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    AUDITION NOTICE – SHOW BOAT!

    THE DALLAS OPERA  SEEKS DANCERS, ACTORS

    and SUPERNUMERARIES FOR GREAT AMERICAN MUSICAL

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    AUDITION DATES:

    January 15, 16, and 17, 2016

                DALLAS, TX, January 8, 2016 – The Dallas Opera is pleased to invite talented local dancers, actors and supernumeraries to audition for SHOW BOAT, which opens Friday, April 15 and runs through Sunday, May 1, 2016.  This a wonderful opportunity to perform with magnificent opera stars and work with excellent directors at the amazing Margot and Bill Winspear Opera House at the AT&T Performing Arts Center!

    SHOW BOAT

    Performers needed are Caucasian ensemble dancers, the acting roles of Mrs. O’Brien, Sheriff/Maitre D’, and Young Kim and supernumeraries (non-singing, non-speaking roles). Auditions will be held as follow:

    Friday, January 15, 2016

    7:00-10:00 p.m.                         Caucasian Ensemble Dancer auditions/barre class


    Saturday, January 16, 2016

    10:00 a.m.–1:00 p.m.              Actor audition: Mrs. O’Brien, Sheriff/Maitre D’, Young Kim

    2:30-4:30 p.m.                           Caucasian Ensemble Dancers call backs

    4:30-5:30 p.m.                           Supernumeraries

     

    Sunday, January 17, 2016

    11:00 a.m.-2:00 p.m.               TBD

     

    The Dallas Opera is presenting the Francesca Zambello production of SHOW BOAT, with music by Jerome Kern and book and lyrics by Oscar Hammerstein II. SHOW BOAT will be conducted by Dallas Opera Music Director Emmanuel Villaume with Alexander Rom, chorus master.

    There are six performances of SHOW BOAT scheduled for April 15, 17, 20, 23, 29 & May 1, 2016. The performers (supernumeraries excluded) will be compensated for rehearsal time, as well as a per-performance fee.

     CASTING DETAILS

     ACTORS:

    • Young Kim: Caucasian, Child Actor/Singer. Looks 8-10 yrs old, speaks and sings in a duet with Ravenal and a trio with Ravenal and Magnolia.
    • O’Brien: Mature Caucasian female with a good Irish accent. No singing required
    • Sheriff Vallon/Maître D’: 30-40 yrs old. Good Ol’ boy, imposing “bubba” type. Caucasian male. No singing required.

    SUPERNUMERARIES:

    • Older Kim: Caucasian Female
    • Foreman/Hotel Worker: 40 yrs old. A conventionally handsome, strong, Caucasian leading-man type. Helpful to have stage combat skills; fights with Pete. No singing required.
    • African American Children: 5 Boys, 4 Girls
    • Caucasian Children: 2 Boys, 1 Girl


    HOW TO AUDITION

    DANCERS/ACTORS
    To schedule an audition, send your headshot and resume to Ahne Schield at ahne.schield@dallasopera.org. Audition times will be determined on a first-come, first-served basis.


    Dancer Requirements:     Applicants should have a technical ballet background who can perform the Charleston, musical theater, and vaudeville styles of dance. Women, please bring ballet shoes and character heels. Men, please bring ballet shoes and character/jazz shoes. Dancers should come prepared to take a ballet barre and audition with a ballet combo. The choreography will be taught as a whole group with small groups to follow.


    Actor Requirements:

    Young Kim: Prepared monologue and a song that demonstrates range and ability. Call backs for this role should be prepared to learn “Why Do I Love You,” taught by one of the music staff.

    Mrs. O’Brien & Sheriff Vallon/Maître D’: Two contrasting monologues for the audition. Reading from sides for the call back.

     

    SUPERNUMERARIES

    Visit www.dallasopera.org/supers and complete the online application. Upon receiving your application, Ahne Schield will contact you to confirm your audition.

    Supernumerary requirements:

    Adults: Men and Women together, improvisational scene with Stage Director.

    Children: May split into groups, general audition/improv.

               

    AUDITION LOCATION:

    Auditions will be held at the Karayanis Rehearsal Production Center in Room A. Please arrive at least 15-20 minutes prior to your scheduled time. Further access instructions will be provided upon audition confirmation.

    Karayanis Rehearsal Production Center

    4301 South Fitzhugh Avenue

    Dallas, TX 75210

     

    REHEARSALS:

    Rehearsals begin on March 21, 2016 and continue through opening week. There are occasional weekend-day rehearsals and matinee performances; however, rehearsals are generally conducted in the evening.

    TDO is a signatory to a collective bargaining agreement with the American Guild of Musical Artists.

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    ADDITIONAL INFORMATION ABOUT THE DALLAS OPERA IS ACCESSIBLE ONLINE,

    24/7 – VISIT WWW.DALLASOPERA.ORG

    ~~~~

    TEXAS INSTRUMENTS, 2015-2016 SEASON SPONSOR

    FOR THE DALLAS OPERA’S

    “SEEKING THE HUMAN ELEMENT” SEASON

    ______________________________________________________________________________________

    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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    Opera Great Frederica von Stade to Appear in Titus Recital!

    The Dallas Opera Proudly Presents

    LEGENDARY MEZZO-SOPRANO FREDERICA VON STADE

    IN AN EXCLUSIVE RECITAL

    WITH ACCLAIMED COMPOSER AND PIANIST JAKE HEGGIE

    SUNDAY, JANUARY 31, 2016, 2:00 P.M. AT CITY PERFORMANCE HALL

    ~~~~

    THE ROBERT E. AND JEAN ANN TITUS ART SONG RECITAL SERIES

    TICKETS START AT $20

                DALLAS, TX, December 8, 2015 – The Dallas Opera will present opera legend Frederica von Stade, mezzo-soprano, for another magnificent performance in The Robert E. and Jean Ann Titus Art Song Recital Series. The one-time-only recital will be presented Sunday, January 31, 2016 at 2:00 p.m. at City Performance Hall (a 749-seat venue located at 2520 Flora Street in the Arts District, Dallas, TX 75201). Also featured at the exclusive event will be Jake Heggie, composer (Great Scott, Moby-Dick) and accomplished pianist, who has had a long-standing artistic collaboration with Miss von Stade.

                 The program titled “A Life In Song” is a compilation of autobiographical pieces personally chosen by Miss von Stade. It will feature art songs (works composed for a single voice with piano accompaniment) by composers; William Bolcom, Aaron Copland, Jake Heggie, Francis Poulenc, Maurice Ravel, Ned Rorem, Virgil Thomson and others. The recital series was created about three years ago to showcase well-established artists in programs dedicated to preserving the fine art of art song. Frederica von Stade - Portraits - Sept. 28, 2005

                Described by the New York Times as “one of America’s finest artists and singers,” Miss von Stade continues to be extolled as one of the music world’s most beloved figures. Known to family, friends, and fans by her nickname “Flicka,” the mezzo-soprano has enriched the world of classical music for four decades. She has created the roles of Winnie Flato, to critical acclaim in the world premiere production of Heggie’s Great Scott, and Tina in The Aspern Papers (a work written for her) both for The Dallas Opera, and Mrs. Patrick De Rocher in Heggie’s Dead Man Walking for San Francisco Opera.

                Jake Heggie is one of the most in-demand American composers in classical music today who recently premiered Great Scott at The Dallas Opera (Terrence McNally, librettist) and will premiere It’s a Wonderful Life for the Houston Grand Opera in 2016. He is the composer of the operas Moby-Dick (The Dallas Opera premiere 2010), Dead Man Walking, Three Decembers, The End of the Affair and more. He has also composed more than 250 art songs, as well as concerti, chamber music, choral and orchestral works. He frequently collaborates with some of the world’s most loved singers including Ms. von Stade and sopranos Renée Fleming, Ailyn Pérez, and Kiri Te Kanawa.

                “Jake Heggie’s extraordinary new opera Great Scott that premiered in October in Dallas made an extremely positive impression on our patrons, and Miss von Stade dazzled all of us with her creation of the role of Winnie Flato. This Robert E. and Jean Ann Titus Art Song Recital is a spectacular opportunity to experience Flicka’s vocal artistry and Jake’s sensitive accompanying in an intimate setting,” says Dallas Opera General Director and CEO Keith Cerny.

                We are extremely grateful to the Titus family for its incredible generosity in continuing to bring these magnificent recitals to North Texas. This the third in the series that began with tenor Ian Bostridge in 2014, and Matthew Polenzani last January.”           

                Seating is limited, but through the generosity of the Titus Family, the ticket prices are $20 or $40 each. Seating is reserved and all tickets will be held at Will Call.  Student tickets are available at $10 each.

                “Heading into our third year, The Dallas Opera has exceeded our expectations. This year’s recital brings together two exceptionally gifted artists, Frederica von Stade and Jake Heggie, who could not illustrate the uniqueness of art song better. The intimacy of a singer and pianist on stage is unlike any other art form. We look forward to many more recitals and the growing Dallas audience to share these experiences with. As a way to celebrate and honor our parents, my sister Amy and I continue to look forward to the future of this series with The Dallas Opera,” says Dallas Opera Executive Committee Member Sarah Titus.

                Tickets are now on sale and may be purchased either online at www.dallasopera.org or by contacting the friendly professionals in The Dallas Opera Ticket/Patron Services Office at 214.443.1000.

     FREDERICA VON STADE BIOGRAPHY

    Miss von Stade’s career has taken her to the stages of the world’s great opera houses and concert halls. She began at the top, when she received a contract from Sir Rudolf Bing during the Metropolitan Opera auditions, and since her debut in 1970 she has sung nearly all of her great roles with that company. In January 2000, the company celebrated the 30th anniversary of her debut with a new production of The Merry Widow specifically for her, and in 1995, as a celebration of her 25th anniversary, the Metropolitan Opera created for her a new production of Pelléas et Mélisande. In addition, Miss von Stade has appeared with every leading American opera company, including San Francisco Opera, Lyric Opera of Chicago, and Los Angeles Opera. Her career in Europe has been no less spectacular, with new productions mounted for her at Teatro alla Scala, Royal Opera Covent Garden, the Vienna State Opera, and the Paris Opera. She is invited regularly by the finest conductors, among them Claudio Abbado, Charles Dutoit, James Levine, Kurt Masur, Riccardo Muti, Seiji Ozawa, André Previn, Leonard Slatkin, and Michael Tilson Thomas, to appear in concert with the world’s leading orchestras, including the Boston Symphony Orchestra, Chicago Symphony, Cleveland Orchestra, New York Philharmonic, Philadelphia Orchestra, San Francisco Symphony, London Symphony Orchestra, Washington’s National Symphony, and the Orchestra of La Scala. 

    With impressive versatility, she has effortlessly traversed an ever-broadening spectrum of musical styles and dramatic characterizations. A noted bel canto specialist, she excelled as the heroines of Rossini’s La cenerentola and Il barbiere di Siviglia and Bellini’s La sonnambula. She is an unmatched stylist in the French repertoire: a delectable Mignon or Périchole, a regal Marguerite in Berlioz’ La damnation de Faust, and, in one critic’s words, “the Mélisande of one’s dreams.” Her elegant figure and keen imagination have made her the world’s favorite interpreter of the great trouser roles, from Strauss’ Octavian and Composer to Mozart’s Sesto, Idamante and – magically, indelibly – Cherubino. Miss von Stade’s artistry has inspired the revival of neglected works such as Massenet’s Cherubin, Thomas’ Mignon, Rameau’s Dardanus, and Monteverdi’s Il ritorno d’Ulisse in patria. Her ability as a singing actress has allowed her to portray wonderful works in operetta and musical theater including the title role in The Merry Widow and Desirée Armfeldt in A Little Night Music. Her repertoire is continually expanding with the works of contemporary composers. She also created the role of Madame de Merteuil in the Conrad Susa’s Dangerous Liaisons for San Francisco Opera.

    Frederica von Stade is the holder of honorary doctorates from Yale University, Boston University, the San Francisco Conservatory of Music (which holds a Frederica von Stade Distinguished Chair in Voice), the Georgetown University School of Medicine, and her alma mater, the Mannes School of Music. In 1998 Miss von Stade was awarded France’s highest honor in the Arts when she was appointed as an officer of L’Ordre des Arts et des Lettres, and in 1983 she was honored with an award given at The White House by President Reagan in recognition of her significant contribution to the arts.

    JAKE HEGGIE BIOGRAPHY

    Mr. Heggie’s operas, most created with the distinguished writers Terrence McNally and Gene Scheer, have been produced on five continents. Dead Man Walking has received more than 40 productions worldwide since its San Francisco Opera premiere in 2000 and has been recorded live twice (Erato Records in 2000 and Virgin Classics in 2011). Moby-Dick has received six international productions since its 2010 premiere at The Dallas Opera and was telecast nationally in 2014 as part of Great Performances’ 40th Anniversary Season. Moby-Dick received its East Coast premiere at the Kennedy Center in February 2014 with the Washington National Opera; a production from the San Francisco Opera has been released on DVD (EuroArts). It is also the subject of a book by Robert Wallace titled Heggie & Scheer’s Moby-Dick – a Grand Opera for the 21st Century (UNT Press).

    Mr. Heggie was recently awarded the prestigious Eddie Medora King prize from the UT Austin Butler School of Music. A Guggenheim Fellow, he served for three years as a mentor for Washington National Opera’s American Opera Initiative. He is also a frequent guest artist and master teacher at universities and conservatories including Boston University, Bucknell, Cornell, The Royal Conservatory in Toronto, University of Northern Iowa, University of North Texas, University of Colorado, USC’s Thornton School, Vanderbilt University, and at festivals such as SongFest at the Colburn School, Ravinia Festival, and VISI in Vancouver.

    Mr. Heggie frequently collaborates as composer and pianist with some of the world’s most loved singers including the afore mentioned sopranos, mezzo-sopranos Joyce DiDonato, Susan Graham, and Jamie Barton; Broadway stars Patti LuPone and Audra McDonald; tenors William Burden, Stephen Costello and Jay Hunter Morris; and baritones Nathan Gunn, Morgan Smith and Bryn Terfel. Directors who have championed his work include Leonard Foglia, Joe Mantello and Jack O’Brien. All of Mr. Heggie’s major opera premieres have been led by conductor Patrick Summers; he has also worked closely with John DeMain, Joseph Mechavich and Nicole Paiement.

    In addition to two new operas, upcoming works include The Work at Hand: Symphonic Songs for mezzo-soprano Jamie Barton and cellist Anne Martindale Williams (Carnegie Hall and the Pittsburgh Symphony); new songs for Susan Graham (Vocal Arts DC); a new orchestration of the song cycle Camille Claudel: Into the Fire for mezzo-soprano Sasha Cooke and the Berkeley Symphony led by Joana Carneiro; and Stop This Day and Night With Me for The King’s Singers, the 2015 Brock Commission for the American Choral Directors Association Conference.

    For more information please visit www.jakeheggie.com. 

    EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

    ADDITIONAL INFORMATION 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 obtain additional information

    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

    Ticket Information for the 2015-2016 Dallas Opera 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.  Full and Flex Subscriptions are on sale now starting at $75.  Family performance tickets 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.

     

    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 and Choreographer: Paul Curran

    Set and Costume Designer: Gary McCann*

    Lighting Designer: Paul Hackenmueller*

    Projections Designer: Driscoll Otto*

    Wig & make-up Designer: David Zimmerman

    Chorus Master: Alexander Rom

    Starring: Jennifer Rivera* (Queen Sophine), Jonathan Blalock* (Prince Claus) (Charron and Peter Denker Rising Star), Matt Boehler* (Donkey), Hila Plitmann* (Yan), Lucy Schaufer* (Ib), Keith Jameson (Yab), Kevin Burdette (Ob).

    Another New Dallas Opera Production!

     

     

    MANON by Jules Massenet
    March 4, 6(m), 9, 12, 2016
    A Timeless Tale of Young Love Set in France
    Libretto by Henri Meilhac and Philippe Gille
    Time:     Late 19th Century
    Place:     France
    Conductor:     Graeme Jenkins
    Stage Director:     E. Loren Meeker*
    Set and Costume Designer:     Tanya McCallin
    Original Choreographer: Paule Constable
    Revival Choreographer: Colm Seery*
    Lighting Designer:     Kevin Sleep
    Wig & Make-up Designer:     David Zimmerman
    Chorus Master:     Alexander Rom
    Starring:     Ailyn Pérez (Manon), Stephen Costello (Chevalier des Grieux), Edwin Crossley-Mercer* (Lescaut), David Pittsinger* (Count des Grieux), Greg Fedderly* (Guillot de Morfontaine), Troy Cook* de Brétigny), Katherine Whyte* (Pousette), Kathryn Leemhuis* (Javotte), Audrey Babcock (Rosette), Theodor Carlson (Innkeeper)
    The Return of Graeme Jenkins to the Podium!

     

    SHOW BOAT by Jerome Kern
    April 15, 17(m), 20, 23, 29, May 1(m), 2016
    A Great American Musical
    Music by Jerome Kern – Book and Lyrics by Oscar Hammerstein II
    Time: 1887-1927
    Place:     Mississippi and Chicago
    Conductor:     Emmanuel Villaume
    Stage Director:     E. Loren Meeker
    Set Designer:     Peter J. Davison
    Costume Designer: Paul Tazewell*
    Lighting Designer:     Erik Watkins
    Sound Designer: Tom Clark
    Choreographer: Michele Lynch*
    Wig & Make-up Designer:     David Zimmerman
    Chorus Master:     Alexander Rom
    Starring:     Andriana Chuchman* (Magnolia), Michael Todd Simpson (Gaylord Ravenal), Lara Teeter* (Cap’n Andy Hawks), Alyson Cambridge* (Julie), Angela Renée Simpson (Queenie), Mary-Pat Green* (Parthy Ann Hawkes), Kirsten Wyatt* (Ellie Mae Chipley), Morris Robinson (Joe), John Bolton* (Frank), Keith Chambers (Jake)
    Performed with the Power of the Operatic Voice and Full Orchestra!

    * 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.

     

    Thrilling Inaugural Concert – Women Conductors!

    THE DALLAS OPERA IS PROUD TO PRESENT

    The Inaugural Concert of the Linda and Mitch Hart Institute for Women Conductors

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    SATURDAY, DECEMBER 5, 2015

    7:30 p.m. in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center, Dallas, TX

    Single Tickets $10

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    IWC Underwriting Support from

    Linda and Mitch Hart

    The Andrew W. Mellon Foundation

    And the Richard and Enika Schulze Foundation

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    Concert Support from Baker Botts and Cindy Feld

    PHOTO CREDIT: Lidiya Yankovskaya Conducts at Harvard; Photo by Scott Bump

                DALLAS, NOVEMBER 30, 2015 – The Dallas Opera is thrilled to present six women conductors of international stature making music with The Dallas Opera Orchestra and a host of outstanding young artists in one great evening designed to showcase the work of the inaugural Linda and Mitch Hart Institute for Women Conductors at The Dallas Opera.

                This extraordinary concert will take place on Saturday, December 5, 2015 at 7:30 p.m. in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center located in the Dallas Arts District.  Tickets are $10 and may be purchased in advance at 214.443.1000 or at dallasopera.org (under “Upcoming Events” on the home page).

    LIDIYA YANKOVSKAYA Lowell Opera House - photo by Scott Bump

                The on-stage concert will feature music by a wide variety of composers including Giacomo Puccini, Maurice Ravel, Georg.Friedrich Händel, Gian Carlo Menotti, Jake Heggie, W.A. Mozart, Gioachino Rossini, Mark Adamo, Giuseppe Verdi, Carlisle Floyd, Gaetano Donizetti, Jules Massenet, and Johann Strauss II.

                Conducting these selections will be the 2015 Institute Fellows Jennifer Condon (Australia/Germany), Jessica Gethin (Australia), Natalie Murray Beale (United Kingdom), Stephanie Rhodes (USA), Anna Skryleva (Russia/Germany), and Lidiya Yankovskaya (USA).

                Seven accomplished singers will share the spotlight with the conductors that evening.  They are: baritone Theador Carlson, mezzo-soprano Heather Johnson, tenor Alasdair Kent, bass Adam Lau, tenor Don O’Neal LeBlanc, soprano Sarah Jane McMahon, and soprano Stacey Tappan.

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                Crucial underwriting support for the institute comes from Linda and Mitch Hart and The Andrew W. Mellon Foundation.  Catalyst funding for the Women Conductors Institute comes from the Richard and Enika Schulze Foundation. 

                Concert support is from Baker Botts and Cindy Feld.

                Conductor sponsors for the 2015 Institute are Patti Cody, Susan Geyer, Joy Mankoff, Joyce Mitchell, Lynn Mock and a sponsor who prefers to remain anonymous.

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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)

    Conductor Jessica Gethin, winner of the prestigious Brian Stacey Australian Emerging Conductor Award, 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.  She was recently named one of the “100 Most Influential Women in Australia” for 2015 by the Australian Financial Review.  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

     

    SINGERS, IWC INAUGURAL CONCERT

    Theodor Carlson, baritone

    Theodor Carlson sings operas of Verdi, Puccini, Wagner and Richard Strauss. Rigoletto, and The Flying Dutchman are among roles he’s sung in Munich, Hamburg, Berlin, Dresden, and Baden Baden, He earned a University of Michigan Bachelor in Music, studied at Juilliard, and earned a diploma from the Rome-Accademia-Musicale Ottorino Respighi. He took First Prize in Verviers and New York competitions and earned MET and Puccini Foundation prizes. He toured Germany with Schubert’s Die Winterreise. He was Soloist in Handel’s Messiah and Mendelssohn’s Elijah. Carlson gave a Liceu Opera recital and presented lectures on Franz Schubert for the German-College in Barcelona. Carlson is featured in Beethoven’s Ninth Symphony with the Thüringen Philharmonic in December and Galas with the Frankfurt Symphony in the coming year.

    Heather Johnson, mezzo-soprano

    Heather Johnson made her Metropolitan Opera debut in 2013 as the Flower Maiden in the new production of Parsifal. She has sung with Sarasota Opera as Cenerentola, and in The Crucible, L’Amico Fritz, Rigoletto and Hansel and Gretel. With Boston Lyric Opera she has sung Don Giovanni, A Midsummer Night’s Dream and title role of Lizzie Borden in her Tanglewood Festival debut in 2014. Past and future engagements are Carmen with Volkstheater Rostock, Madama Butterfly and Hansel with PORT Opera, The Long Walk with Opera Saratoga, Little Women in Madison Opera, Salome and Becoming Santa Claus at The Dallas Opera. She has also been a regular with Opera Orchestra of New York and New York Choral Society in Carnegie Hall and with New York City Opera.

    Alasdair Kent, tenor

     Tenor Alasdair Kent is a Resident Artist at The Academy of Vocal Arts in Philadelphia, where his performances have included L’italiana in Algeri, Così fan tutte and Don Giovanni. Mr. Kent made his professional debut as Don Ramiro in La Cenerentola for Opera Queensland in his native Australia. As an Emerging Artist with Opera Philadelphia, he has performed in recital and will make his company debut in Cold Mountain in 2016. Mr. Kent has been part of the prestigious Merola Opera Program and the Martina Arroyo Foundation. In 2015, Mr. Kent won First Prize in the Violetta DuPont Vocal Competition. In 2016, Mr. Kent will perform Rinuccio in Gianni Schicchi with The Academy of Vocal Arts and as a Filene Young Artist with Wolf Trap Opera.

    Adam Lau, bass

    In the 2015-2016 season Adam Lau will debut with the San Francisco Symphony as the bass soloist in Händel’s Messiah. On the opera stage Mr. Lau will return to North Carolina Opera in il Barbiere di Siviglia and the Dallas Opera’s World Premiere of Mark Adamo’s Becoming Santa Claus. In the 2014-15 season, Mr. Lau made debuts with the Dallas Opera, and Opera Theater of St. Louis as Berardo in the American Premiere of Handel’s Riccardo Primo. In summer 2015, he created the role of Papa San in the World Premiere of Jack Perla’s opera, An American Dream with Seattle Opera. Mr. Lau has appeared with some of the nation’s leading festivals including The Hollywood Bowl with Los Angeles Philharmonic, Merola Opera Center, Aspen Opera Theater Center and Santa Fe Opera.

    Don O’Neal LeBlanc, tenor

     After a twenty-year hiatus, tenor Don O’Neal LeBlanc has returned to his life-long passion for singing. The San Benito, Texas native studied Vocal Performance at The University of North Texas. A 1990 regional finalist in the Metropolitan Opera National Council Auditions, Don performed leading roles in Gianni Schicchi, L’elisir d’Amore, Carmina Burana and numerous oratorios. Since returning to the stage, Don has been a frequent featured soloist with the UNT orchestra and chorus, Arlington-based Timeless Concerts, and various churches and arts organizations around the DFW area, including Opera on Tap, a non-profit of which he is co-manager. In 2015, in addition to joining The Dallas Opera chorus, Don was selected as a semi-finalist in the Professional Men’s Division of The American Prize in Vocal Performance.

    Sarah Jane McMahon, soprano

    Hailed by Opera News for her “golden sound,” Sarah Jane McMahon has sung on opera and concert stages throughout the U.S. and abroad, recently performing opposite Plácido Domingo, who selected her to join the Los Angeles Opera. A Masters graduate of Yale University, the many companies and orchestras she has performed with include the San Francisco Symphony, Munich Philharmonic, Washington Concert Opera, and New York City Opera. Her performances have also taken her to Carnegie Hall, Avery Fisher Hall, the Vienna Concert House, and the Santo Domingo Festival. Her recent and upcoming engagements include performances with New Orleans Opera, Portland Symphony, Winston-Salem Symphony, Minnesota Orchestra, Charlotte Symphony, Jacksonville Symphony, Rochester Philharmonic, Cleveland Pops, Dallas Opera, and Tulsa Opera.

    Stacey Tappan, soprano

    Stacey Tappan has distinguished herself as an exceptional musical artist in the United States and abroad. Recent engagements include the world premiere of Adamo’s The Gospel of Mary Magdalene with San Francisco Opera; Lucia di Lammermoor with Arizona Opera; Clorinda in Cinderella and Miss Wordsworth in Albert Herring with LA Opera; the Charmeuse in Thaïs at the Edinburgh Festival; and The Ring Cycle with San Francisco Opera and Lyric Opera of Chicago. Current engagements include Stella in A Streetcar Named Desire and Florestine in The Ghosts of Versailles with LA Opera; Adamo’s Becoming Santa Claus and Susanna in The Marriage of Figaro with Jacksonville Symphony. In addition, she will be heard in Carmina Burana with Los Angeles Master Chorale and Omaha Symphony.

     ~~~~

    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 suzanne.calvin@dallasopera.org

    Or Celeste Hart, Communications Manager at celeste.hart@dallasopera.org

    TEXAS INSTRUMENTS, 2015-2016 SEASON SPONSOR FOR THE DALLAS OPERA’S “SEEKING THE HUMAN ELEMENT” SEASON

    ~~~~

    The Dallas Opera Family Performances are generously supported by

    Texas Instruments 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 2015-2016 Dallas Opera Season

    All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise indicated.  Single Tickets range from $19 to $275.  Full Subscriptions start at $99, Flex Subscriptions (three-performances of your choice) begin at $75.  Family performance tickets 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.

    Keith Cerny and Emmanuel Villaume Extend TDO Contracts to June 2022!

    THE DALLAS OPERA IS PLEASED TO ANNOUNCE 

    CONTRACT EXTENSIONS TO JUNE 30, 2022

    FOR KEITH CERNY AND EMMANUEL VILLAUME

    DALLAS, NOVEMBER 19, 2015 – The Dallas Opera is pleased and proud to announce contract extensions for its two most senior leaders: General Director & CEO Keith Cerny, and Music Director Emmanuel Villaume.  Both contracts have been extended to June 30, 2022.

    General Director & CEO Cerny, who joined The Dallas Opera in 2010, will continue to lead the artistic, fund-raising, and operational activities of the company.  Working with the Board of Directors, Mr. Cerny will maintain his responsibilities for programming and casting, in addition to the selection of productions, directors, designers, guest artists and conductors. 

    Music Director Villaume, now beginning his third season with the company, will conduct three productions each year.  Maestro Villaume will also continue to work closely with the general director on season planning, as well as their ongoing efforts to bring the world’s finest performing artists to North Texas. 

    In making today’s announcement, Board Chair Steve Suellentrop noted the following: “Over the past five years, Keith Cerny has demonstrated exemplary leadership.  His artistic accomplishments include the commissioning of three world premieres in 2015, the launch of the Robert E. and Jean Ann Titus Art Song Recital Series to fill a vital musical niche in the North Texas performing arts scene, the expansion of The Dallas Opera Guild Vocal Competition to the rank of a major national program, and the creation of the Linda and Mitch Hart Institute for Women Conductors. 

    “He brought a number of neglected operatic “gems” to North Texas for the first time, including Tod Machover’s Death and the Powers, Korngold’s Die tote Stadt, Peter Maxwell-Davies’s The Lighthouse and Tchaikovsky’s Iolanta. 

    “Keith has also reimagined the company’s relationship with the community, in all its diversity, by creating a free public simulcast program that has reached over 60,000 patrons in the U.S. and abroad. 

    “With an eye on the next generation of opera audiences, he led the development of an ambitious education program that presents nearly 100 performances and concerts each year to schools, community centers, and in other non-traditional locations. 

    “Working closely with the Board, Keith has also played a major role in achieving three consecutive balanced budgets – the first time in fifteen years that The Dallas Opera has achieved this result.”

    Mr. Suellentrop went on to say, “Music Director Emmanuel Villaume has accomplished a great deal in his first two years with the company.  In addition to conducting several outstanding productions, he has made Dallas his musical home; using his considerable intelligence and charm to forge extremely positive relationships with the community, our Board, and our supporters.  We are incredibly fortunate to have Maestro Villaume as our Music Director, considering the constant demand for his services from the world’s leading opera companies and symphonies.”

    Keith Cerny commented on the announcement: “Leading the Dallas Opera over the last five years has unquestionably been the highlight of my professional career, and I am greatly looking forward to leading the company in exciting directions in the future. 

    “As an opera company, we are extraordinarily blessed to have the Margot and Bill Winspear Opera House as our musical home; a magnificent, acoustically acclaimed performance space in the AT&T Performing Arts Center that provides us with an opportunity to build on The Dallas Opera’s long and distinguished musical history—and take it to new heights. 

    “I am equally ecstatic that Maestro Villaume has been willing to make The Dallas Opera a central part of his musical life for the next seven years.  With the Board’s strong support, I appointed him as Music Director in 2013, and have been delighted with his work for the company, both on and off the podium.  He is a remarkable musician and colleague, and he and I have many ambitious plans for the future of the company.”

    Music Director Emmanuel Villaume also responded to the news: “I am absolutely delighted to have extended my commitment to The Dallas Opera.  Since the day I began as Music Director, I have been warmly welcomed into this community by everyone I have met.  This city has created a remarkable Arts District; we are especially fortunate that Margot and Bill Winspear gave so generously for the design and construction of one of the world’s finest opera houses. 

    “I look forward to working with the excellent Dallas Opera Orchestra and the Dallas Opera Chorus throughout the coming years, while collaborating closely with Keith to continue to bring significant artistic projects, thrilling performances, and the world’s leading artists to audiences here in North Texas.”

    “The promise of a new era in opera,” Mr. Cerny added, “that began with the company’s successful move in 2009 from Fair Park to the purpose-built Winspear Opera House and the creation of the Cultural Renaissance Endowment Fund, is in the process of being fulfilled today. 

    “When I think back on what we, as a company, have accomplished during the fast-paced years since, it makes me look forward—with greater anticipation than ever—to the innovative and exhilarating seasons to come.”

    BIOGRAPHIES

    Keith Cerny, General Director and CEO

    Keith Cerny’s career spans music, technology and business. He began studying piano at the age of 10, and performed extensively in his teens as a solo pianist and accompanist. He subsequently studied Music and Physics at the University of California at Berkeley. After graduating with highest honors in both degrees, he won a Fulbright Scholarship to London. There he studied at the English National Opera and the Guildhall School of Music and Drama, and performed and coached regularly for four years. Following his return from London, he worked for two years for the accounting firm Touche Ross & Co. in San Francisco before attending Harvard Business School. While living in Boston, Keith also accompanied voice students in the studio in the Chair of the Voice department at New England Conservatory. After graduating with honors from HBS, Keith spent nearly 15 years in management consulting, working first for McKinsey & Co. in London and Atlanta, and then as a telecom and high tech Partner with Accenture in San Francisco. During this period, Keith also completed a Ph.D. in Econometrics and Economic Development Policy from the Open University in the U.K. As a consultant, he worked on numerous pro bono projects for opera companies in parallel with his paid consulting work, including the San Francisco Opera, Washington National Opera and Spoleto Festival USA. He was hired by the Board of the San Francisco Opera in 2004 as the Executive Director (COO) and CFO. During his tenure at SF Opera, the company achieved three years of balanced operating results, following an institution-threatening downturn prior to his arrival. He then worked for Russell Reynolds in San Francisco, recruiting CEOs and senior executives for non-profits, before taking over as CEO of SheetMusicPlus.com – the largest online retailer of sheet music.

    Keith joined The Dallas Opera in 2010 as General Director & CEO. There, he has worked with the Dallas Opera’s Board of Directors and opera staff to stabilize the company’s finances and grow the endowment, leading to the first three consecutive balanced operating results in 15 years; recruited an accomplished new Music Director with an international reputation, Emmanuel Villaume, and a Principal Guest Conductor, Nicole Paiement; commissioned three world premieres by Joby Talbot and Gene Scheer, Jake Heggie and Terrence McNally, and Mark Adamo; launched the company’s free public simulcast series including an international simulcast of Tod Machover’s Death and the Powers to 9 locations in the U.S., U.K. and Continental Europe; and forged new artistic collaborations with the Dallas Theater Center, the Dallas Children’s Theater, University of North Texas, the Perot Museum of Nature and Science, and Dallas Museum of Art. In 2011, he was elected to the Board of Directors of Opera America, where he also serves as Chair of the Strategy Committee.  In 2015 he was elected to the Board of Tessitura.

    Emmanuel Villaume, Music Director

    Now in his third season as Music Director of The Dallas Opera where he recently conducted Tosca, Iolanta and Mozart’s The Marriage of Figaro. He made his debut with the company in 1998 conducting Faust and returned to conduct The Marriage of Figaro in 2002. He is a frequent guest conductor at the world’s leading opera companies, including the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Los Angeles Opera, the Washington National Opera, Santa Fe Opera, London’s Royal Opera, the Paris Opera, Monte Carlo Opera, Venice’s La Fenice, the Munich Staatsoper, Berlin’s Deutsche Oper, the Hamburg Staatsoper, Madrid’s Teatro Real, and Buenos Aires’ Teatro Colón. He has led the Montreal Symphony in Montreal and at Carnegie Hall, the Chicago Symphony, the Boston Symphony, the orchestras of Los Angeles, San Francisco, Houston, St. Louis, Detroit, Minnesota, Orchestre de Paris, Orchestre Philharmonique de Radio France, Beethovenhalle Orchestra of Bonn, and the China National Opera Orchestra for the 2008 Olympic Games. He is currently Chief Conductor of the National Slovak Philharmonic Orchestra. He served as the Spoleto Festival USA’s Music Director for Opera and Orchestra from 2001 to 2010. Maestro Villaume has recorded for Deutsche Grammophon (including Iolanta featuring Anna Netrebko), Decca and EMI. He recently assumed a new post as Music Director and Chief Conductor of the Prague Philharmonia, in addition to his work in Dallas.

     ~~~

    EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

    ADDITIONAL INFORMATION 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 obtain additional information

    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

    Ticket Information for the 2015-2016 Dallas Opera 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.  Flex Subscriptions are on sale now starting at $75.  Family performance tickets 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.

    Dallas Opera Administrative Offices Named for Noted Philanthropist

    FOR IMMEDIATE RELEASE:
    Tuesday, October 6, 2015
    Contact: Suzanne Calvin 214.443.1014 Or Celeste Hart 214.443.1071
    suzanne.calvin@dallasopera.org celeste.hart@dallasopera.org

    THE DALLAS OPERA IS PROUD TO ANNOUNCE

    THE NAMING OF THE COMPANY’S ADMINISTRATIVE OFFICES:

    ELSA VON SEGGERN OFFICE SUITE

    IN HONOR OF A PASSIONATE OPERA LOVER AND
    A LEGENDARY DALLAS PHILANTHROPIST
    ~~~~
    IN CONJUNCTION WITH A NEW $5 MILLION GIFT FROM
    E.F. VON SEGGERN CHARITABLE FOUNDATION TRUST

    DALLAS, OCTOBER 6, 2015 – Nearly six years after the company’s move into the iconic Margot and Bill Winspear Opera House at the AT&T Performing Arts Center, The Dallas Opera is thrilled to announce the naming of TDO’s administrative offices for one of the city’s most remarkable, colorful and generous patrons of the arts: the late Elsa von Seggern.

    One of two women described as “godmothers” of The Dallas Opera (the late, great Maria Callas also shared that distinction), the name recognizes von Seggern’s past generosity, as well as a new five-million dollar gift to the company from the E.F. von Seggern Charitable Foundation Trust.

    “The Elsa von Seggern Foundation was recognized in the 2011 unveiling of The Dallas Opera’s ‘21st Century Wall of Honor,” notes Dallas Opera General Director and CEO Keith Cerny, “for significant contributions to the artistic and financial strength of the company in this century.”

    “The foundation’s incredibly generous gift of $5 million enables us to plan with greater confidence far into the future. In truth, the long-term impact of such a remarkable gift cannot be overestimated,” Cerny adds, “and is a wonderful way to pay tribute to Elsa’s historic involvement with The Dallas Opera since our earliest days in Fair Park.”

    A self-described “treasurer-in-residence” for the company, Elsa von Seggern went so far as to underwrite TDO’s payroll during the lean years of the 1970s, guiding the implementation of proper business practices and setting the stage for the artistic successes that followed.

    “Dallas and Texas have been good to me,” she was quoted as saying. “By universal law, you should put in where you take out; and that’s why I do it. I like the arts, and I wish that they could be supported in a big way.”

    This child of German immigrants who grew up on a farm in Nebraska was introduced to opera through the Metropolitan Opera radio broadcasts. The independent-minded von Seggern took several business courses enabling her to find work as a young stenographer in Omaha. She later sold dresses at a Chicago department store, learning the fundamentals of retail.
    However, a single visit to Dallas was enough to change the trajectory of her life. In the midst of the Great Depression, she decided to stay, taking a job at a local insurance firm where a friend, L.C. Ferguson, eventually contacted her with the suggestion that they go into business together. From an original investment of $185, the Dallas-based company they founded (Shovel Supply Company) became a major supplier of heavy equipment to a variety of companies and contractors, including independent oil producers throughout the Southwest.

    Besides her obvious business acumen, von Seggern possessed a relentless curiosity about people and places, a distinctive style and impeccable instincts.

    Entrepreneurial success and the wealth that came with it gave Elsa von Seggern the freedom to travel to exotic locales (including Siberia in the early 1960s), study “esoteric philosophy,” and indulge her fascination with all things Egyptian. It also gave her the freedom to give back—generously—to her adopted home town of Dallas.

    “Elsa’s mother instructed her youngest child to put her money where her mouth is,” explains Dwight E. “Gene” Saur, Jr., the original Trustee for the E.F. von Seggern Charitable Foundation Trust and the philanthropist’s longtime financial advisor. “She did so without hesitation,” he noted, “becoming one of the most generous patrons in Dallas Opera history.”

    The Women’s Board of The Dallas Opera acknowledged her impact by presenting Elsa von Seggern with the inaugural ‘Juanita and Henry S. Miller, Jr. Founders Award’ in 1991, designed to recognize individuals who have made exceptional volunteer and philanthropic contributions benefiting the opera. Before she passed away in 1995, Elsa had served as the sole underwriter of fourteen Dallas Opera productions, among other gifts to the company.

    “She was also a generous supporter of the Dallas Ballet, the Dallas Symphony Orchestra and the Van Cliburn International Piano Competition in Fort Worth,” recalls Foundation Trustee Joe L. Sharp. “Yet, opera remained her grand passion, and the Foundation has made every effort to keep her memory fresh for new generations of opera audiences, by continuing to give generously in order to advance the cause of this art form in Dallas.

    “We know how pleased Elsa would be to see her name continue to be associated with the opera company that captured her heart, and commanded so much of her time, love, and lavish attention.”

    “There have been discussions with the E.F. von Seggern Charitable Foundation Trust for many years about the appropriate way to honor her lasting legacy at The Dallas Opera,” says Gae Whitener, Director of Development. “After a decade of personally working closely with the Foundation and learning about this remarkable woman, I’m delighted that the arrangement announced today will further spotlight “Miss von” and her pivotal role in the life of this company.”

    In addition to being added to signage, letterheads and signatures, the Elsa von Seggern Office Suite will feature a new showcase to educate visitors about her life and legacy.
    ~~~~

    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

    TEXAS INSTRUMENTS, 2015-2016 SEASON SPONSOR FOR THE DALLAS OPERA’S “SEEKING THE HUMAN ELEMENT” SEASON

    Ticket Information for the 2015-2016 Dallas Opera 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. Full and Flex Subscriptions are on sale starting at $75. Family performance tickets 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*
    Set and Costume 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/Ghost of Vittorio Bazzetti), 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*
    Set and Costume 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
    Set and Costume 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.

    ###

    $5 Family Fun This Fall at TDO

    One of the season’s best entertainment bargains, and perfect for the entire family!

    FOR IMMEDIATE RELEASE:
    Tuesday, August 18, 2015
    Contact: Suzanne Calvin 214.443.1014 Or Celeste Hart 214.443.1071
    suzanne.calvin@dallasopera.org celeste.hart@dallasopera.org

    TDO $5 Fall Family Performances
    With Generous Support from Presenting Sponsor
    Texas Instruments

    And the Betty and Steve Suellentrop
    Educational Outreach Fund
    ~~~~
    Part of “The Perot Foundation Education and Community Outreach Programs”
    ~~~~
    With additional support from
    Lockheed Martin
    ~~~~
    CONDUCTED BY
    PETER MANNING & PAOLO BRESSAN
    ~~~~
    “ROSSINI AND COMPANY”
    A DALLAS OPERA FAMILY CONCERT
    FEATURING THE DALLAS OPERA ORCHESTRA
    Saturday, Nov. 21, 2015, 2:00 p.m.
    Margot & Bill Winspear Opera House

    “BASTIEN AND BASTIENNE” by W.A. Mozart
    $5 FAMILY PERFORMANCE WITH TDO ORCHESTRA
    Saturday, Dec. 5, 2015, 2:00 p.m.
    Margot & Bill Winspear Opera House

    DALLAS, AUGUST 18, 2015 – Forget about the heat and put those computers, tablets, and smart phones aside in order to take advantage of budget-minded, kid-friendly performances offered by The Dallas Opera (TDO) this fall!
    The always popular Dallas Opera Family Performance Series is proudly presented by Texas Instruments, and made possible with additional generous support from the Betty and Steve Suellentrop Educational Outreach Fund and Lockheed Martin.
    Five dollar single tickets are available now through The Dallas Opera Ticket Services Office at 214.443.1000 or 24/7 at dallasopera.org/family. Save by purchasing in advance; a three-pack subscription goes for just $12!

    The FAMILY CONCERT: “ROSSINI AND COMPANY” is a parade of Gioachino Rossini’s greatest hits including a wide variety of arias and overtures by this 19th century Italian composer. Patrons may be surprised at just how many pieces they already know and love and this event is sure to be enjoyed by fans of all ages. Featuring The Dallas Opera Orchestra and led by the acclaimed British conductor and violinist, Maestro Peter Manning, Guest Conductor and Concertmaster for The Dallas Opera, this concert performances will be presented on Saturday, November 21, 2015 at 2:00 p.m. in the Margot and Bill Winspear Opera House.
    Prior to the concert, The C. Vincent Prothro Lobby will open at 12:30 p.m. for a host of hands-on crafts and activities for children.

    “One of the most exciting developments during my five years in Dallas” explains General Director and CEO Keith Cerny, “has been our ability to expand our education and community outreach efforts to reach tens of thousands of people across North Texas. It has also enabled the Dallas Opera to invite newcomers – particularly children and families – to experience the richness, color and excitement of opera as it was meant to be experienced, in the magnificent Winspear Opera House.
    “Thanks to our generous underwriters, this company is touching lives in a profound new way,” Cerny adds, “and reaching people who never knew that opera is easily accessible and highly entertaining.”

    ~~~~

    BASTIEN AND BASTIENNE is a charming, short, fully-staged comic opera composed by a very, very young Mozart (he was only twelve!). It centers on a lad and lassie with remarkably similar names who fall in love but are separated – at least briefly – by worldly enticements. Bastienne, a shepherdess, believes her boyfriend, Bastien, has fallen for a girl he met in the big city. Colas, the local magician, listens as Bastienne pours out her broken heart. Could he possibly have something “up his sleeve” that will bring this loving couple back together? The one-act opera was meant to serve as a gentle parody of the 18th century pastoral works that were then all the rage onstage.
    The renowned Paolo Bressan will conduct The Dallas Opera Orchestra in this delightful 1768 opera, which stars sopranos Alissa Roca and Anna Valcour sharing the role of Bastienne, and tenors Charles Karanja and Christopher Oglesby in separate casts as her beloved Bastien. The opera also features bass-baritones Mason Jarboe and Langelihle Mngxati as Colas, a magician of some wisdom and questionable skills.

    ~~~~
    EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE
    ADDITIONAL INFORMATION ABOUT THE DALLAS OPERA
    IS CONVENIENTLY AVAILABLE ONLINE, 24/7. VISIT WWW.DALLASOPERA.ORG

    FOR HIGH-RESOLUTION PHOTOGRAPHS

    Contact Suzanne Calvin, Director of Media and PR at suzanne.calvin@dallasopera.org
    Or Celeste Hart, Communications Manager at celeste.hart@dallasopera.org
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    TEXAS INSTRUMENTS, 2015-2016 SEASON SPONSOR FOR THE DALLAS OPERA’S “SEEKING THE HUMAN ELEMENT” SEASON

    Ticket Information for the 2015-2016 Dallas Opera Season
    All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise indicated. Single Tickets range from $19 to $275. Full Subscriptions start at $99, Flex Subscriptions (three-performances of your choice) begin at $75. Family performance tickets 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
    Set and Costume Designer: Bob Crowley*
    Lighting Designer: Brian MacDevitt*
    Projections Designer: Elaine J. McCarthy
    Wig & make-up Designer: David Zimmerman
    Chorus Master: Alexander Rom
    Starring: Joyce DiDonato* (Arden Scott) (The Marnie and Kern Wildenthal Principal Artist) Ailyn Pérez (Tatyana Bakst), Frederica von Stade (Mrs. Edward “Winnie” Flato), Nathan Gunn (Sid Taylor), Anthony Roth Costanzo* (Roane Heckle), Kevin Burdette (Eric Gold), Rodell Rosel* (Anthony Candolino), 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*
    Set and Costume Designer: Ulisse Santicchi
    Lighting Designer: Marie Barrett
    Wig & make-up Designer: David Zimmerman
    Chorus Master: Alexander Rom
    Children’s Chorus Master: Melinda Cotten
    Starring: Emily Magee (Floria Tosca), Giancarlo Monsalve* (Mario Cavaradossi), Raymond Aceto (Baron Scarpia), Ryan Kuster (Angelotti), Dale Travis* (A Sacristan), William Ferguson (Spoletta), Wes Mason (Sciarrone).
    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 and Choreographer: Paul Curran
    Set and Costume Designer: Gary McCann*
    Lighting Designer: Paul Hackenmueller*
    Projections Designer: Driscoll Otto*
    Wig & make-up Designer: David Zimmerman
    Chorus Master: Alexander Rom
    Starring: Jennifer Rivera* (Queen Sophine), Juan José de León (Prince Claus), Matt Boehler* (Donkey), Hila Plitmann* (Yan), Lucy Schaufer* (Ib), Keith Jameson (Yab), Kevin Burdette (Ob).
    Another New Dallas Opera Production!

    * Dallas Opera Debut
    ** American Debut
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    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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