen of Spades, Annina in La traviata, Frasquita in Carmen, Jano in Jenufa, and Naiad in Ariadne auf Naxos. She has also sung leading roles with opera companies across the country and in Europe, including performances at Arizona Opera, Augusta Opera, Kentucky Opera, Opernhaus Zurich, the Orchestra of St. Gallen, and the Ash Lawn Summer Opera Festival. Most recently, Miss Chung stepped in on very short notice for a performance of Dallas Opera’s family series as Laurette in Bizet’s Dr. Miracle. She enjoys spending time with her husband, Philippe, and young daughter, Charlotte, as well as working part-time for renowned plastic surgeon Michael A. Bogdan, MD, FACS, in Southlake, Texas.
Angela Turner Wilson (Lucienne) Angela Turner Wilson. who made her Dallas opera debut as the Sandman and Dew Fairy in Hansel and Gretel, has sung the title role in Lucia di Lammermoor and Leila in Les Pêcheurs de perles for the Lyric Opera of Kansas City, as well as Norina in Don Pasquale, Lisette in La rondine and Yum-Yum in The Mikado at the New York City Opera. For the Washington National Opera she has sung Susanna in Le nozze di Figaro, Rosina in Il barbiere di Siviglia, the Infanta in Le Cid (as seen on PBS) and Adina in L’elisir d’amore, Other roles include Musetta in La bohème for the Dallas Opera, New York City Opera and Boston Lyric Opera. She has also sung Norina for the Lyric Opera of Kansas City, Portland Opera and Connecticut Opera and Rosina in Il barbiere di Siviglia for Connecticut Opera and Eugene Opera. On the concert stage, Ms. Wilson has appeared as featured soloist with the National Symphony Orchestra, Alabama Symphony, Mississippi Symphony, Fort Worth Symphony, and the Colorado Symphony at the Vail Valley Music Festival. Ms. Wilson has appeared at the Clinton White House as a featured soloist for a state dinner honoring the Prime Minister of Italy and for the dedication of the George W. Bush Presidential Library.
Sebastian Lang-Lessing (Conductor) German conductor Sebastian Lang-Lessing makes his Dallas Opera debut with this production. Lang-Lessing regularly appears on the podiums of the world’s preeminent opera houses, including the Paris Opera, Hamburg State Opera, Bordeaux Opera, and in Oslo, and Stockholm, as well as in the United States at the San Francisco Opera, Houston Grand Opera, and the Washington National Opera. Among his recent opera engagements was a highly acclaimed new production of Wagner’s Rienzi with the Deutsche Oper Berlin, the DVD of which was released by Unitel. Other recent engagements include Falstaff at Washington National Opera and Porgy and Bess at Norwegian National Opera in Oslo. Later this season he conducts a tour by the Teatro San Carlo of Naples to the Royal Opera House Muscat in Oman,featuring Rossini’s The Barber of Seville and a Verdi Gala concert. Renée Fleming’s new album Guilty Pleasures, conducted by Maestro Lang-Lessing was recently released on Decca. Sebastian Lang-Lessing began his career at the Hamburg State Opera while still in his twenties, and his other previous positions include eight years as resident conductor at Deutsche Oper Berlin, and chief conductor and artistic director of the Orchestre Symphonique et Lyrique de Nancy for seven years. Equally renowned for his work on the concert stage, Lang-Lessing has led performances with major orchestras across the globe, including the Tokyo Philharmonic Orchestra, Leipzig Gewandhaus Orchestra, Hamburg Symphony Orchestra, Orchestre de Paris, Orchestre Philharmonique de Radio France, Orchestre de Toulouse, Orchestre de Bordeaux and the top orchestras in Australia. He has been the music director of the San Antonio Symphony since 2010–11 season.
Mikael Melbye (Stage Director/Scenic Designer) Following a distinguished career as a baritone at some of the world’s foremost opera companies, Copenhagen born Mikael Melbye made a successful career transition in 1994, when he began to work as a director and designer. That year, he designed and directed Così fan tutte at the Royal Danish Opera, followed by Turandot for the same company. He was later appointed the first director/designer for this house, creating many productions, including Arabella, Capriccio, Salome, Die Zauberflöte, La bohème, Il trovatore, and Rigoletto. He was invited to design Aida for the opening of The New Royal Danish Opera in 2005, and returned in 2006 to direct and design Britten’s The Turn of the Screw. Among Melbye’s other works are the sets, costumes, and lighting for San Francisco Ballet’s Giselle, the direction, sets and costumes for Houston Grand Opera’s Arabella, direction and scenic design for Rigoletto at Santa Fe Opera, and direction, sets and costumes for The Nutcracker at Copenhagen’s Tivoli Gardens. As a singer, his success as Papageno in Achim Freyer’s famous production of Die Zauberflöte launched an international career. Melbye sang regularly at the Paris Opera, La Scala di Milano, the Royal Opera House at Covent Garden, Rome Opera, San Carlo in Naples. He made his American debut as Guglielmo in Così fan tutte in 1984 at the Dallas Opera and returned in 1988 for Papageno in Die Zauberflöte, and later sang at the Metropolitan Opera and for several seasons with the Santa Fe Opera. Mikael Melbye recorded Die Zauberflöte with Sir Colin Davis and Carmen under the baton of Herbert von Karajan. Upon the 25th anniversary of his career in 2000, he retired from singing to concentrate on stage direction and design, as well as his long time passion, painting (see his web site: www.mikael-melbye.com). In 1995 he was bestowed a Knighthood by HRM Queen Margrethe II of Denmark, and in 2006 a peerage.
Deirdre Clancy (Costume Designer) Costume designer Deirdre Clancy is the recipient of the two highest honors in British theater, the Olivier Award for Best Stage Costume Desig (which she has won twice)and the BAFTA Award for Best Film Costume Design (for Mrs Brown featuring Dame Judi Dench and Billy Connolly in 1996.) From her first successes with the world premiere of D. H. Lawrence’s Trilogy at the Royal Court in 1966, Ms. Clancy has worked on over 140 productions in Europe, North America, Japan and Australia. She has designed 18 productions at The Royal National Theatre and worked with many major directors including Adrian Noble in his inaugural production as artistic director of the Royal Shakespeare Company. Among Ms. Clancy’s many successes are costumes for Kiri Te Kanawa in Cosí Fan Tutte at the Metropolitan Opera New York, Ian McKellen in Wild Honey at the National Theatre , and Glenda Jackson in Strange Interlude in the West End and on Broadway. More recently Clancy’s production design for A Doll’s House helped Janet McTeer to win the Olivier & Tony awards for Best Actress. Between 2009 and 2013 Ms. Clancy was the designer in residence for the Shakespeare Festival at the Old Globe Theater in San Diego. She is the author of several books on costume and has taught at Birmingham Institute of Art And Design and The Motley School, as well as giving talks and workshops on the history and the social history of costume.
Wendall Harrington (Video Designer) Ms. Harrington, who designed the projections for this production, is making her debut with the Dallas Opera. She is the recipient of the Drama Desk, the Outer Critics Circle and the American Theatre Wing Award for The Who’s Tommy. Her Broadway credits include Annie, Driving Miss Daisy, Grey Gardens, Putting it Together, Freak, Ragtime, The Capeman, Company, Having Our Say, My One and Only ,Will Rogers Follies, and They’re Playing Our Song. Her off-Broadway credits include Angels in America, Merrily We Roll Along(four times!) and Hapgood. Her opera productions include Werther, Mourning Becomes Electra, Tristan und Isolde, La fanciulla del West, Brundibar, Rusalka, Nixon in China, The Grapes of Wrath, A View from the Bridge, Transatlantic and The Photographer. For various ballet companies she has designed Serata Ratmansky (La Scala), Don Quixote(Joffrey), The Firebird, Ratmansky’s Anna Karenina, Lubovich’s Othello, and Doug Varone’s Ballet Mecanique. Among the concert projects she has designed are productions for The Talking Heads, Pete Townshend, Simon and Garfunkel, and Chris Rock. Ms Harrington lectures widely on projection design and heads the projection design concentration at the Yale School of Drama.
Peter Kaczorowski (Lighting Designer) Mr. Kaczorowski is making his Dallas Opera debut with this production of Die tote Stadt.. He has designed dozens of operas for most of America’s leading regional companies including Seattle (The Ring Cycle with director Stephen Wadsworth), San Francisco Opera , Los Angeles Opera, San Diego Opera, Houston Grand Opera, Santa Fe, Minnesota and Opera Theatre of St. Louis. He has also lit productions for the Metropolitan Opera and the New York City Opera as well as London’s Royal Opera, Scottish Opera, Canadian Opera, Opera North, Bonn, Lisbon, the Maggio Musicale in Florence, Venice’s La Fenice, and at the Arena di Verona. He also continues to work for most of the leading regional theatre companies in the United States, as well as New York’s Lincoln Center, Roundabout, Manhattan Theatre Club, The Public, Playwrights, Signature, 2nd Stage and Encores! This season on Broadway he is lighting productions of No Man’s Land and Waiting for Godot with Ian McKellen and Patrick Stewart, and Beautiful, the Carole King musical. Other Broadway credits include The Assembled Parties, Breakfast at Tiffany’s, Nice Work if You Can Get It,, Wit, The Road to Mecca, Venus in Fur, Anything Goes, A View from the Bridge, Waiting for Godot (with Nathan Lane and Bill Irwin), Grey Gardens, The Producers, Kiss Me Kate, Contact and Steel Pier. He is the recipient of the Tony, Drama Desk, Outer Critics, and Hewes awards.
David Zimmerman (Wig & Make-up Design) David Zimmerman has worked with Dallas and other opera companies around the world. These include The Metropolitan Opera, Opera Theatre of St. Louis, Santa Fe Opera, Paris National Opera, and Opera Santa Barbara. Mr. Zimmerman’s career extends to Broadway, as well, where he has worked on shows including Wicked, Rocky Horror, Show Boat, South Pacific and Evita. Personal clients include Deborah Voigt, Joyce DiDonato, Patricia Racette, Martha Stewart, Olympia Dukakis and Ricky Martin. Mr. Zimmerman has also done the makeup for DIFFA Fashion Runway, Dallas Fashion and Art Charity, and the Yelp.com fashion event. Print credits include two features in Opera News plus features in both Vanity Fair and The New Yorker. TV and film credits include Glamour Magazine’s “Women of the Year” and a feature film starring Anna Paquin.
Matthew Ferraro (Assistant Director/Choreographer) Matthew Ferraro began his career as a dancer for Ballet Theater of Boston, The Metropolitan Opera, and New York City Opera. He has choreographed and assisted directors on productions at The Dallas Opera, Washington National Opera, Opera Theater of St. Louis, Santa Fe Opera, Virginia Opera, Palm Beach Opera, Florida Grand Opera, Boston Lyric Opera, the Innsbruck Early Music Festival and Portland Opera. He has directed and designed productions for Palm Beach Opera and Opera in the Heights in Houston, Texas. In the fall of 2014 he will be making his European debut as the director and production designer of a new Madama Butterfly in Erfurt, Germany. Mr. Ferraro is a graduate of Princeton University.
Alexander Rom (Chorus Master) A native of Kharkov, Ukraine, Alexander Rom graduated from the Leningrad Conservatory of Music with a Masters Degree in Choral Conducting. Since immigrating to the United States, he has worked as a performer, conductor, educator, voice teacher, opera coach and composer. Maestro Rom has been the chorus master for The Dallas Opera since 1990. Maestro Rom has also been an opera coach with The Metropolitan Opera, Houston Grand Opera, Savonlinna Opera Festival, Cincinnati Festival and Ravinia Festival. Maestro Rom has worked with world renown singers including Paul Plishka, Mirella Freni, Nikolai Ghiaurov, Jorma Hynninen, Helga Dernesch, Martti Talvela, Joyce di Donato, and Jerry Hadley. Maestro Rom is an Honorary Visiting Professor at Sibelius Academy and Helsinki Conservatory of music in Finland. He was a Visiting Professor at Savonlinna Opera Festival Music Institute for ten years, where he staged and musically prepared a production of Tchaikovsky’s Eugene Onegin. He was a founder and a Music Director of The Grace Choral Society of Brooklyn, New York. Maestro Rom’s music and arrangements for voice, chorus, piano and other instruments have been performed in many prestigious venues. Mr. Rom maintains a private voice studio in Dallas, Texas.