As we always hoped, it was love at FIRST SIGHT. Now, it looks as though pros like Jeanne Prejean of “My Sweet Charity” were equally impressed with this brand-new fashion component to the Dallas Opera’s Opening Weekend. Check out her comments here, as well as the terrific photos she took of the participating designers and their gorgeous designs gracing the runway.
Suzanne Calvin, Director of Media and Public Relations
Keith Cerny’s latest edition of “Off the Cuff” on “Theater Jones” explores the technical ins-and-outs of opera simulcasts. Everything you ever wanted to know but were afraid to ask. Read on. Be sure not to miss Luke McKenzie’s incredible photos.
Suzanne Calvin, Director of Media and Public Relations
It is one of the most intimate, personal, and moving of art forms. It is “Art Song” and it has aficionados as passionate as any in the opera world. Thanks to the Titus Family, the Dallas Opera is going to play a vital role in the preservation of the fine art of “art song.” Details in the release that follows.
FOR IMMEDIATE RELEASE:
Monday, November 4, 2013
Contact: Suzanne Calvin 214.443.1014
suzanne.calvin@dallasopera.org
THE DALLAS OPERA
IS THRILLED TO ANNOUNCE
AN IMPORTANT NEW RECITAL SERIES
CREATED BY A TRANSFORMATIVE GIFT!
THE ROBERT E. AND JEAN ANN TITUS ART SONG RECITAL SERIES
~~~~
Inaugural Performance
Jan. 4, 2014 at 7:30 p.m.
In Dallas City Performance Hall
~~~~
Internationally Acclaimed English Tenor
IAN BOSTRIDGE IN RECITAL
~~~~
$15-$25 TICKETS ARE ON SALE NOW!
DALLAS, NOVEMBER 4, 2013 – The Dallas Opera is thrilled and honored to announce that, through the generosity of The Titus Family, a brand-new recital series has been created to showcase well-established singers in programs dedicated to preserving the fine art of “art song.”
The series launch will take place on Saturday, January 4, 2014 in Dallas City Performance Hall (2520 Flora Street, Dallas) at 7:30 p.m. with the Dallas Opera debut of one of the classical music world’s most exciting singing stars: English tenor Ian Bostridge, who will be performing a program that will include the original twelve-song version of Franz Schubert’s Winterreise as well as selections by Benjamin Britten, Charles Ives, Noel Coward and Cole Porter.
Mr. Bostridge will be accompanied in recital by a celebrated young Canadian pianist, Miss Wenwen Du.
“In my own musical work as a pianist and accompanist,” says Dallas Opera General Director and CEO Keith Cerny, “I have always particularly enjoyed working with singers on art song and lieder.
“Imagine my delight, then, with this extraordinary Titus Family gift, which allows the Dallas Opera to engage the finest interpreters of this repertoire to perform right here in North Texas.
“We are thrilled to inaugurate this new series with one of the world’s leading performers in this repertoire, tenor Ian Bostridge. The Dallas Opera is already making plans to host a series of gifted artists in coming seasons and I can foresee the day when this unique series is as eagerly anticipated as the main stage Dallas Opera season itself.”
Ian Bostridge, created a CBE in the 2004 “New Year’s Honours,” has forged major careers on the world’s finest opera and concert stages, as well as in the recording studio.
In the opera world, Bostridge has performed the roles of Tamino (Die Zauberflöte), Jupiter (Semele), and Aschenbach (Death in Venice) at English National Opera; Quint (The Turn of the Screw), Don Ottavio (Don Giovanni) and Caliban (The Tempest) for the Royal Opera; Don Ottavio in Vienna and Nerone (L’Incoranazione di Poppea), Tom Rakewell (The Rake’s Progress) and Male Chorus (The Rape of Lucretia) in Munich, and the role of Aschenbach in Brussels, Amsterdam and Luxembourg.
The Los Angeles Times wrote: “Bostridge sings as if from inside the music, as if he has found a way to produce pure, disembodied emotion.”
He has a host of award-winning recordings (both Grammy and Gramophone) and has dazzled concert audiences at the Berlin Philharmonic, Vienna Philharmonic, Chicago Symphony, Boston Symphony, London Symphony, London Philharmonic, Rotterdam Philharmonic, Royal Concertgebouw and New York Philharmonic Orchestras.
The always brilliant Mr. Bostridge has played a significant role in the 2013 Britten Centenary celebrations from the Salzburgh Festival to London’s Barbican to New York’s Carnegie Hall.
Opening the “Britten 100 Festival” last week, “Bostridge brought his distinctive voice, with its combination of sensual allure and choirboy purity to a performance of all five (Britten) Canticles,” wrote New York Times Classical Music Critic Anthony Tommasini, “The audience withheld applause until the end. Once it started, it went on and on.”
“The Robert E. and Jean Ann Titus Art Song Recital Series,” explains Dallas Opera Executive Committee Member Sarah Titus, “was created by our family to honor my parents’ lifetime commitment to the arts in Dallas, as well as their history of giving to the Dallas Opera. My parents’ commitment to the organization dates back to its inception in the late 1950s.
“This particular art form has been a lifelong passion of my mother’s, so, endowing an annual recital featuring world-class artists and accompanists seemed a natural fit.
“Speaking for the entire family, we are excited to be bringing this glorious music to Dallas audiences; and we commend Keith Cerny’s responsible leadership of—and vision for—the Dallas Opera.”
~~~~
Due to the desire to create a more intimate (and breathtaking) musical experience, the Dallas Opera will present this extraordinary recital in the 750-seat Dallas City Performance Hall, already winning high praise for its lovely acoustic and design.
Tickets, priced at $15 to $25, go on sale today, November 4th and are expected to go fast. They may be purchased at dallasopera.org or by contacting the friendly customer service professionals in the Dallas Opera Ticket Office at 214.443.1000.
~~~~
KEY BIOS:
IAN BOSTRIDGE (Tenor)
Ian Bostridge’s international career includes the world’s major concert halls and the Edinburgh, Munich, Vienna, Aldeburgh, Salzburg and Schubertiade Festivals, including artistic residencies at the Konzerthaus Vienna, Carnegie Hall New York, Het Concertgebouw Amsterdam, Philharmonie Luxembourg, the Barbican, the Wigmore Hall, and Laeiszhalle Hamburg.
In opera he has performed the roles of Tamino, Jupiter (Semele) and Aschenbach (Death in Venice) at English National Opera; Quint (The Turn of the Screw), Don Ottavio (Don Giovanni) and Caliban (The Tempest) for the Royal Opera; Don Ottavio in Vienna and Nerone (L’Incoronazione di Poppea), Tom Rakewell (The Rake’s Progress) and Male Chorus (The Rape of Lucretia) in Munich. He has sung Aschenbach in Brussels, Amsterdam and Luxembourg.
Ian Bostridge’s award-winning recordings include “Schubert with Graham Johnson” (Gramophone Award 1996), “Tom Rakewell with Gardiner” (Grammy Award 1999), “Schumann with Julius Drake” (Gramophone Award 1998), The Turn of the Screw (Gramophone Award 2003) and Billy Budd (Grammy Award 2010) with Harding and Ades’ The Tempest (Gramophone Award 2010). He has recorded recitals of Schubert, Wolf and Britten with Antonio Pappano.
Ian Bostridge’s concert engagements include the Berlin Philharmonic, Vienna Philharmonic, Chicago Symphony, Boston Symphony, London Symphony, London Philharmonic, Rotterdam Philharmonic, Royal Concertgebouw and New York Philharmonic orchestras under Rattle, Davis, Ozawa, Rostropovich and Harding. He sang Stravinsky’s Oedipus Rex with Angelika Kirchschlager and H.K. Gruber in Vienna and the world première of Henze’s Opfergang with the Accademia Nazionale di Santa Cecilia and under Antonio Pappano.
For the 2013 Britten Centenary celebrations, Ian Bostridge has a major presence world-wide, with appearances at the Aix-en-Provence, Brighton, Aldeburgh and Salzburg Festivals; Britten residencies at the Laeiszhalle Hamburg, the Philharmonie Cologne, New York’s Carnegie Hall, London’s Barbican, Birmingham Symphony Hall and the Moscow Conservatoire (including the Moscow premiere of Death in Venice under Rozhdestvensky). He performs in the Berlin Philharmonie on Britten’s birth date and has appearances with the Warsaw Philharmonic and Roberto Abbado, the Santa Cecilia Orchestra and Antonio Pappano, the London Philharmonic Orchestra and Vladimir Jurowski (in London and the Vienna Musikverein) and the Amsterdam Concertgebouw Orchestra and Andris Nelsons.
In 2001 he was elected an honorary fellow of Corpus Christi College and in 2003 he was made an Honorary Doctor of Music by the University of St Andrews. He was created a CBE in the 2004 New Year’s Honours.
WENWEN DU (Accompanist)
Hailed as “exceptional” by Opera Canada magazine, Wenwen Du is an accomplished young pianist. Excelling in both the solo and collaborative ?elds, Miss Du is in high demand both in Canada and abroad.
Originally from China, Ms. Du received a Bachelor of Music (Performance) and an Artists Diploma from the Vancouver Academy of Music.
Ms. Du has participated in numerous international masterclasses, including the Shanghai International Piano Masterclass, Gold Country Piano Institute – Masterclass in Interpretation (Nevada City, California, USA), Festival Orford (Montreal, Canada), The International Holland Music Session (Holland, Netherlands) and the Warsaw Piano Workshop – International Piano Course in Interpretation (Warsaw, Polland). These masterclasses were held by many renowned professors, including Paul Badura-Skoda, Boris Berman, Mikhail Voskresensky, Dimitri Bashkirov, Thomas Ungar, Jerome Rose, Jean-Yves Thibaudet and Peter Donohoe.
Miss Du has also performed solo piano recitals in China, Poland, Spain, Ukraine, Russia, Germany, Holland, the United States, and Canada. She is the winner of many National and International Piano Competitions, including “The Third Proko?ev International Piano Competition” (Ukraine), and “The Third Wiesbaden Piano Competition” (Germany).
Wenwen received the Opera Coaching Fellowship from the Atlantic Music Festival (USA) in 2012, spending five weeks coaching with Dr. Arlene Shrut while coaching and accompanying 18 singers through performances of opera, lieder and song. Wenwen then participated in the 2012 Oxford Lieder Festival (UK), lead by Wolfgang Holzmair. There she took masterclasses with Mr. Holzmair, Roger Vignoles, Martyn Hill, and Michael Dussek. She was also Music Director of Envision Financial’s benefit concert A Night on Broadway.
She attended the 2013 Britten Song course at the Britten-Pears Young Artist Programme (UK), lead by Ian Bostridge and Julius Drake. Prior to attending the course, she was awarded the Loewen Prize from the Canadian Aldeburgh Foundation, a scholarship given to a leading Canadian pianist attending a Britten-Pears training course. During the course, Mr. Bostridge invited Wenwen to perform with him in the final concert. She also attended the 2013 Franz-Schubert-Institut (Austria), lead by Dr. Deen Larson and Elly Ameling.
DALLAS CITY PERFORMANCE HALL
Located at the intersection of Routh and Flora, Dallas City Performance Hall is a multi-disciplinary gateway to the Arts District, presenting a broad range of cultural performances and events by a growing group of small and midsize cultural organizations representing all artistic disciplines and the diverse heritages of the Dallas community.
This lyrical and elegant addition to the Dallas Arts District promises to be a unique and delightful “village for the arts” for Dallas audiences. Designed by Skidmore, Owings & Merrill LLP – one of the world’s leading architecture, urban design, engineering, and interior architecture firms – the newly completed Phase I of the design includes a state-of-the-art, 750-seat, multi-purpose theater specifically designed to accommodate a wide variety of performance needs as well as an expansive front lobby capable of accommodating small performances and events for up to 200 people. The dynamic features of these two spaces encourage social and cultural interaction from the street to the stage, from pre-show cocktails to post-show conversation and offer both artists and audiences the opportunity to engage with all forms of performance, from the outsized spectacle of epic theatre to the smooth elegance of a jazz quartet. City Performance Hall is the place discover our next generation of great arts organizations and be captivated by the energetic and multifaceted creative spirit of Dallas artists!
EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE
ADDITIONAL INFORMATION ABOUT “NOVEMBER AT THE DALLAS OPERA”
IS CONVENIENTLY AVAILABLE ONLINE, 24/7
VISIT WWW.DALLASOPERA.ORG AND CHECK THE CALENDAR LISTINGS
For high-resolution, digital photographs suitable for print
To arrange an interview
Or for additional information
Please contact Suzanne Calvin, Manager/Director Media & PR
214.443.1014 or suzanne.calvin@dallasopera.org
The Dallas Opera’s 2013-2014 “By Love Transformed” Season
Is Sponsored by Texas Instruments Foundation
THE DALLAS OPERA WISHES TO EXPRESS ITS GRATITUDE TO OUR EXCLUSIVE PARTNERS:
AMERICAN AIRLINES – OFFICIAL AIRLINE OF THE DALLAS OPERA
LEXUS – OFFICIAL VEHICLE OF THE DALLAS OPERA
Ticket Information for the 2013-2014 Dallas Opera Season
All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise described. Season subscriptions are on sale, starting at just $76. Single Tickets range from $19 to $275 and Flex Subscriptions will remain on sale following the close of Carmen. Family performances are $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 2013-2014 SEASON INFORMATION
The Dallas Opera celebrates its Fifty-Seventh International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District. Evening performances will begin at 7:30 p.m. and Sunday matinees will begin at 2:00 p.m. unless otherwise stated. English translations will be projected above the stage at every performance and assistance is available for the hearing impaired.
CARMEN by Georges Bizet
October 25 (special time, 8:00 p.m.), October 27(m), 30, November 2, 8 & 10(m), 2013
The most irresistible bad girl in opera—How can you possibly say “non”?
An opera in four acts first performed in Paris on March 3, 1875
Text by Henri Meilhac and Ludovic Halévy based on the novella by Prosper Mérimée
Time: 19th century
Place: Seville, Spain
Conductor: Emmanuel Villaume
Stage Director: Chris Alexander
Scenic Design: Jean-Pierre Ponnelle
Costume Design: Peter J. Hall
Lighting Design: Thomas Hase
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Children’s Chorus Master: Melinda Cotten
Starring: Clémentine Margaine**(Carmen), Brandon Jovanovich (Don José Oct. 25, 27, 30), Bruno Ribeiro* (Don José Nov. 2, 8, 10), Mary Dunleavy (Micaëla), Dwayne Croft (Escamillo), Danielle Pastin*(Frasquita), Audrey Babcock*(Mercédès), Kyle Albertson*(Zuniga), Steven LaBrie (Le Dancaïre), William Ferguson* (Remendado), John David Boehr*(Moralès).
DEATH AND THE POWERS by Tod Machover
February 12, 14, 15 & 16(m), 2014
Science fiction and poignant family drama combine in a major regional premiere!
An opera in one act first performed in Monte Carlo, Monaco at the Salle Garnier on September 24, 2010.
Text by Robert Pinsky, based on a story by Pinsky and Randy Weiner
Time: Unknown time in the future
Place: Earth, the home of billionaire Simon Powers
Conductor: Nicole Paiement
Stage Director: Diane Paulus*
Associate Director: Andrew Eggert*
Scenic Design: Alex McDowell*
Costume Design: David Woolard*
Lighting Design: Don Holder
Choreography: Karole Armitage*
Wig & make-up Design: David Zimmerman
Starring: Robert Orth (Simon Powers/Robot One), Joélle Harvey (Miranda/Robot Four), Patricia Risley(Evvy/Robot Three), Hal Cazalet*(Nicholas/Robot Two), Frank Kelley*(The United Way), David Kravitz*(The United Nations), Tom McNichols*(The Administration).
DIE TOTE STADT (“THE DEAD CITY”) by Erich Wolfgang Korngold
March 21, 23(m), 26, 29 and April 6(m), 2014
The Hitchcock-like tale of one man’s dark obsession with the woman he loved and lost.
An opera in three acts first performed in Hamburg & Cologne, Germany on December 4, 1920
Text by Erich Wolfgang Korngold and Paul Schott based on a novel by Georges Rodenbach, Bruges la morte
Time: End of the 19th century
Place: The city of Bruges in northwestern Belgium
Conductor: Sebastian Lang-Lessing*
Stage Director: Mikael Melbye
Scenic Design: Mikael Melbye*
Costume Design: Dierdre Clancy*
Video Design: Wendall Harrington*
Lighting Design: Mark McCullough
Wig & make-up Design: David Zimmerman
Choreography: Matthew Ferraro*
Chorus Master: Alexander Rom
Starring: Anne Petersen**(Marietta) , Jay Hunter Morris (Paul), Morgan Smith (Fritz), Weston Hurt (Frank), Katherine Tier*(Brigitta), Andrew Bidlack (Albert), Jan Lund**(Victorin), Jennifer Chung (Juliette), Angela Turner Wilson (Lucienne).
THE BARBER OF SEVILLE by Gioachino Rossini
March 28, 30(m), April 2, 5, 11 & 13(m), 2014
Figaro, a scheming barber and jack-of-all-trades plots to release a headstrong girl from her gilded cage!
An opera in two acts first performed in Rome on February 20, 1816
Text by Pierre-Augustin de Beaumarchais, from his comedy Le Barbier de Séville
Time: 18th century
Place: Seville, Spain
Conductor: Giuliano Carella*
Stage Director: Herb Kellner
Original Production: John Copley
Scenic Design: John Conklin
Costume Design: Michael Stennet
Lighting Design: TBD
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Starring: Nathan Gunn (Figaro), Isabel Leonard*(Rosina), Alek Shrader*(Count Almaviva), Donato DiStefano (Dr. Bartolo), Burak Bilgili*(Don Basilio), Nathan De’Shon Myers (Fiorello), Christian Teague*(Ambrogio).
DALLAS OPERA FAMILY PERFORMANCES
Jack and the Beanstalk: October 26, 2013 and April 5, 2014
Family Concerts: November 3, 2013 and February 1, 2014
The Elixir of Love: November 9, 2013 and April 12, 2014
* Dallas Opera Debut
** American Debut
_____________________________________________________________________________________________________________________________________________
The Dallas Opera is supported, in part, by funds from: Texas Instruments Foundation, TACA, City of Dallas, Office of Cultural Affairs; the Texas Commission on the Arts and The National Endowment for the Arts (NEA). American Airlines is the official airline of The Dallas Opera. Lexus is the official vehicle of The Dallas Opera. Advertising support from The Dallas Morning News. A special thanks to the Elsa von Seggern Foundation for its continuing support.
###
For “Dallas Morning News” subscribers only, check out special contributor Nan Coulter’s photos of Friday evening’s Dallas Opera Simulcast in Klyde Warren Park. Great stuff! Access (if you can) here.
Suzanne Calvin, Director of Media and Public Relations
It was one of the greatest block parties I’ve ever seen. Hope you were there, too!
FOR IMMEDIATE RELEASE:
Monday, October 28, 2013
Contact: Suzanne Calvin 214.443.1014 Or Megan Meister 214.443.1071
suzanne.calvin@dallasopera.org megan.meister@dallasopera.org
THE DALLAS OPERA IS PLEASED TO ANNOUNCE
THE OFFICIAL ATTENDANCE ESTIMATE FOR
AN EVENING OF OPEN-AIR OPERA ON THE LAWN:
3,764 Patrons
Fill Klyde Warren Park to View
TDO’s Free Simulcast of Carmen!
~~~~
FRIDAY, OCTOBER 25, 2013
~~~~
WITH SUPPORT FROM THE DALLAS ARTS DISTRICT
DALLAS, TX, OCTOBER 28, 2013 – The Dallas Opera, in partnership with Klyde Warren Park and with support from The Dallas Arts District, is delighted to announce the success of our first-ever artistic collaboration: a live simulcast of one of the most popular operas in the repertoire, Georges Bizet’s 1875 masterpiece, CARMEN, starring the gorgeous and gifted French mezzo-soprano Clémentine Margaine in her American debut!
The Klyde Warren Park Simulcast, the sixth simulcast presented by the Dallas Opera since 2010, enabled at least 3,764 patrons to enjoy an evening of spectacular entertainment, live from the Margaret McDermott Performance Hall of the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center!
According to Klyde Warren Park, which monitored the North and South entrances to the Park and conducted clicker counts from the end of the First Act until early in the Second Act, at least 3,764 people saw some portion of the live simulcast last Friday evening. Following the official count, anecdotal evidence from multiple sources indicated the crowd continued to grow.
Early attendees were treated to a silent film rarity, “Carmen Junior,” starring Baby Peggy Montgomery and a WB Classics Tom and Jerry cartoon – “Carmen Get It!” in addition to a Carmen Costume Contest and “Toreador Song Sing-a-Long” hosted by 102.9 Now Radio Personality Jagger and opera expert Dr. Stephen Dubberly.
Backstage interviews were conducted by WFAA’s Ron Corning and Colleen Coyle and views of the red carpet action at the Winspear, where FIRST NIGHT was in full-swing, also added to the sense of “being there.”
The curtain went up promptly at 8:00 p.m. and the crowd rose to its feet for the national anthem, conducted by Dallas Opera Music Director Emmanuel Villaume, prior to the performance.
“One of my primary goals as head of the company continues to be discovering effective new ways to share this extraordinary art form with as broad an audience as possible, while building on an extensive network of collaborations within the Arts District—and beyond,” explained Dallas Opera General Director and CEO Keith Cerny.
“I was delighted, and staggered, to see the astonishing turnout we had last Friday for the first ever simulcast in Klyde Warren Park. This event proved, as if there were any doubts, that opera performed to the highest standard appeals to people of every age and background.
“We were pleased to work closely with our colleagues at Klyde Warren Park and the Dallas Arts District to make our vision for community engagement such an unqualified success!”
“Klyde Warren Park was conceived and designed for these types of activities—activities that bring the performing and visual arts to everyone. These programs help provide a way to promote and showcase art to those who may not otherwise experience these performances,” remarked Jody Grant, Chairman, Woodall Rogers Park Foundation.
Tara Green, President of Klyde Warren Park agreed: “The unique location of the Park, reconnecting our too-long-disconnected Downtown area to Uptown and the rest of the city, makes us especially conscious of our responsibility to serve all the people of Dallas. Our mission is to be a tremendous showcase—as well as a great green space—and productive collaborations with organizations like the Dallas Opera are key.
“We are so deeply grateful that Keith Cerny of the Dallas Opera approached us with this idea and we truly hope it will mark the first of many memorable and joyful collaborations to come!”
“I saw my dream come true with literally thousands of people in Klyde Warren Park watching an opera with rapt fascination,” said Sheila Grant, co-creator of the “Sheila and Jody Grant Opera Discovery” program.
“Families with their small well-behaved children had their eyes glued to the screen. Everyone was so happy: people were offering their chairs and blankets to complete strangers and offering them, wine and food as well.
“I have not been this thrilled or overjoyed since the opening of the Park. Thousands of patrons were clearly enjoying themselves immensely. For many, it was the chance of a lifetime to see a live performance with their families; people of every race, creed and age.
“While I personally can’t sing a note,” Sheila Grant added, “my heart will be singing for months because of this extraordinary evening.”
“All are welcome in the Dallas Arts District, which works to be inclusive and collaborative at every opportunity and continues to set new attendance records each year,” notes Dallas Arts District Executive Director Catherine Cuellar.
“Through this partnership with our stakeholders at The Dallas Opera and Klyde Warren Park, we are helping to cultivate the next generation of opera fans,” she added.
~~~~
CARMEN was sung in the original French, with English language translations projected above the stage and on the simulcast screen at Klyde Warren Park.
This performance and simulcast launched the Dallas Opera’s sixth production of CARMEN in our 56-year-history.
~~~~
Subscriptions for the Dallas Opera’s 2013-2014 “By Love Transformed” Season are on sale now, starting at just $76 for all four mainstage productions, through the Dallas Opera Ticket Services Office at 214.443.1000 or online at www.dallasopera.org. Single tickets start at just $19. Student Rush best-available tickets can be purchased at the lobby box office for $25 to $50, depending on the section, (one per valid Student I.D.) ninety minutes prior to each performance. All simulcasts are free of charge.
About The Dallas Arts District:
The Dallas Arts District is the largest arts district in the nation, spanning more than 73 acres and 19 contiguous blocks in the heart of downtown. With stunning architecture, including four buildings designed by Pritzker Prize-winning architects, world-class exhibits and exemplary cultural programming, the Dallas Arts District has become the landmark that defines the heart of the city of Dallas.
Established in 2009 as a nonprofit 501(c)3 organization as the AT&T Performing Arts Center neared completion, today’s Dallas Arts District serves residents and patrons of the district, increasing awareness of and access to arts and the District. Operating under the umbrella of Downtown Dallas, Inc. as advocate, steward and representative, The Dallas Arts District serves stakeholders including the AT&T Performing Arts Center, Booker T. Washington High School for the Performing and Visual Arts, Crow Collection of Asian Art, Dallas Black Dance Theatre, Dallas Museum of Art, Dallas Symphony Orchestra, Dallas Theater Center, Klyde Warren Park, Nasher Sculpture Center, The Dallas Opera, The Perot Museum of Nature & Science, Hall Financial, MetroArts Corporation and One Arts Plaza, among others.
The Dallas Arts District is funded by grants, voluntary membership dues, sponsorships and donations. To learn more about how you can help support your Dallas Arts District, visit www.dallasartsdistrict.org.
About Klyde Warren Park
Klyde Warren Park serves as a central gathering space for Dallas and its visitors to enjoy in the heart of the city. The 5.2-acre deck park, designed by the Office of James Burnett, creates an urban green space over the existing Woodall Rodgers Freeway between Pearl and St. Paul Streets in Downtown Dallas. The park includes a performance pavilion, restaurant, shaded walking paths, a dog park, a children’s park, great lawn, water features, and an area for games, providing year-round activities to all citizens of Dallas. Klyde Warren Park is privately operated and managed by the Woodall Rodgers Park Foundation, a 501(c)(3) nonprofit organization.
For more information on volunteering or donations, please visit www.KlydeWarrenPark.org or call 214-716-4500.
~~~~
EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE
ADDITIONAL INFORMATION ABOUT “OCTOBER AT THE DALLAS OPERA”
IS CONVENIENTLY AVAILABLE ONLINE, 24/7
VISIT WWW.DALLASOPERA.ORG AND CHECK THE CALENDAR LISTINGS
For high-resolution, digital photographs suitable for print
To arrange an interview
Or for additional information
Please contact Suzanne Calvin, Manager/Director Media & PR
214.443.1014 or suzanne.calvin@dallasopera.org
The Dallas Opera’s 2013-2014 “By Love Transformed” Season
Is Sponsored by Texas Instruments Foundation
THE DALLAS OPERA WISHES TO EXPRESS ITS GRATITUDE TO OUR EXCLUSIVE PARTNERS:
AMERICAN AIRLINES – OFFICIAL AIRLINE OF THE DALLAS OPERA
LEXUS – OFFICIAL VEHICLE OF THE DALLAS OPERA
~~~~
Ticket Information for the 2013-2014 Dallas Opera Season
All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center. Subscriptions are now on sale to the general public, starting at just $76. Single Tickets starting at $19 and Flex Subscriptions are also on sale. Family performances are $5 (Family Performance Subs are $12 for three family performances) and are on sale now. For more information or to make your purchase, contact The Dallas Opera Ticket Services Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.
THE DALLAS OPERA 2013-2014 SEASON INFORMATION
The Dallas Opera celebrates its Fifty-Seventh International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District. Evening performances will begin at 7:30 p.m. and Sunday matinees will begin at 2:00 p.m. unless otherwise stated. English translations will be projected above the stage at every performance and assistance is available for the hearing impaired.
CARMEN by Georges Bizet
October 25 (special time, 8:00 p.m.), October 27(m), 30, November 2, 8 & 10(m), 2013
The most irresistible bad girl in opera—how can you possibly say “non”?
An opera in four acts first performed in Paris on March 3, 1875
Text by Henri Meilhac and Ludovic Halévy based on the novella by Prosper Mérimée
Time: 19th century
Place: Seville, Spain
Conductor: Emmanuel Villaume
Stage Director: Chris Alexander
Scenic Design: Jean-Pierre Ponnelle
Costume Design: Werner Iverke
Lighting Design: Thomas Hase
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Children’s Chorus Master: Melinda Cotten
Starring: Clémentine Margaine**(Carmen), Brandon Jovanovich (Don José Oct. 25, 27, 30), Bruno Ribeiro* (Don José Nov. 2, 8, 10), Mary Dunleavy (Micaëla), Dwayne Croft (Escamillo), Danielle Pastin*(Frasquita), Audrey Babcock*(Mercédès), Kyle Albertson*(Zuniga), Steven LaBrie (Le Dancaïre), William Ferguson* (Remendado), John David Boehr*(Moralès).
DEATH AND THE POWERS by Tod Machover
February 12, 14, 15 & 16(m), 2014
Science fiction and poignant family drama combine in a major regional premiere!
An opera in one act first performed in Monte Carlo, Monaco at the Salle Garnier on September 24, 2010.
Text by Robert Pinsky, based on a story by Pinsky and Randy Weiner
Time: Unknown time in the future
Place: Earth, the home of billionaire Simon Powers
Conductor: Nicole Paiement
Stage Director: Diane Paulus*
Associate Director: Andrew Eggert*
Scenic Design: Alex McDowell*
Costume Design: David Woolard*
Lighting Design: Don Holder
Choreography: Karole Armitage*
Wig & make-up Design: David Zimmerman
Starring: Robert Orth (Simon Powers/Robot One), Joélle Harvey (Miranda/Robot Four), Patricia Risley(Evvy/Robot Three), Hal Cazalet*(Nicholas/Robot Two), Frank Kelley*(The United Way), David Kravitz*(The United Nations), Tom McNichols*(The Administration).
DIE TOTE STADT (“THE DEAD CITY”) by Erich Wolfgang Korngold
March 21, 23(m), 26, 29 and April 6(m), 2014
The Hitchcock-like tale of one man’s dark obsession with the woman he loved and lost.
An opera in three acts first performed in Hamburg & Cologne, Germany on December 4, 1920
Text by Erich Wolfgang Korngold and Paul Schott based on a novel by Georges Rodenbach, Bruges la morte
Time: End of the 19th century
Place: The city of Bruges in northwestern Belgium
Conductor: Sebastian Lang-Lessing*
Stage Director: Mikael Melbye
Scenic Design: Mikael Melbye*
Costume Design: Dierdre Clancy*
Video Design: Wendall Harrington*
Lighting Design: Mark McCullough
Wig & make-up Design: David Zimmerman
Choreography: Matthew Ferraro*
Chorus Master: Alexander Rom
Starring: Anne Petersen**(Marietta) , Jay Hunter Morris (Paul), Morgan Smith (Fritz), Weston Hurt (Frank), Katherine Tier*(Brigitta), Andrew Bidlack (Albert), Jan Lund**(Victorin), Jennifer Chung (Juliette), Angela Turner Wilson (Lucienne).
THE BARBER OF SEVILLE by Gioachino Rossini
March 28, 30(m), April 2, 5, 11 & 13(m), 2014
Figaro, a scheming barber and jack-of-all-trades plots to release a headstrong girl from her gilded cage!
An opera in two acts first performed in Rome on February 20, 1816
Text by Pierre-Augustin de Beaumarchais, from his comedy Le Barbier de Séville
Time: 18th century
Place: Seville, Spain
Conductor: Giuliano Carella*
Stage Director: Herb Kellner
Original Production: John Copley
Scenic Design: John Conklin
Costume Design: Michael Stennet
Lighting Design: TBD
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Starring: Nathan Gunn (Figaro), Isabel Leonard*(Rosina), Alek Shrader*(Count Almaviva), Donato DiStefano (Dr. Bartolo), Burak Bilgili*(Don Basilio), Nathan De’Shon Myers (Fiorello), Christian Teague*(Ambrogio).
DALLAS OPERA FAMILY PERFORMANCES
Jack and the Beanstalk: October 26, 2013 and April 5, 2014
Family Concerts: November 3, 2013 and February 1, 2014
The Elixir of Love: November 9, 2013 and April 12, 2014
* Dallas Opera Debut
** American Debut
______________________________________________________________________________________
The Dallas Opera is supported, in part, by funds from: Texas Instruments Foundation, TACA, City of Dallas, Office of Cultural Affairs; the Texas Commission on the Arts and The National Endowment for the Arts (NEA). American Airlines is the official airline of The Dallas Opera. Lexus is the official vehicle of The Dallas Opera. Advertising support from The Dallas Morning News. A special thanks to the Elsa von Seggern Foundation for its continuing support.
###
It marked her American debut so the pressure was on, but French mezzo-soprano–in two performances last weekend–showed herself more than capable of handling the heat, and generating a few extra gigawatts herself.
The reviews are pouring in, including this one from Olin Chism of KERA’s “Art & Seek” who called Sunday’s matinee “a magnificent hello by Villaume and the company” in Emmanuel Villaume’s first appearance as music director of the Dallas Opera. Chism also praised Clementine Margaine as “a joy to hear…a gifted actress who managed, somehow, to make the Gypsy seductress not only sexily fiery and steel-willed, but even occasionally vulnerable.” Read Olin’s review here.
Over at the Dallas Observer, music critic Katie Womack wrote “TDO’s production of Carmen (borrowed from the San Francisco Opera) is traditional, with hefty sets, warm lighting and vibrant period costumes. The chorus — especially the women — sounded strong and confident on Sunday and the children’s choir performed beautifully as both singers and actors, adding some much needed movement and energy to crowd scenes….other highlights included the trio of Margaine with her female cohorts in crime (Audrey Babcock and Danielle Pastin as Mercédès and Frasquita respectively). Babcock and Pastin not only held their own in scenes with the mezzo star, but added to the beauty with stunning vocals that resulted in a sumptuous blend of sound. As the pitiful Micaela, who loses her lover to Carmen’s grasp, Mary Dunleavy also sang with impressive technique.” Read Katie’s take on the production here.
Gregory Sullivan Isaacs, the Classical Music Critic for “Theater Jones,” was thrilled by the performance of Maestro Villaume: “Expectations were high as Villaume took the podium for the first time, to sustained applause, and he didn’t disappoint. Right from the first energetic downbeat, brimming with confidence, Villaume took change of the production and with that same gesture, he also assertively took charge of the Dallas Opera itself. As a conductor, Carmen was a triumph for the new maestro. As a Music Director, affirming his credentials of all to see, it gave him a solid launching pad for the future.”
And Gregory considered Brandon Jovanovich’s Don José crucial to the success of the performance, writing, “…tenor Brandon Jovanovich dominated the production. His supple Wagner-sized stentorian tenor produced both thrilling high notes and a gorgeous soft sound. The climax at the end of his flower aria (“La fleur que tu m’avais jetée”), usually blasted, floated like gossamer. Even better, he is a superb actor. His disintegration from stiff soldier to crazed madman was completely believable, physically as well as vocally.” Read his “Theater Jones” review right here.
“Dallas Morning News” Classical Music Critic Scott Cantrell applauded the casting of the secondary principle roles: “Secondary roles are splendidly cast: Danielle Pastin and Audrey Babcock as Carmen’s friends Frasquita and Mercédès, Kyle Albertson and John David Boehr as the officers Zuniga and Moralès, William Ferguson and Steven LaBrie as the smugglers Le Remendado and Le Dancaïre.” He also appreciated Villaume’s leadership at the podium, writing: “The orchestra’s playing was mostly quite fine, Villaume giving it finely considered focus, direction, expression and drama.” Read Scott’s complete review here.
Over at D Magazine’s “Front Row” blog, reviewer Wayne Lee Gay was captivated by Carmen herself, Clementine Margaine in her American debut: “The sheer force of Margaine’s voice impresses when she turns up the volume. She possesses, at the same time, the magical ability to project apianissimo above the orchestra. She delivers all of this with a beauty of tone that holds up throughout her range. Margaine likewise infuses her rendition of Carmen with high-heat eroticism, from her constantly surprising interaction with the other performers—yes, even in this most familiar of all operas—to her intriguing caressing of French consonants. There have been many great Carmens of many different nationalities through the years, but Margaine brings a French linguistic and cultural insight that adds unique breadth to the role.” Read Wayne’s commentary on the production here.
David Weuste, writing for the online publication “Opera Pulse,” also had high praise for Don José: “Brandon Jovanovich as Don José brought perhaps the best voice to the stage (perhaps only second to Mary Dunleavy as Micaëla), with a powerful tenor that rang out over even the most powerful parts of Bizet’s fantastic score. He easily melded his voice throughout the performance to match his fellow singers whether it was the bright Dunleavy or the darker Margaine, and his phrasing always seemed to be in touch with Villaume’s direction of the orchestra.” Read David’s entire take on the production here.
More to come…better get your tickets now.
Suzanne Calvin, Director of Media and Public Relations