Gee…This is one of those moments in Dallas Opera history.
Not one of those sublime moments like the pairing of Ruth Ann Swenson and Ewa Podles in Rodelinda, or, one of those make-your-heart-dance-in-your-chest moments like the playful interaction between Vivica Genaux, Giorgio Caoduro and Donato DiStefano in last season’s The Barber of Seville. Neither is it one of those can’t breathe moments like the finale of The Dallas Opera’s magnificent Lohengrin, nor is it a can’t-see-for-all-the-tears moment like the lump-in-the-throat finish of Jenufa.
Still, it’s a moment.
This marks the first entry of The Dallas Opera blog. It’s a heavy responsibility or, would be, if I had more time to think about it. My task is to introduce you to our latest toy (or tool, take your pick) and explain why you might enjoy participating either as a spectator chuckling on the sidelines or as a genuine opinion maker.
People who are deeply passionate, like your average operagoer, want to share their views with everyone. They have passionate likes and dislikes, including opinions about singers, sets, directors, conductors, policies, programs, patrons, the season itself and the coverage it generates. They love hanging out with others who speak the same language and who are just as joyfully fanatical. Above all, they want to make converts — and so do we.
This blog is your chance to speak to the entire Dallas Opera community and the opera curious from around the world. No passport, diploma or entry fee required. Let your comments be motivated, at least in part, by our mutual desire to do everything possible to make The Dallas Opera all that it can be in the 21st century and to lead the way into a new golden age of American Opera…while having a bit of fun.
That dribbling sound you hear is the ball bouncing directly into your court.
Suzanne Calvin, Assoc. Dir. of Marketing, The Dallas Opera