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Applications Open for The Dallas Opera Guild Biennial Lone Star Vocal Competition
FOR IMMEDIATE RELEASE:
Monday, January 13, 2020
Contact: Suzanne Calvin 214.443.1014
suzanne.calvin@dallasopera.org
Celebrating Our Proud Texas Heritage!
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Applications Are Now Open for
THE DALLAS OPERA GUILD BIENNIAL LONE STAR
VOCAL COMPETITION
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A New Competition
For Accomplished Young Artists with Texas Connections
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2020 Competition Chair Dr. Susan Fleming
Honorary Chair, Martha Allday
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Same Day Semi-Finals and Finals: May 9, 2020
Margot and Bill Winspear Opera House
The AT&T Performing Arts Center, Dallas, Texas
DALLAS, JANUARY 13, 2020 – The Dallas Opera and The Dallas Opera Guild are pleased to announce that applications are now being accepted for a newly-revived, state-based vocal competition to alternate every other year with The Dallas Opera National Vocal Competition.
The Dallas Opera Guild Biennial Lone Star Vocal Competition will take place on Saturday, May 9, 2020 in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center, Dallas, TX.
General Director and CEO Ian Derrer notes, “The Dallas Opera Guild has always had a special affection for homegrown talent. It’s easy to understand why the membership wished to return to that proud tradition and recreate that sense of excitement in an entirely new way.
“This new competition has our full support and should complement—beautifully—The Dallas Opera National Vocal Competition in 2021, which will continue to feature the full Dallas Opera Orchestra,” Derrer adds.
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The state competition is open to singers, age 18 through 30 (as of May 9, 2020), who are Texas residents or students. Applicants may not have participated in any Young Artist or Resident Artist Program with a professional opera company, or, had any prior principal artist contract with an opera company.
Applications will be accepted only through YAP Tracker. Applications will close on February 14, 2020, and the competition semi-finalists will be announced on March 15, 2020.
In order to apply, go to: https://www.yaptracker.com/applications/dallas-opera-comp-2020. There is a $20 application fee per entry.
The Spring 2020 Competition will offer thousands of dollars in prize monies to Texas-based singers. The winner will also be guaranteed a spot in the Semi-Finals Round of The Dallas Opera’s national vocal competition taking place the following year, along with the chance to perform for an audience of Dallas Opera Board and Trustees.
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This competition also marks the return of former Dallas Opera Artistic Director Jonathan Pell (long associated with the original statewide competition) as a member of the blue-ribbon judges panel, along with TDO’s Director of Artistic Administration David Lomeli and renowned arts administrator, educator and adjudicator Dr. Brian Zeger.
On the faculty of The Juilliard School since 1993 and its Artistic Director of Vocal Arts since 2004, Dr. Zeger, who will head the panel, is also the former Executive Director of the Metropolitan Opera Lindemann Young Artist Development Program.
2020 Competition Chair Dr. Susan Fleming remarked, “The Dallas Opera Guild is extremely proud of the many professional voices in development that we have fostered for more than three decades. We are eager to hear those who will be selected to compete this year and look forward to hosting an enthusiastic hometown crowd in the Winspear next May!
“We encourage YOU to come be part of the Lone Star cheering section!”
This year’s Honorary Chair is longtime Dallas Opera supporter and Guild Member Martha Allday.
Now in her fifth year as a member of The Dallas Opera Board, Martha Allday has given her enthusiastic support to The Dallas Opera’s Hart Institute for Women Conductors, as well as the annual vocal competition.
With her husband, Dr. Robert Allday, Martha served as Guild Co-President during our second season in the Winspear Opera House (2010-2011). It was in that capacity that she became involved in the Guild’s annual vocal competition.
Beginning in the spring of 2010 with the world premiere production of Heggie and Scheer’s Moby-Dick, the Alldays have hosted numerous visiting artists (and, at times, their families) in their home during extended stays in Dallas.
“Every artist has a unique story about how they came to their careers in opera, and vocal competitions are frequently a part of that story,” Martha Allday observes. “Recognizing the importance of the competitions to artists in the critical, nascent stages of their careers, I feel it is incumbent upon us to support their development in this way.”
“Patsy and I,” writes Dallas Opera Guild Co-Chair Bob Brooks, “along with Susan Fleming, as this year’s vocal competition chairperson—and the entire Dallas Opera Guild—are excited to sponsor this return to a biennial Texas-based competition to complement The Dallas Opera’s national vocal competition.”
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HISTORY OF THE DALLAS OPERA GUILD VOCAL COMPETITION:
In February of 1987, then-Dallas Opera Guild Presidents Connie and Jerry Klemow proposed establishing a Guild-sponsored scholarship fund to financially assist qualified singers seeking a career in opera. With the approval of TDO management and the enthusiastic support of Artistic Director and Principal Conductor Nicola Rescigno, a committee comprised of Chair Connie Klemow, Pat Blankenship, Nora Sands and Maria Santarelli, was entrusted to formulate a plan. Soon, the committee welcomed the assistance of then-General Director Plato Karayanis, company dramaturg Roger Pines and Dallas Morning News Classical Music Critic John Ardoin.
Mr. Ardoin suggested a grants program be established in lieu of a scholarship fund or a competition. His suggestion was considered and the concept accepted. It was decided to focus on applicants from North Texas, ages 18-35 with some professional experience. Roger Pines named the program “The Career Development Grant for Singers” (CDGS), and after 20 months of planning the first CDGS program was presented on October 8, 1988 at SMU’s Caruth Auditorium.
However, for any program to remain dynamic, change and growth must occur. During these past 27 years there have been many changes. From the initial grants program, the concept evolved into The Dallas Opera Guild Vocal Competition which, until 2014, was focused on vocalists with a Texas connection, both natives and temporary residents. A “People’s Choice Award” and Encouragement Awards were added and, today, financial awards are given directly to the winners to use at their discretion. Through this event, the Guild continues to recognize and honor members of The Dallas Opera community who have demonstrated a special interest in promoting the careers of talented young singers, or, have given exceptional support to The Dallas Opera and the Guild. Jonathan Pell led the Judge’s panel for the first 26 years.
The vocal competition was significantly re-imagined and expanded in its 27th year to allow applicants from all 50 states and U.S. Territories. Dr. Brian Zeger began chairing a judge’s panel that includes leading figures in American Opera administration and classical music.
The national competition was reorganized to take place over a two-day period. Finalists were accompanied by The Dallas Opera Orchestra under the direction of the Mrs. Eugene McDermott Music Director Emmanuel Villaume through 2018 and under the baton of Maestro Riccardo Frizza in 2019.
Now, the competition has evolved yet again to serve the needs of accomplished young artists at both the statewide and national level.
The Dallas Opera Guild remains dedicated to its original commitment to recognize, honor and support exceptionally talented young singers. The distributed award monies are funded anew each year. Guild members graciously donate their time, energy, money and talents to ensure that these prestigious competitions, both national and Texas-centric, succeed in cultivating the next generation of world-class opera artists.
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ABOUT THE DALLAS OPERA:
One of the leading opera companies in the country, The Dallas Opera has an extraordinary legacy of world-class productions and thrilling premieres featuring the greatest operatic artists of our time. Inaugurated in 1957 with a concert featuring the incomparable Maria Callas, TDO is known for the notable U.S. debuts of a host of legendary artists including Plácido Domingo, Dame Joan Sutherland, Jon Vickers, Franco Zeffirelli, and Sir David McVicar. The company has long been an industry leader and innovator through groundbreaking initiatives like the Hart Institute for Women Conductors, free public simulcasts, acclaimed art song recitals, the national vocal competition, special concerts, and outstanding family and award-winning education programs. TDO’s home is the Margot and Bill Winspear Opera House, a jewel in the Dallas Arts District. As one of the largest performing arts employers in North Texas, TDO is proudly committed to diversity, onstage and off, and is a major contributor to the economic vitality and international cultural reputation of this region.
2019-2020 SEASON SPONSOR
The Nancy A. Nasher and David J. Haemisegger Family
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EVENTS, GUESTS, ARTISTS and PROGRAMMING ARE SUBJECT TO CHANGE
The Dallas Opera is supported, in part, by funds from: Elsa von Seggern Foundation;
Texas Instruments; the City of Dallas Office of Arts and Culture;
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.
NorthPark Center, the official shopping center of The Dallas Opera
All performances in The Dallas Opera’s 63rd International Season will take place in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center, unless otherwise indicated. 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. Full and Flex subscriptions are designed to meet the needs of every budget. Prices range from just $57 (for three performances of your choice) to a top orchestra floor price of $777 for all five mainstage productions. Single tickets are priced from $19 to $289 (a few box seats may be higher). For additional information or to make your purchase, call 214.443.1000 or visit dallasopera.org.
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The Magic Flute Opens October 18th – Free Simulcast on Friday, November 1, 2019
FOR IMMEDIATE RELEASE:
Tuesday, October 15, 2019
Contact: Suzanne Calvin 214.443.1014
suzanne.calvin@dallasopera.org
The Dallas Opera is Proud to Present
THE MAGIC FLUTE
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Mozart’s Magical, Comical Celebration
Of the Human Spirit
OCTOBER 18 – NOVEMBER 3, 2019
Conducted by Music Director Emmanuel Villaume
Directed by Kyle Lang in his TDO Debut
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Starring Paolo Fanale (Tamino), Andrea Carroll (Pamina), Jeni Houser (Queen of the Night), Morris Robinson (Sarastro), and Sean Michael Plumb (Papageno)
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FREE, LIVE COMMUNITY SIMULCAST
FRIDAY, NOV. 1, 2019 AT KLYDE WARREN PARK
Curtain Time: 7:30 p.m.
DALLAS, OCTOBER 15, 2019 – The Dallas Opera opens its 2019-2020 “Standing Ovation” Season on a high note this Friday with The Linda and Mitch Hart Season Opening Night Performance of Wolfgang Amadeus Mozart’s final operatic masterpiece, The Magic Flute.
The October 18, 2019 performance in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center will begin at 8:00 p.m. (please note the special curtain time) with subsequent performances at the usual times.
Conducted by Emmanuel Villaume (The Mrs. Eugene McDermott Music Director of The Dallas Opera) and directed by Kyle Lang (Ann Stuart Stage Director) in his company debut, The Eleanor Ford Penrose Mainstage Production boasts a superb international cast of singers who have captivated audiences from the Kennedy Center to Covent Garden.
Italian tenor Paolo Fanale and American soprano Andrea Carroll will make their house debuts as the spirited romantic leads, Tamino and Pamina, braving trials and separations in order to find love, wisdom and happiness together, at long last.
“Tamino demands a beautiful voice that radiates youthful ardor,” wrote Harper’s Bazaar, “and you’ll hear it from this ‘heart-throb Italian tenor (Paolo Fanale).” Meanwhile, Opera News noted that Miss Carroll is “a favorite of the Vienna State Opera, (lauded for her) vibrant soprano (with its) rich, low register and gleaming top.”
American soprano Jeni Houser will account for several of the performance’s high notes as the majestic Queen of the Night. She, too, earned exceptional praise from Opera News for her “focused expressive high soprano…nailing her killer Act II showpiece.”
The role of Papageno, a comic tour-de-force, marks the eagerly-awaited house debut of baritone Sean Michael Plumb, whose “elegant lyricism and responsive musicality” (The New York Times) have made this award-winning California native a welcome presence on many of the world’s most prestigious stages.
Dallas Opera favorite Morris Robinson, an American bass last seen on the Winspear stage as The Commendatore in our acclaimed 2018 spring production of Don Giovanni, “dominates the stage…with his firm, opulent tone that seems to pour forth from another world” (The Classical Review). He returns in the role of the mysterious Sarastro.
Casting the roles of the First, Second, and Third Lady is about choosing complementary voices capable of creating one of the great trios in opera. The Dallas Opera indulged in “luxury casting” across the board: The First Lady will be sung by American soprano Diana Newman, the Second Lady by American mezzo-soprano Samantha Hankey (The Charron and Peter Denker Rising Star), and the Third Lady by American contralto Hannah Ludwig – all in their TDO debuts.
The troubled Monastatos, will be portrayed by character tenor Brian Frutiger with soprano Abigail Rethwisch as the charming Papagena and bass David Pittsinger as The Speaker.
Rounding out this outstanding cast are the First, Second and Third Boy sung by Keiland Holleman, Lukas Palys, and Michael Blumenthal, respectively.
The First Man in Armor will be sung by Aaron Short. Ryan Kuster will portray the Second Man in Armor. Sam Parkinson appears in the role of the First Priest, with Michael Christopher as the Second Priest.
This eighteenth-century masterpiece premiered in Vienna in 1791, and mixes popular song with show-stopping coloratura and a lilting touch of glockenspiel.
Tickets for Mozart’s The Magic Flute may be purchased by phone (214.443.1000), online (www.dallasopera.org) or at the door, starting at just $19.
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This production, originally directed by the late Sir Peter Hall, was designed by British cartoonist and illustrator extraordinaire, Gerald Scarfe, best known for a half century of scathing political cartoons for The Sunday Times and for directing and designing the animation sequence for Pink Floyd’s film and concert versions of The Wall. Mr. Scarfe has designed sets and costumes for opera companies from Seattle to New Zealand, as well as creating numerous books, exhibits, and acclaimed one-man shows.
Lighting design for this production is by Thomas C. Hase. Wig and make-up design is by Dawn Rivard.
As always, chorus preparation is by Dallas Opera Chorus Master Alexander Rom.
Performances of The Magic Flute continue on October 20(m), 23, 26, and November 1 (The Enrico Foundation Performance) and November 3(m), 2019. Evening performances in the Winspear Opera House begin at 7:30 p.m., (except for the opening night performance mentioned above) and the curtain rises on TDO Sunday matinees at 2:00 p.m. There is no late seating.
The Magic Flute will be performed in its original language, German, with English-language translations projected above the stage at every performance.
Student Rush Tickets are available at the box office 90 minutes prior to curtain – a valid student ID is required for each ticket.
Additionally, The Dallas Opera is Pleased to Announce its 18th Live Simulcast since 2010!
A FREE KLYDE WARREN PARK SIMULCAST
FRIDAY, NOVEMBER 1, 2019
The Dallas Opera will present a free live simulcast of Mozart’s The Magic Flute at beautiful Klyde Warren Park. This special presentation takes place in the Dallas Arts District on Friday, November 1, 2019 (program begins at 6:00 p.m., curtain time – 7:30 p.m.) and is open to all.
This will be a live simulcast of that night’s performance in the Winspear Opera House, presented for park patrons on a large high-definition video screen.
“The free fall simulcast in Klyde Warren Park has quickly evolved into one of our most popular traditions,” explains Dallas Opera Director of Marketing and Ticket Sales Carrie Ellen Adamian. “It’s not merely a grand night for opera, it’s a marvelous opportunity to celebrate community life with your loved ones, children, and friends.
“For those who may never have experienced opera before, The Magic Flute is especially delightful with its combination of gorgeous arias and a fantastic storyline that will keep you on the edge of your…blanket.”
Klyde Warren Park is located at 2012 Woodall Rodgers Freeway, Dallas, TX 75201. Sign up today for reminders and updates at www.dallasopera.org/simulcast. However, no reservations are required in order to attend the free November 1st simulcast, whether you’re coming alone or with 50 of your closest friends and family members!
The fun begins at 6:00 p.m. on Friday, November 1st with popular radio host Amy Bishop of WRR, “Classical 101” and Kristian Roberts, Education Administrator for The Dallas Opera. Activities include a trivia contest, behind-the-scenes interviews with the cast, and the high-definition screening of a 1950 classic cartoon, Rabbit of Seville (courtesy of WB Classics), directed by Chuck Jones and written by Michael Maltese. This short was voted #12 of the 50 all-time greatest cartoons ever created, in a survey of animation industry professionals.
The cartoon also “tips the hat” to our engaging season finale, The Barber of Seville (April 24th through May 10, 2020), Rossini’s hilarious comic masterpiece.
The public is encouraged to arrive with time to spare before the 7:30 curtain, and to bring blankets or low lawn-chairs to secure their spot on the lawn. A variety of nearby wining-and-dining options include Savor, serving New American cuisine and assorted food trucks.
Picnic baskets and pets are permitted, as well.
The 2019 Magic Flute Simulcast is made possible in part by The Enrico Foundation with additional support provided by Texas Instruments.
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The Dallas Opera Wishes to Express Our Gratitude to Those
Whose Generous Contributions Made Possible
This 2019 Production of The Magic Flute:
The Eleanor Ford Penrose Mainstage Production
Production Underwriters Cindy and Charlie Feld
Linda and Mitch Hart Season Opening Night Performance, Oct. 18, 2019
The Enrico Foundation Performance, Nov. 1, 2019
Charron and Peter Denker Rising Star: Samantha Hankey
Ann Stuart Stage Director: Kyle Lang
ABOUT THE DALLAS OPERA:
One of the leading opera companies in the country, The Dallas Opera has an extraordinary legacy of world-class productions and thrilling premieres featuring the greatest operatic artists of our time. Inaugurated in 1957 with a concert featuring the incomparable Maria Callas, TDO is known for the notable U.S. debuts of a host of legendary artists including Plácido Domingo, Dame Joan Sutherland, Jon Vickers, Franco Zeffirelli, and Sir David McVicar. The company has long been an industry leader and innovator through groundbreaking initiatives like the Hart Institute for Women Conductors, free public simulcasts, acclaimed art song recitals, the national vocal competition, special concerts, and outstanding family and award-winning education programs. TDO’s home is the Margot and Bill Winspear Opera House, a jewel in the Dallas Arts District. As one of the largest performing arts employers in North Texas, TDO is proudly committed to diversity, onstage and off, and is a major contributor to the economic vitality and international cultural reputation of this region.
2019-2020 SEASON SPONSOR
The Nancy A. Nasher and David J. Haemisegger Family
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EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE
The Dallas Opera is supported, in part, by funds from: Elsa von Seggern Foundation,
Texas Instruments, the City of Dallas Office of Arts and Culture,
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.
All performances in The Dallas Opera’s 63rd International Season will take place in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center, unless otherwise indicated. 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. Full and Flex subscriptions are designed to meet the needs of every budget. Prices range from just $57 (for three performances of your choice) to a top orchestra floor price of $777 for all five mainstage productions. Single tickets are priced from $19 to $289 (a few box seats may be higher). For additional information or to make your purchase, call 214.443.1000 or visit www.dallasopera.org.
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Featured Artist – Paolo Fanale
Paolo Fanale, Tenor
Tamino, The Magic Flute
Why do you think the collaboration between opera and social media is important?
The work of social portals is very important today, but for me I still prefer the handwritten letter and the voice of the person who speaks to me. Above all the physical contact with people is what strengthens the knowledge and friendships.
What first interested you in opera?
I found opera music pure musical elegance! I was attracted to it immediately and fell madly in love with all aspects of the art form.
How you feel about making your Dallas Opera debut?
I am filled with great emotion in finally having the opportunity to perform in Dallas. As a good Sicilian, I love the hot days outside when I’m not in rehearsal. I am like a lizard, always seeking the sun. Dallas is perfect for me
What excites you about our production of The Magic Flute?
This production of The Magic Flute is simply beautiful. From the moment the curtain rises, audiences are sucked into rich colors and whimsical set and costume designs. The music is beautiful, and Maestro Villaume has studied every musical detail to make it perfect. The great fortune for a singer is the surprise of finding great music directors like Villaume who embody great musical knowledge and stylistic direction. All this makes the world of opera “pure art”
What do you want the audience to take away from your performance?
The audience members in the theater are like customers in an Italian restaurant….. They will eat well and feel happy.
What we want to give is a union of artistic forces rich in emotion and great musical sensitivity. This is the emotional gift I wish for all of Dallas in experiencing The Magic Flute.
The Dallas Opera Hart Institute for Women Conductors Update
FOR IMMEDIATE RELEASE:
Wednesday, October 9, 2019
Contact: Suzanne Calvin 214.443.1014
suzanne.calvin@dallasopera.org
Changing the Face of Classical Music
The Dallas Opera Hart Institute
For Women Conductors
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Celebrating 5 Years of Transformational Success
OCTOBER 27 – NOVEMBER 9, 2019
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Outstanding New Faculty include: Ana De Archuleta,
Elizabeth Buccheri, Rona Eastwood, Julia Lagahuzère,
Sophie Joyce, Lee Anne Myslewski, and Dmitry Vdovin
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In Partnership with the Dallas Symphony Orchestra’s
Women in Classical Music Symposium
DALLAS, OCTOBER 9, 2019 – The Dallas Opera is preparing to host twelve distinguished professionals (six conductors, three administrators, and three American Observers) selected to participate in the fifth annual residency of the Linda and Mitch Hart Institute for Women Conductors at The Dallas Opera taking place Oct. 27 – Nov. 9, 2019 in Dallas, Texas. The six conductors are:
- Tiffany Chang (USA)
- Jane Kim (USA) a 2019 Hart Institute Observer replacing Jiannen Cheng of China, who experienced delays in obtaining a U.S. visa.
- Tamara Dworetz (USA)
- Marta Kluczyńska (Poland)
- Madeline Tsai (Taiwan)
- Molly Turner (USA)
Seeking to address a long-standing issue of gender-imbalance at the podium, The Dallas Opera in 2015 launched a unique multifaceted program—one of a handful in the world—designed to provide training and career support for distinctively talented women conductors on the cusp of major international careers.
“I was beyond thrilled to hear of my acceptance to the 2019 Dallas Opera’s Hart Institute” wrote U.S. participant Tamara Dworetz. “The opportunity to learn from world-class conductors, instrumentalists, opera singers and leaders will strengthen my skills and broaden my dimensionalism as a conductor while bolstering my career and professional network; I cannot thank Linda and Mitch Hart and The Dallas Opera enough for initiating and supporting this progressive and powerfully impactful program.”
Ian Derrer, The Dallas Opera’s Kern Wildenthal General Director and CEO explains: “Providing career advancement opportunities makes it possible for these talented women to compete for top-level positions in classical music. This is one of the most important contributions we could make to this art form, and it will be needed for years to come. After five years, the support and passion of the TDO Family burns brighter than ever.”
A total of 90 women conductors and professional musicians heeded the call in 2019, despite even more stringent admissions requirements initiated last year. Applicants from 27 countries included music directors, principal and assistant conductors, concertmasters and music staff from top-ranked symphonies, opera companies, and conservatories.
“Even for the most talented artists, a journey to the forefront of the conducting profession is difficult, and particularly so for women,” wrote Taiwanese conductor Madeline Tsai. “The Dallas Opera’s Linda and Mitch Hart Institute gives its residents a strong gust of wind forward as they sail toward their dreams on the horizon.
“I am immensely grateful and honored for this incredible opportunity to learn from an amazing faculty and other talented artists at the Institute.”
As is the case each year, talented U.S. Observers were chosen to audit the 2019 Institute: Rebecca Henry, Sarah Klein and Rachel Waddell.
Reserved seating for the 2019 Hart Institute Showcase Concert at 7:30 p.m. on Saturday, November 9, 2019 is available for $25 or $50 per person (depending on the section) and can be purchased through The Dallas Opera Ticket Office at 214.443.1000 or by visiting dallasopera.org/harttickets.
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The Dallas Opera Hart Institute in 2019 will consist of hands-on master classes with the Mrs. Eugene McDermott Music Director, Emmanuel Villaume; TDO’s Martha R. and Preston A. Peak Principal Guest Conductor Nicole Paiement and Carlo Montanaro, a renowned Italian conductor. Returning faculty include a variety of industry leaders and members of The Dallas Opera Senior Staff.
Sessions include career advancement seminars; topical industry discussions; intensive one-on-ones and a variety of networking opportunities.
American conductor Molly Turner noted: “As a young conductor, getting into the Hart Institute opens so many doors traditionally left open only for older and often male conductors.”
“I’m humbled to have such a dedicated opportunity to focus on a genre and repertoire that are least familiar to me and to engage artistically with the excellent musicians and administration of The Dallas Opera” added US conductor Tiffany Chang.
NEW HART FACULTY IN 2019:
Ana De Archuleta is president and CEO of ADA Artist Management and has quickly established herself as one of the most sought-after managers in the operatic field, representing a thriving roster of vocalists, conductors and directors worldwide.
Elizabeth Askren, Franco-American conductor, has guest conducted the London Symphony Orchestra, the Royal Philharmonic Orchestra, and the Orchestre de Chambre de Paris.
Elizabeth Buccheri, chamber musician and vocal coach, was assistant conductor of Lyric Opera of Chicago from 1987 to 2013. A dedicated teacher, Ms. Buccheri has given master classes at The Juilliard School, Eastman School of Music, AMFS, Lawrence Conservatory, and the music academies of Lithuania and Latvia.
Lisa Bury, Chief Advancement and Strategy Officer for The Dallas Opera, previously served in senior positions at the Boston Symphony Orchestra, Seattle Opera, Lyric Opera of Chicago and Florida Grand Opera.
Rona Eastwood is Senior Associate Director of Conductors at Askonas Holt. The move across to artist management followed, initially assisting Martin Campbell-White with conductors and occasional touring projects. She has remained with the company ever since, ultimately building an independent list of artists.
Sophie Joyce is the Director of the Lindemann Young Artist Development Program, the Metropolitan Opera’s elite program for leading young singers on the cusp of international opera careers.
Julia Lagahuzère is the General Director of “Opera for Peace” and former Deputy Casting Director for Opéra National de Paris in the two theatres of Opéra de Bastille and Palais Garnier. She is also artistic consultant to the Queen Sonja International Music Competition in Oslo, Norway.
Charlotte Lee is the President and Founder of Primo Artists, a boutique classical music agency in New York.
Thomas Maddrey is the founding partner and lead attorney for Maddrey PLLC, a boutique firm dedicated to art law and creative business law.
Lee Anne Myslewski oversees all aspects of Wolf Trap Opera, an artist-centric program whose alumni are singing in every opera house in the nation and in the most prestigious houses in the world and also serves as the executive producer and co-host of Center Stage from Wolf Trap, a nationally-syndicated radio program.
Paolo Petrocelli serves as the Cultural and Music Diplomacy Officer for the Permanent Secretariat of the World Summit of Nobel Peace Laureates and has become a leading member of some of the most prestigious international organizations, including the United Nations, UNESCO, and the World Economic Forum. He also acts as Director of Institutional Relations and International Affairs for UNESCO’S “Opera for Peace.”
Stephanie Rhodes Russell, a renowned opera collaborator, is a Conducting Fellow with the Fort Worth Symphony and Associate Conductor for the Grand Teton Music Festival.
Jennifer Spencer is currently working alongside Ivan Fischer on the artistic and touring planning for the Budapest Festival Orchestra, and (in October 2017) she created a small conductor roster which she operates in conjunction with IMG Artists Ltd from London.
Beth Stewart is the founder of Verismo Communications, a classical music PR firm that prizes authenticity over plasticity, creates space and opportunity in clients’ lives, and operates with unswerving integrity.
Dmitry Vdovin is founder and artistic director of the Bolshoi Theatre Young Artist Program. He is also the Artistic Director of UNESCO’S “Opera for Peace” initiative.
Jenna Wolf, Development and Communications Consultant for “Opera for Peace – Leading Young Voices of the World” as well as the PR and Marketing Director for Lenny’s Studio, New York, New York.
This year’s Hart Institute for Women Conductors is also partnering with the Dallas Symphony Orchestra’s inaugural “Women in Classical Music Symposium” taking place November 6-9, 2019 in the Morton H. Meyerson Symphony Center, in order to provide even greater resources and connections for women in the field.
“I am delighted to work alongside our colleagues at The Dallas Opera as the Dallas Symphony launches its Women in Classical Music Symposium. The Hart Institute has established itself as an important event for women conductors, and their input while designing the symposium has been invaluable,” said Kim Noltemy, President & CEO of the Dallas Symphony Orchestra. “Together, we are showing that the Dallas performing arts community is committing to a sustained effort to make changes in the industry.”
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“The Hart Institute has and will continue to transform the field, with alumnae being singled out for important appointments, projects, and commissions in both the opera and symphonic world,” notes TDO’s Director of Artistic Administration David Lomeli.
Hart Institute alumnae accomplishments in just the past year include the appointment of Anna Skryleva as Music Director of the Magdeburg Opera and as the first female Chief Conductor of the Klassik Philharmonie Hamburg, Tianyi Lu as Welsh National Opera’s first “Female Conductor in Residence,” the appointment of Lina Gonzalez-Granados as a 2019-2020 Conducting Fellow for both Seattle Opera and the Philadelphia Orchestra; Chicago Opera Theater’s Lidiya Yankovskaya (Artistic Director of the Refugee Orchestra Project) leading refugee musicians in a performance at the United Nations General Assembly in New York City, the naming of Stephanie Mercier to the position of Director of Artistic and Production Operations at Washington National Opera, and the promotion of another Hart Administrator, Jennifer Rivera, to the position of Executive Director and CEO of Long Beach Opera.
Additionally, two Hart Institute conductors (and one faculty member, Nicole Paiement) made the list of the “Top 20 Women Conductors in the World” in 2019 (Norman Lebrecht, Slipped Disc).
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While the Hart Institute began with a focus on supporting talented conductors, the challenges faced by women opera administrators remain equally daunting. To address this imbalance, The Dallas Opera added a new component to the Hart Institute: through 2022, TDO will invite between two and four American opera administrators to participate each season. These women will be selected on the basis of their potential to become leaders of one of America’s top opera companies.
The 2019 Hart Institute Administrators are:
- Kristen Bigham (Lyric Opera of Chicago)
- Beverly Love (Wilbanks Partners)
- Suzanne Vinnik (artist & entrepreneur—founder of Shoperatic)
The selected opera administrators will have access to all group sessions and special sessions during the annual residency in Dallas.
One of the goals of the program is to construct a wide network of influential female leaders in the administrative offices of performing arts organizations, both large and small, as well as onstage and in the orchestra pit.
HART INSTITUTE – NEW CONDUCTING FELLOW
JANE KIM (USA) is the recipient of the 2018 Charles Schiff Conducting Prize. She currently serves as Assistant Conductor with the Little Orchestra Society. She has appeared with the New Amsterdam Symphony Orchestra and Carnegie Hall’s Ensemble Connect, and, as cover conductor, she works with the New York Philharmonic, Canadian Opera Company, Juilliard Orchestra, and other ensembles. Previously, Jane served as Music Director of the Juilliard Pre-College String Ensemble and conductor of the Juilliard Lab Orchestra. Her summer activities include Aspen Music Festival, which she attended as a Conducting Fellow, and Pierre Monteux Music Festival, where she was named a Bernard Osher Scholar. Jane holds a bachelor’s degree from the University of California, Berkeley and a master’s degree in orchestral conducting from The Juilliard School.
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Naming Support for the Institute from Linda and Mitch Hart
Initial Support from the Richard and Enika Schulze Foundation
Additional Support from The Andrew W. Mellon Foundation,
Baker Botts LLP, Cindy and Charlie Feld, Jenifer and Peter Flynn,
Susan and Mark Geyer, Holly and Tom Mayer, J.P. Morgan,
Betty and Steve Suellentrop, Martha and Max Wells,
Debra Witter and Scott Chase, and Texas Women’s Foundation
Made Possible by an OPERA America Innovation Grant
Supported by the Ann and Gordon Getty Foundation
ABOUT THE DALLAS OPERA:
One of the leading opera companies in the country, The Dallas Opera has an extraordinary legacy of world-class productions and thrilling premieres featuring the greatest operatic artists of our time. Inaugurated in 1957 with a concert featuring the incomparable Maria Callas, TDO is known for the notable U.S. debuts of a host of legendary artists including Plácido Domingo, Dame Joan Sutherland, Jon Vickers, Franco Zeffirelli, and Sir David McVicar. The company has long been an industry leader and innovator through groundbreaking initiatives like the Hart Institute for Women Conductors, free public simulcasts, acclaimed art song recitals, the national vocal competition, special concerts, and outstanding family and award-winning education programs. TDO’s home is the Margot and Bill Winspear Opera House, a jewel in the Dallas Arts District. As one of the largest performing arts employers in North Texas, TDO is proudly committed to diversity, onstage and off, and is a major contributor to the economic vitality and international cultural reputation of this region.
2019-2020 SEASON SPONSOR
The Nancy A. Nasher and David J. Haemisegger Family
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EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE
The Dallas Opera is supported, in part, by funds from: Elsa von Seggern Foundation;
Texas Instruments Foundation; the City of Dallas Office of Cultural Affairs;
The Texas Commission on the Arts and the National Endowment for the Arts (NEA).
American Airlines is the official airline of The Dallas Opera.
Lexus is the official vehicle of The Dallas Opera.
Advertising support from The Dallas Morning News.
All performances in The Dallas Opera’s 63rd International Season will take place in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center, unless otherwise indicated. 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. Full and Flex subscriptions are designed to meet the needs of every budget. Prices range from just $57 (for three performances of your choice) to a top orchestra floor price of $777 for all five mainstage productions. Single tickets are priced from $25 to $289 (a few box seats may be higher). For additional information or to make your purchase, call 214.443.1000 or visit www.dallasopera.org.
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The Dallas Opera and NorthPark Center Present “The Fabric of Opera: The Winspear World Premieres”
FOR IMMEDIATE RELEASE:
Thursday, September 12, 2019
Contact: Suzanne Calvin 214.443.1014
suzanne.calvin@dallasopera.org
The Dallas Opera and NorthPark Center Present
THE FABRIC OF OPERA:
The Winspear World Premieres
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Exhibit of Historic Dallas Opera Costumes Sept. 13 – Nov. 6, 2019
NorthPark Center, Dallas, TX
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The Nancy A. Nasher and David J. Haemisegger Family – Season Sponsors of The Dallas Opera
DALLAS, SEPTEMBER 12, 2019 – The Dallas Opera and NorthPark Center are proud to present rarely-exhibited historic costumes from the private collection of The Dallas Opera.
The all-new FABRIC OF OPERA exhibition, building on the popular success of last year’s inaugural display, will be on view from September 13, 2019 through November 6, 2019 at NorthPark Center, 8687 N. Central Expressway, Dallas, TX 75225. The exhibition is located on Level One near Neiman Marcus.
This year’s exhibition will consist of spectacular costumes created for The Dallas Opera by some of the finest design talents in the world—including Tony Award winners Jane Greenwood and Bob Crowley, renowned British set and costume designer Gary McCann, and Drama Desk Award winner David C. Woolard. The new exhibition will showcase designs specifically created for The Dallas Opera world premieres at the Winspear Opera House (2009-2019) during the company’s first decade in this critically-acclaimed venue.
“We were delighted by the chance to create a second edition of The Fabric of Opera, and happy to renew our partnership with NorthPark Center,” said Ian Derrer, The Kern Wildenthal General Director and CEO.
“As The Dallas Opera celebrates a successful decade in the Winspear Opera House, it seemed only natural to focus on the world premieres that helped put the company in the international spotlight.”
The Fabric of Opera: The Winspear World Premieres, curated by Dallas Opera set and costume designer Tommy Bourgeois, will showcase characters and costumes—both real and fantastical.
NorthPark Center visitors will get close-up views of the meticulously-researched outfits of nineteenth century seafarers, modern day mountaineers, contemporary opera stars, and the imaginary denizens of the North Pole—including sprightly elves and a young man named Nick. It will also include revealing commentary from the composers and librettists who poured themselves into these important contemporary works.
“From the start,” writes Moby-Dick (2010) composer Jake Heggie, “we imagined an innovative, modern set and physical production, but we always thought of the costumes in classic terms. So did the great Jane Greenwood and she delivered beautiful clothes that helped us to understand and identify the characters clearly at every turn.”
Mark Adamo, the composer/librettist of Becoming Santa Claus (2015), worked closely with set and costume designer Gary McCann: “What Gary came up with is, to me, a designer’s equivalent to what Tolkien devised in The Lord of the Rings: a world made entirely of fantasy which is, at once, as persuasive as history. I tried to achieve that project in sound. Gary made that sound visible.”
“Superb costume designs have always been an integral part of our company fabric,” explains Mr. Derrer. “The work of today’s best designers, seen in this exhibit, will undoubtedly inspire new generations of artists, designers, and Dallas Opera audiences.
“We are deeply indebted to Nancy Nasher and David Haemisegger for their unwavering support for this project.”
NorthPark Center, Dallas’ premier shopping destination, has long been associated with high style and luxury, as has opera design from the very beginning. As NorthPark is the long-term presenting sponsor of TDO’s FIRST SIGHT Fashion Presentation and Luncheon, it is the perfect place to host these exhibitions.
“The amazing Nasher Sculpture Center was one of the first places I visited when I came to Dallas,” recalls Emmanuel Villaume, the Mrs. Eugene McDermott Music Director. “That world-class collection told me a great deal about the influence of the Nasher Family on the arts in North Texas. However, it was a subsequent trip to NorthPark Center that made me realize that there was so much more to be explored.
“I embrace every opportunity for collaboration between our two companies,” Maestro Villaume adds. “They are always profoundly beautiful experiences.”
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ABOUT THE DALLAS OPERA:
One of the leading opera companies in the country, The Dallas Opera has an extraordinary legacy of world-class productions and thrilling premieres featuring the greatest operatic artists of our time. Inaugurated by the incomparable Maria Callas in 1957, TDO is known for the notable U.S. debuts of a host of legendary artists including Plácido Domingo, Dame Joan Sutherland, Jon Vickers, Franco Zeffirelli, and Sir David McVicar. The company has long been an industry leader and innovator through groundbreaking initiatives such as the Hart Institute for Women Conductors, free public simulcasts, acclaimed art song recitals, the national and state vocal competitions, special concerts, and outstanding family and education programs. TDO’s home is the Margot and Bill Winspear Opera House, a jewel in the Dallas Arts District. As one of the largest performing arts employers in North Texas, TDO is proudly committed to diversity, onstage and off, and is a major contributor to the economic vitality and international cultural reputation of this region.
2019-2020 SEASON SPONSOR
The Nancy A. Nasher and David J. Haemisegger Family
~~~~
EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE
The Dallas Opera is supported, in part, by funds from: Elsa von Seggern Foundation;
Texas Instruments Foundation; the City of Dallas Office of Cultural Affairs;
The Texas Commission on the Arts and the National Endowment for the Arts (NEA).
American Airlines is the official airline of The Dallas Opera.
Lexus is the official vehicle of The Dallas Opera.
Advertising support from The Dallas Morning News.
All performances in The Dallas Opera’s 63rd International Season will take place in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center, unless otherwise indicated. 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. Full and Flex subscriptions are designed to meet the needs of every budget. Prices range from just $57 (for three performances of your choice) to a top orchestra floor price of $777 for all five mainstage productions. Single tickets are priced from $25 to $289 (a few box seats may be higher). For additional information or to make your purchase, call 214.443.1000 or visit www.dallasopera.org.
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