FOR IMMEDIATE RELEASE:
Thursday, November 1, 2018
Contact: Suzanne Calvin 214.443.1014
The Dallas Opera is Proud to Present
In Concert – For One Night Only!
The Linda and Mitch Hart Institute for
Women Conductors at The Dallas Opera
SATURDAY, NOVEMBER 10, 2018 at 7:30 p.m.
The Margot and Bill Winspear Opera House
At the AT&T Performing Arts Center
$10 General Admission Seats
214.443.1000 or dallasopera.org/harttickets
Initial Support from the Richard and Enika Schulze Foundation
Additional Support from The Andrew W. Mellon Foundation,
Baker Botts LLP, Cindy and Charlie Feld, Jenifer and Peter Flynn,
Susan and Mark Geyer, Holly and Tom Mayer, J.P. Morgan,
Betty and Steve Suellentrop, and Martha and Max Wells, and
Debra Witter and Scott Chase
Made Possible by an OPERA America Innovation Grant
Supported by the Ann and Gordon Getty Foundation
DALLAS, NOVEMBER 1, 2018 – The Dallas Opera is pleased to present an evening of arias and orchestral favorites on Saturday, November 10th at 7:30 p.m. in the Margot and Bill Winspear Opera House. This extraordinary concert event will feature The Dallas Opera Orchestra and international opera artists conducted by the six women selected to participate in the fourth annual residency of the Linda and Mitch Hart Institute for Women Conductors taking place Oct. 28 – Nov. 10, 2018 at the Dallas Opera.
General admission seating for this “Hart Institute Showcase Concert” is available for just $10 per person at http://dallasopera.org/harttickets or, through The Dallas Opera Ticket Office at 214.443.1000. The 2018 Hart Institute Concert conductors will be:
- Sonia Ben-Santamaria (UK/France)
- Priscila Bomfim (Brazil)
- Sarah Penicka-Smith (Australia)
- Audrey Saint-Gil (France/USA)
- Maria Sensi Sellner (USA)
- Emily Senturia (USA)
Working to address a long-standing issue at the podium, The Dallas Opera in 2015 launched a unique, new residential program—one of only three in the world—designed to provide training and career support for distinctively talented women conductors on the cusp of major international careers.
“For me, the Hart Institute embodies the American Dream,” wrote Audrey Saint-Gil. “Work hard, dream big, and grab your opportunity tight with both hands when it comes.”
The initiative received vital foundational support from the Richard and Enika Schulze Foundation. Naming support came through the generosity of Linda and Mitch Hart.
Additional support for the 2018 Hart Institute comes from The Andrew W. Mellon Foundation, Baker Botts LLP, Dallas SEO Geek, Cindy and Charlie Feld, Jenifer and Peter Flynn, Susan and Mark Geyer, the Honorable Deborah Hankinson, Holly and Tom Mayer, J.P. Morgan, Betty and Steve Suellentrop, Martha and Max Wells, Debra Witter and Scott Chase.
Made possible by an OPERA America Innovation Grant, supported by the Ann and Gordon Getty Foundation.
The November 10th concert will also showcase a host of exciting young opera artists: countertenor Ryan Belongie, baritone Jeff Byrnes, mezzo-soprano Daryl Freedman, bass William Meinert, soprano Toni Marie Palmertree, mezzo-soprano Gina Perregrino, soprano Haley Sicking, and tenor Angel Vargas.
A total of 51 women conductors and professional musicians heeded the call in 2018, despite even more stringent admissions requirements this year. Applicants from 19 countries included music directors, principal and assistant conductors, concertmasters and music staff from top-ranked symphonies, opera companies, and conservatories.
“Getting into the Hart Institute will be a game-changer for me,” observed conductor Sarah Penicka-Smith. “I value the existence of a program which addresses the whole conductor, not just her technique, and I hope this will allow us to develop as many unique models of what it means to be a conductor as there are women to fill those positions.”
Maria Sensi Sellner agrees: “I’m thrilled to have the opportunity to work with the team of exceptional mentors and advisors assembled by The Dallas Opera, and to broaden my community of female colleagues, as we work towards equity on the podium.”
Adds conductor Emily Senturia, “I look forward to learning from industry leaders and the other talented women who have been chosen to participate in this groundbreaking program.”
As is the case each year, four talented U.S. observers were chosen to “audit” the 2018 Institute: Laurann Gilley, Laura Giuli, Amy Owens, and Sara Parkinson.
“Although still in the early stages,” says Dallas Opera Director of Artistic Administration David Lomeli, “The Institute appears to be having a pronounced positive impact on the field, with Hart Institute alumnae being singled out for important appointments, projects, and commissions in both the opera and symphonic world. This concert is the public’s opportunity to show enthusiastic support for women in positions of leadership.”
This year’s faculty reads like a music industry “Who’s Who”:
- Jamie Bernstein, author, narrator and filmmaker (guest speaker on Nov. 8th)
- Annie Burridge, General Director, Austin Opera
- Peter Czornyj, Dallas Symphony Orchestra Director of Artistic Planning
- Ana De Archuleta, ADA Artists, panelist for the NEA’s 2017 Arts Works Opera Grants
- Zenetta Drew, Exec. Director of Dallas Black Dance Theatre
- Rona Eastwood, Senior Associate Director, Conductors Askonas Holt
- Kathleen Kelly, conductor, pianist, répétiteur and coach, Cincinnati College-Conservatory of Music; San Francisco’s Merola program; recent recitals with Jamie Barton, Caitlin Lynch, Michael Kelly and more
- Jeffrey Larson, artist development and management; Founder/Pres. L2 Artists
- Gianluca Macheda, Founder/Pres. GM Art and Music
- Erik Malmquist, artist manager, Zemsky Green Artists Management
- Anthony Manoli, conductor, pianist and coach (Washington National Opera; the Spoleto Festival in Italy and the U.S.; L.A. Opera; Opera New England, etc)
- Lynn McBee, Chairman, The Dallas Opera and the Board of the Bridge Homeless Shelter; CEO of Young Women’s Preparatory Network; board of directors for AT&T Performing Arts Center, The Salvation Army, etc.
- Carlo Montanaro, Music Dir. at Teatr Wielki (Warsaw, Poland), opera and symphonic conductor for companies including Bavarian State Opera, Paris Opera, San Francisco Opera, Seattle Opera, Tokyo NNT, etc.
- Kim Noltemy, President & CEO, Dallas Symphony Association
- Timothy O’Leary, Gen. Director, Washington National Opera
- Deborah F. Rutter, President, John F. Kennedy Center for the Performing Arts
- Joanie Schultz, Artistic Dir., WaterTower Theatre (Dallas)
- Marc Scorca, President/CEO, OPERA America
- Sarah Segner, Director, Digital & Creative Media, 21 Media Group
- Neil Shicoff, internationally renowned tenor
- Matthew Shilvock, General Director, San Francisco Opera
- Debbie Storey, Interim President and CEO, AT&T Performing Arts Center
- Sean Waugh, Artistic Planning Manager, San Francisco Opera
- Lidiya Yankovskaya, Music Director, Chicago Opera Theater; Refugee Orchestra Project – alumna of the Hart Institute
- Francesca Zambello, Gen. Dir., The Glimmerglass Festival; Artistic Dir. of Washington National Opera
Dallas Opera personnel serving on the 2018 Hart Institute faculty include:=
- Ian Derrer, The Kern Wildenthal General Dir. and CEO
- Emmanuel Villaume, The Mrs. Eugene McDermott Music Director
- Nicole Paiement, The Martha R. and Preston A. Peak Principal Guest Conductor
- And David Lomeli, TDO Director of Artistic Administration
While the Hart Institute began with a focus on supporting talented conductors, the challenges faced by women opera administrators are equally daunting. To address this imbalance, The Dallas Opera last year added a new component to the Hart Institute: Through 2022, TDO will invite between two and four American opera administrators to participate each season. These women will be selected on the basis of their potential to become leaders of one of America’s top opera companies at a later point in their careers.
The 2018 Hart Institute Administrators are:
- Nicole Eubanks (Lyric Opera of Kansas City)
- Laura Smalley (Chicago Opera Theater)
- Brooke Tolley (Opera Roanoke)
The selected opera administrators will have access to all group sessions and special sessions during the annual residency in Dallas. This curriculum includes the role of the board, leadership development, personal branding, media and PR training, effective artist management, and navigating recruiting processes for senior level positions. To continue to develop their musical skills, which is essential for any opera executive, the administrators will observe rehearsals with The Dallas Opera Orchestra and conducting master classes. Special sessions on Development, Finance, and Marketing will be offered as well.
One of the goals of the program is to construct a wide network of influential female leaders in the administrative offices of performing arts organizations, both large and small, as well as onstage and in the orchestra pit.
2018 Hart Institute Conductors
SONIA BEN-SANTAMARIA (UK/FRANCE)
Sonia Ben-Santamaria is the first female conductor to be associated with the Royal Opera House Jette Parkers young artists programme 2017/2018. Highlights of her season includes shadowing Sir Antonio Pappano on Shostakovitch’s Lady Macbeth of Mtsensk, leading the Youth Opera Company chorus on Barrie Kosky’s Carmen and conducting the presentation of The Monstrous Child. Originally Spanish but French born, Sonia trained at the Conservatoire de Toulouse, the Royal Academy of Music, the National Opera Studio, London, and was subsequently offered a position at the English National Opera as trainee repetiteur and vocal coach. Sonia is the proud founder of Glass Ceiling Orchestra, a socially engaged chamber orchestra which promotes equal opportunities, female conductors and composers. Future engagements include Un Ballo in Maschera for Opera Holland Park.
PRISCILA BOMFIM (BRAZIL)
Priscila Bomfim was born in Braga, Portugal, where she began her musical studies and won her first piano competition when she was nine years old. At the Federal University of Rio de Janeiro / Brazil (UFRJ), she graduated “Summa cum laude” with a Bachelor in Piano Performance. In that same institution, she obtained her Master’s Degree in Piano Performance and also a Bachelor’s Degree in Orchestral Conducting. As a conductor, Priscila performed with the Philharmonic Orchestra of Minas Gerais, the Cesgranrio Symphony Orchestra, the Santo André Symphony Orchestra, the National Symphony Orchestra of Chile. She was the first woman to conduct at Theatro Municipal do Rio de Janeiro in a main stage production conducting Serse by Handel and Carmen by Bizet in the 2016-2017 season.
SARAH PENICKA-SMITH (AUSTRALIA)
Dr. Sarah Penicka-Smith is a freelance conductor and vocal coach. She is Director of Music at St Andrew’s College, Principal Conductor with Macquarie Singers, Artistic Director of Opera Prometheus and Pacific Pride Choir, and a partner of Penicka-Smith Arts & Event Management, along with her wife Melanie. From 2005-2017, Sarah was Music Director of the Sydney Gay & Lesbian Choir, where she worked on a range of pioneering projects. She has worked with Sydney Philharmonia Choirs since 2005 as a chorusmaster and workshop presenter, and conducted orchestras that include the University of Sydney Intercol Orchestra, Willoughby Symphony Orchestra, Kuringai Philharmonic Orchestra, and Penrith Symphony Orchestra. Sarah is an alumna of the Symphony Australia Conductor Development Program and holds a PhD from the University of Sydney.
AUDREY SAINT-GIL (FRANCE/USA)
French conductor, Audrey Saint-Gil graduated summa cum laude in solo piano concurrent with her PhD in Greek Philosophy. Her career and operatic passion began at the Théâtre du Capitôle, Toulouse, followed by appointments as Head Vocal Coach of the Ecole Normale, Paris and as assistant conductor to Bertrand de Billy in Vienna. A US resident since 2007, Ms Saint-Gil was engaged as assistant conductor at NYCO, WNO, Cincinnati and Ravinia Festivals, and frequently with LA Opera alongside James Conlon and Plácido Domingo. She is the French Opera specialist at Philadelphia’s AVA and guest vocal coach at the ROH, Covent Garden and Bayerische Staatsoper. Current projects include conducting La Traviata, Narnia Festival, Italy; Bizet at HGO and recitals in Salzburg, Copenhagen and San Francisco with her partner, Christopher Maltman.
MARIA SENSI SELLNER (USA)
Maria Sensi Sellner is recognized for her artistry and versatility as a conductor of opera, orchestras, and choruses. Praised as “mightily impressive,” she was the first three-time winner of the American Prize for Opera Conducting and serves as the Artistic & General Director of Resonance Works Pittsburgh, which she founded in 2013. Recent engagements include the Center for Contemporary Opera, Syracuse Opera, Symphoria, Hubbard Hall Opera, cover conductor for the Pittsburgh Symphony Orchestra (assisting Manfred Honeck, Sir Mark Elder), and conducting staff for the world premiere of David Lang’s “the public domain” at Lincoln Center. Previous positions include Acting Music Director of the Mendelssohn Choir of Pittsburgh (chorus for the Pittsburgh Symphony), interim faculty at Carnegie Mellon University, and Director of the Akron Symphony Chorus.
EMILY SENTURIA (USA)
Ms. Senturia made her mainstage debut with Houston Grand Opera in 2018 conducting Rossini’s Il barbiere di Siviglia, followed by her Kennedy Center debut leading the same opera for Washington National Opera. In the summer of 2018 she makes her West Coast debut leading Mata Hari for West Edge Opera. Emily Senturia will make her Hawaii Opera Theatre debut in the spring of 2019 leading La traviata. After graduating from the Houston Grand Opera Studio, Ms. Senturia joined the HGO music staff during which time she conducted performances of L’elisir d’amore, The Little Prince, and The Magic Flute. Recently, Ms. Senturia has been on the music staff at The Atlanta Opera (Sweeney Todd), Opera Philadelphia (O17 Festival and O18 Festival), and at Wolf Trap Opera where she has conducted two Studio Spotlight programs.
2018 Hart Institute Administrators
NICOLE EUBANKS (USA)
Nicole Eubanks is the Individual Giving Director at Lyric Opera of Kansas City where she is responsible for the annual fund and individual giving strategies that center on funding the company’s mission of producing transformational opera for the community. Prior to her time in Kansas City, Eubanks held the position of Assistant Director of Donor Services and Special Events at Lyric Opera of Chicago where she managed donor benefits, donor services, key company events, and all operations pertaining the William B. and Catherine Graham Room, the private dining space in the opera. Eubanks holds bachelor’s degrees in Music with an emphasis in Vocal Performance and Interdisciplinary Studies in Music and Business from MidAmerica Nazarene University and is a member of the Kansas City Symphony Chorus.
LAURA SMALLEY (USA)
Laura Smalley is a Marketing & Communications Associate of Chicago Opera Theater as well as the Development Director for Chicago Fringe Opera. She is passionate about expanding the reach of opera and championing the art form for modern audiences. Laura has worked in marketing and development for many prominent arts organizations, including Des Moines Metro Opera and Stage 773. A lifelong lover of music, Ms. Smalley holds a BM in Vocal Performance from DePaul School of Music. While in school, she founded two student music ensembles that self-produced and performed contemporary and original works. She works regularly as a singer and performer in the Chicago area.
BROOKE TOLLEY (USA)
Brooke Tolley is a native of Roanoke, Virginia and was recently named Chief Operating Officer of Opera Roanoke, where she handles all aspects of daily operation including finance, marketing, special events and production management. She is also the newly appointed Director of the opera’s innovative Apprentice Artist Program, which guides regional college students to the next step in their professional careers. Brooke holds music degrees from Liberty University and Radford University and is an incoming member of Leadership Roanoke Valley’s 2018-19 class. As an opera administrator and active performer, she is passionate about using her unique skill set to connect with close-knit communities, helping to build viable arts and culture programs that create lasting impact. She has been at Opera Roanoke since 2015.
2018 Hart Institute Observers
LAURANN GILLEY (USA)
Laurann Gilley has been on faculty with the Ryan Opera Center at Lyric Opera of Chicago since 2005, and on faculty at Northwestern University since 2010. She has worked as coach, pianist, assistant conductor, recitative accompanist, and chorus director for companies such as Glimmerglass Opera, San Francisco Opera, Seattle Opera, San Diego Opera, and Vancouver Opera, with conductors including Sir Andrew Davis, Richard Bonynge, Edoardo Müller, Leon Botstein, and Stewart Robertson. As a recital accompanist, she has appeared at venues including Carnegie Hall’s Weill Hall, the Chicago Cultural Center, and San Francisco’s Schwabacher Series. A regular accompanist for the Metropolitan Opera National Council auditions, Ms. Gilley holds degrees from The Manhattan School of Music, The Eastman School of Music, and Southern Methodist University.
LAURA GUILI (USA)
Laura Guili is a versatile musician and freelance conductor currently based in the Midwest. She travels extensively to pursue professional opportunities and has held music director and assistant conductor positions with Midwest-based orchestras and opera companies. In addition, she conducts studio recording sessions for film and world music. A horn player and former string educator, she received her MM from Northwestern University and has studied with Kenneth Kiesler and Victor Yampolsky. Passionate about the arts, Ms. Guili furthers her involvement in artistic philanthropy as a seven-year member of the Lyric Opera of Chicago’s Young Professionals board. In addition to her professional successes in music, she works as an actress and model in TV, film and print, currently represented by Modelogic and The Helen Wells Agency.
AMY OWENS (USA)
Amy Owens enjoys a diverse singing career in concert work, opera, new music, and alternative pop. She has appeared in concert in venues ranging from the Filene Center at Wolf Trap to Carnegie Hall. Her operatic engagements have taken her to Santa Fe Opera, Wolf Trap Opera, Dallas Opera, Utah Opera, Central City Opera, and others. She appears regularly with the New York Festival of Song, and she has collaborated with many composers including Matthew Aucoin, William Bolcom, Bright Sheng, Paola Prestini, and David Hanlon. Her debut album of original music, HAETHOR, was released Spring 2018 to acclaim in the electronica world. She has received awards from the Sullivan Foundation, the George London Foundation, the Metropolitan Opera National Council Auditions, and the Santa Fe Opera.
SARA PARKINSON (USA)
Sara Parkinson enjoys a varied career as conductor, vocal coach and pianist. She served on the staff and faculties at the University of Colorado at Boulder, Cornell College and Metropolitan State University of Denver. Recent and upcoming performance engagements include Boulder Chamber Orchestra, Boulder Bach Festival, Colorado Ballet Orchestra and the Colorado Symphony. Sara was Music Director of Boulder Opera Company for their 2017-2018 season where she made her operatic conducting debut with Massenet’s Cendrillon followed by Mozart’s Così fan tutte. Sara has been a member of Central City Opera Ensemble since 2012 and worked with numerous singers. Sara received degrees from the University of Iowa, New England Conservatory of Music and CU-Boulder. Principal teachers include Victor Rosenbaum, Anne Epperson and Maestro Nicholas Carthy.
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.
2018-2019 SEASON SPONSOR
The Nancy A. Nasher and David J. Haemisegger Family
EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE
ADDITIONAL INFORMATION ABOUT THE DALLAS OPERA
IS AVAILABLE ONLINE, 24/7. VISIT WWW.DALLASOPERA.ORG
FOR HIGH-RESOLUTION PHOTOGRAPHS
Contact Suzanne Calvin, Director of Media and PR at firstname.lastname@example.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. Full and Flex Subscriptions are on sale now; single Tickets range from $19 to $289. 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
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.
THE FLYING DUTCHMAN by Richard Wagner
October 12, 14 (m), 17 & 20, 2018
The season sets sail with Wagner’s sweeping, romantic masterpiece – not seen in Dallas since 1994!
Time: the German Expressionist 1920s
Place: the coast of Norway
Conductor: Emmanuel Villaume
Original Director: Christopher Alden
Set Designer: Allen Moyer
Costume Designer: Allen Moyer
Lighting Designer: Anne Militello*
Wig & Make-up Designer: Dawn Rivard
Chorus Master: Alexander Rom
Starring: Greer Grimsley (The Dutchman), Anja Kampe* (Senta), Jay Hunter Morris (Erik), Mark S. Doss* (Daland), Luretta Bybee* (Mary) and Andrew Stenson* (Steersman).
CARMEN by Georges Bizet
October 19, 21 (m), 24, 27, November 2 & 4 (m), 2018
The woman who won’t be owned returns to The Dallas Opera stage!
Libretto by Henri Meilhac and Ludovic Halévy
Time: 19th century
Place: Seville, Spain and the surrounding countryside
Conductor: Emmanuel Villaume and Pierre Vallet (10/24 and 11/2)
Original Director: Sir David McVicar
Revival Director: Jack Furness**
Set Designer: Michael Vale*
Costume Designer: Sue Blane*
Lighting Designer: Clare O’Donoghue*
Chorus Master: Alexander Rom
Original Choreographer: Andrew George
Revival Choreographer: Andrzej Glosniak**
Starring: Stephanie d’Oustrac* (Carmen), Stephen Costello (Don José), Sara Gartland* (Micaëla), Alexander Vinogradov (Escamillo), Sarah Tucker* (Frasquita), Lindsay Metzger* (Mercédès), Rafael Moras* (Le Remendado), Corey Crider* (Le Dancaire), Ben Wager (Zuniga), Gideon Dabi* (Morales).
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
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