FOR IMMEDIATE RELEASE:
Wednesday, March 14, 2012
Contact: Suzanne Calvin
THE DALLAS OPERA IS PROUD TO PRESENT
THE FINALE OF THE “TRAGIC OBSESSIONS” SEASON:
MOZART’S MAGNIFICENT MASTERPIECE!
THE MAGIC FLUTE
Libretto by Emanuel Schikaneder
STARRING SOPRANO AVA PINE AS PAMINA
TENOR SHAWN MATHEY IN HIS TDO DEBUT AS TAMINO
BASS-BARITONE PATRICK CARFIZZI AS PAPAGENO
SOPRANO L’UBICA VARGICOVÁ AS THE QUEEN OF THE NIGHT
BASS RAYMOND ACETO AS SARASTRO
BASS KEVIN J. LANGAN AS THE SPEAKER
AND TENOR DAVID CANGELOSI AS MONOSTATOS
CONDUCTED BY MUSIC DIRECTOR GRAEME JENKINS
STAGED BY DIRECTOR MATTHEW LATA IN HIS COMPANY DEBUT
ORIGINAL PRODUCTION FOR LYRIC OPERA OF CHICAGO
BY AUGUST EVERDING
OPENING NIGHT: FRIDAY, APRIL 20, 2012 AT 7:30 PM
WITH ADDITIONAL PERFORMANCES
APRIL 22(m), 25, 28, MAY 4 & 6(m), 2012
MARGOT & BILL WINSPEAR OPERA HOUSE
AT THE AT&T PERFORMING ARTS CENTER
TACA AND DIANE AND HAL BRIERLEY, PRODUCTION UNDERWRITERS
The Rosemary and Roger Enrico Foundation Performance (April 28)
Ava Pine’s Performance Made Possible with Support from
The Charron and Peter Denker Rising Stars Endowment Fund
DALLAS, MARCH 14, 2012 – The Dallas Opera is extremely proud to present the dazzling finale of our crowd-pleasing, critically acclaimed, 2011-2012 “Tragic Obsessions” Season: Wolfgang Amadeus Mozart’s extraordinary comic-drama, THE MAGIC FLUTE (Die Zauberflöte), opening Friday, April 20, 2012 at 7:30 PM in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center.
This production is made possible with support from Production Underwriters Diane and Hal Brierley and TACA.
Five subsequent performances of THE MAGIC FLUTE have been scheduled for April 22(m), 25, 28, May 4 & 6(m), 2012. FLEX subscriptions are still available, beginning at just $75, and single tickets start at $25. Contact the Dallas Opera Ticket Services Office at 214.443.1000 for more information or purchase online, 24/7, at dallasopera.org.
“This production from Lyric Opera of Chicago,” says Dallas Opera Artistic Director Jonathan Pell “is the most magical Magic Flute I’ve ever experienced. It’s been revived there, time and again, because it’s so immensely popular but it’s a production that could never have been done in our previous performance venue.
“Our move to the Winspear Opera House has finally made it possible to bring this incredibly charming, classic, August Everding production to Dallas and we’ve gone out of our way to stack-the-deck with the addition of a delightful cast.”
Mozart’s THE MAGIC FLUTE will be simulcast live on Saturday, April 28, 2012 at 7:30 PM (doors open at 6:00 PM) at Cowboys Stadium, the high-tech home of the Dallas Cowboys at One Legends Way in Arlington, Texas. Patrons will be able to enjoy a complete, unabridged live performance on the world’s largest high-definition video board structure, comprised of four massive viewing screens (the largest, 72 feet tall and 160 feet wide) suspended directly above the playing field.
Reserved seating is still available (up to 10 seats per person) through the Dallas Opera website at www.dallasopera.org/cowboys.
The April 28th performance, live from the Winspear Opera House, is The Rosemary and Roger Enrico Foundation Performance.
THE MAGIC FLUTE will star soprano Ava Pine, the Dallas Opera’s very first Resident Young Artist, in the role of Pamina—one of her personal favorites. Ms. Pine, a Baroque specialist with a tremendous local fan base, made her Dallas Opera debut as Anna in our 2006 production of Nabucco, and has appeared on our stage in numerous roles including Adele in Die Fledermaus, Zozo in The Merry Widow, Elvira in L’italiana in Algeri, the Slave in Salome and, most recently, as one of three featured artists in the Dallas Opera’s Family Concert, performed in the Winspear last November.
Wherever she goes, Ms. Pine makes the critics struggle for superlatives. Of her 2008 role debut as Adele, Dallas Morning News Classical Music Critic Scott Cantrell wrote: “She can sparkle through coloratura, but also radiate lower-register warmth. And she’s no less dazzling an actress, dancing, flirting and pretty much tying everyone around her little finger.”
Earlier this season, Ms. Pine appeared with the DSO in Mendelssohn’s Symphony No. 2 conducted by Jaap van Zweden, Bach cantatas with the New Jersey Symphony, and Handel’s Messiah with Boston Baroque and Duke University. She also made her role debut as Susanna in Le nozze di Figaro at Opera Colorado and sang the title role in Handel’s Theodora at the University of North Texas with Dallas Opera Music Director Graeme Jenkins conducting.
Ava Pine’s performance is made possible with support from The Charron and Peter Denker Rising Stars Endowment Fund.
Alongside Ms. Pine, the Dallas Opera has cast celebrated tenor Shawn Mathey as Tamino. “He is simply one of the finest Mozartean tenors in the world,” explains Artistic Director Jonathan Pell “and we have spent years trying to lure him to Dallas for his long-awaited debut on our stage. I think audiences will find him absolutely thrilling, from his first note to his last.”
Mr. Mathey’s 2011-12 Season engagements have included debuts with San Francisco Opera as Don Ottavio and with Rome’s Teatro dell’Opera as Lysander in Benjamin Britten’s A Midsummer Night’s Dream. He is also slated to record Bruckner’s Mass No. 3 in F minor with Marek Janowski conducting the Orchestre de la Suisse Romand. Praised by Lawrence A. Johnson of Chicago Classical Review for “displaying a honeyed tenor and proving both ardent and amusing,” Mr. Mathey is in tremendous demand overseas (Germany, Switzerland, France, Austria, Italy, and Sweden) as well as at opera companies across the U.S.
Bass-baritone Patrick Carfizzi, a comic genius who nearly galloped away with the Dallas Opera’s final production in the Music Hall, The Italian Girl in Algiers, returns in the role of the original Birdman, Papageno, Tamino’s love-sick companion. The multifaceted Mr. Carfizzi’s recent engagements include Paolo in Simon Boccanegra with San Francisco Opera, Brander in Le damnation de Faust (Berlioz) at New York’s Metropolitan Opera, Nourabad in Les pêcheurs de perles for Seattle Opera, Dr. Bartolo in Il barbiere di Siviglia for the Canadian Opera Company, and additional roles at the Met including Schaunard in La bohème, the Mandarin in Turandot, Masetto in Don Giovanni, Haly in L’italiana in Algeri and Peter Quince in Britten’s A Midsummer Night’s Dream.
Slovakian soprano L’ubica Vargicová, praised by the international media for her remarkable technique, her glittering high notes, and her commanding stage presence has made the Queen of the Night a signature role since her operatic debut while still a student in Bratislava, and she has left audiences gasping around the world. The New York Times wrote of her Metropolitan Opera debut in this role, that Ms. Vargicová “dispatched the Queen of the Night’s devilish coloratura with fearless attack, bright tone, and impressive accuracy.” That she is breathtakingly beautiful is merely the icing on the cake; it is her artistry in the coloratura repertoire that has enabled her to earn rave reviews as Lucia di Lammermoor, Ophelia, Amina in Bellini’s La sonnambula, and Marie in La Fille du régiment opposite Juan Diego Flórez. She has appeared in prestigious venues from Carnegie Hall to Japan’s finest concert halls, in the wake of her dazzling 2003 Salzburg Festival debut as Olympia in Les Contes d’Hoffmann (a landmark production staged by David McVicar and conducted by Kent Nagano).
Bass Raymond Aceto, the chilling Sparafucile in the Dallas Opera’s acclaimed 2011 production of Rigoletto, has appeared in more than a dozen productions with TDO since his 1995 debut as Monterone, portraying a host of unforgettable characters from Leporello in Don Giovanni (2003), Colline in La bohème (1999), and Fafner in Siegfried (2000) to Lodovico in the Dallas Opera’s 2009 inaugural production in the Winspear Opera House: Verdi’s Otello.
Opera News reported in November 2008 “The American bass has a magnificently warm, round and full voice coupled to a compelling stage presence.” He was also identified as one of the “world class” artists in the Dallas Opera’s cast of Rigoletto (Opera Warhorses) and his performance was termed “a rare treat.”
Engagements this season have included the roles of Banquo in Macbeth at the Royal Opera House, Covent Garden, and Timur in Turandot for San Francisco Opera. This summer, after appearing as Sarastro in our production of Mozart’s The Magic Flute, Mr. Aceto will portray the cruel Baron Scarpia in the Santa Fe Opera Festival production of Tosca.
Bass Kevin J. Langan, who has sung numerous roles with the Dallas Opera, will appear in the role of The Speaker. He was recently described as “the complete package: vibrant, ringing tone, polished phrasing, incisive diction and convincing, unfussy acting” (MusicalCriticism.com).
Mr. Langan has nearly 1300 performances to his credit and a vast repertoire (more than 80 roles from the early Baroque through the 20th century) that has made him a leading bass for San Francisco Opera for three decades. Recently, he became the first artist in SFO history to sing 300 performances in leading roles. Mr. Langan has also been a leading bass for Lyric Opera of Chicago for the past eleven years, in addition to fourteen seasons—and 165 performances—at Santa Fe. It was at Sante Fe Opera that he created the role of Henry Mosher in the 1996 world premiere of Tobias Picker’s Emmeline, broadcast on PBS.
A native of New York City, Mr. Langan’s talents can be enjoyed on numerous opera DVD releases. His orchestral appearances have ranged from the Cincinnati May Festival as Rocco in Fidelio under Music Director James Conlon, The Caramoor Festival as Rocco in Leonore under John Nelson, The Pittsburgh Symphony in Mahler’s Das Klagende Lied, and the Chicago Symphony in Janacek’s Glagolitic Mass (both under Michael Tilson Thomas). Other appearances include Trulove in The Rake’s Progress with The St. Paul Chamber Orchestra under Edo de Waart, and Stravinsky’s Oedipus Rex with The National Symphony in Washington.
Tenor David Cangelosi, one of the most consistently insightful opera artist bloggers in cyberspace, will sing the role of Monostatos. Heaped with critical plaudits for his contributions to the success of the recent San Francisco Ring Cycle, Heard and Seen International declared him: “…possibly the greatest Mime ever. Nobody has ever been more effective or as amusing as David Cangelosi…he made every minute of this often annoying role a total pleasure.” He most recently appeared with the Dallas Opera in our monumental, widely acclaimed 2011 production of Boris Godunov. Prior to the role of Shuisky, Mr. Cangelosi made a memorable marriage broker in TDO’s revival of the Francesca Zambello production of Madama Butterfly that closed the 2010 Season.
David Cangelosi has firmly established himself as an artist who combines both excellent singing and winning characterizations with opera companies and symphony orchestras, worldwide. In 2004, Mr. Cangelosi made his Metropolitan Opera debut as Mime in Das Rheingold, conducted by James Levine, and returned in recent seasons for performances of Incredibile in Andrea Chenier, Tinca in Il tabarro, and the dual role of Nathanael/Spalanzani in Les Contes d’Hoffmann. Other roles at the Metropolitan Opera have included Basilio (The Marriage of Figaro), Goro (Madama Butterfly), and Spoletta (Tosca).
Mozart’s 1791 masterpiece is one of the greatest comic operas of all time, made all the more interesting by the poignant—even disturbing—moments endured by the lead characters, as they attempt to earn their “happy ending.”
The Magic Flute comes by its zany, hodge-podge of a plot honestly, having been inspired not only by 18th century Masonic practices, but by literature reflecting several different traditions. Among these is the 1731 Viennese essay (supposedly translated from an ancient Greek source) about an Egyptian prince named “Sethos” who is called upon to endure an initiation by the four elements: fire, water, earth and air. He is also forced to battle a giant serpent.
The Magic Flute also contains hints of an Arthurian Romance from the late Middle Ages, in which the hero is discovered and aided by three mysterious ladies. Later in the tale, the hero encounters a curious character covered in animal skins that bears more than a passing resemblance to this opera’s famously endearing birdman, Papageno.
The music, on the other hand, couldn’t be more polished or more focused. Reflecting the highest ideals of the Age of Enlightenment and filled with wit, warmth, and genuine humanity, The Magic Flute continues to bewitch audiences with its variety of perfectly expressed musical moods—from utterly cheeky to soaring and sublime.
Soprano Angela Mannino will make her Dallas Opera debut in the role of Papagena, and the Three Ladies will be sung by soprano Caitlin Lynch, mezzo-soprano Lauren McNeese, and mezzo-soprano Maya Lahyani in their company debuts.
Resident Young Artist Aaron Blake will return to the Dallas Opera stage in the dual role of Second Priest and First Man in Armor. Bass Darren K. Stokes will sing the role of the Second Man in Armor.
All six performances will be conducted by the Dallas Opera’s Mrs. Eugene McDermott Music Director Graeme Jenkins, who most recently raised the baton on our season opening production of Lucia di Lammermoor, prompting Classical Music Critic Wayne Lee Gay to write for D Magazine, “Jenkins clearly understands how to place Donizetti acoustically within a fairly large modern theater, as well as historically and philosophically within the complex overlapping styles of the middle nineteenth century. His readings of Donizetti have been, for this listener, revelatory. I’ll admit that, thanks to Jenkins, my attitude toward this particular composer has progressed from “Oh, Donizetti,” to “Ah! Donizetti!”
Maestro Jenkins also drew tremendous praise for the work that brought our 2010-2011 Season to a close: Modest Mussorgsky’s Boris Godunov. According to Dallas Morning News Classical Music Critic Scott Cantrell, it was “a triumph for any opera house, anywhere.
“Marshaled with authority and the greatest sensitivity by Music Director Graeme Jenkins,” he added, “the orchestra played gloriously.”
Jenkins has conducted more than a hundred different operas from Australia to Amsterdam to Vienna, and has served as music director for this company since 1994.
This Lyric Opera of Chicago production will be staged by Matthew Lata, making his TDO debut. Mr. Lata has staged more than a hundred productions with leading opera companies throughout the U.S. He began his career as a director on the staff of the Lyric Opera of Chicago for five seasons. During that time he directed revivals and special productions for the Lyric Opera of Chicago Center for American Artists. Mr. Lata served as an apprentice with Jean-Pierre Ponnelle, Frank Corsaro and Lotfi Mansouri under the auspices of the National Opera Institute, and as production stage manager and assistant director for a number of theaters, prior to joining the staff in Chicago.
He has been a script consultant for various theaters, including the New Playwright’s Theater in Washington and the Rosa Parks Museum in Montgomery, Alabama, in addition to regularly staging works for Lyric Opera of Chicago, Hawaii Opera Theatre, and Florida Grand Opera. Mr. Lata also directed the world premiere of Anton Coppola’s Sacco and Vanzetti to international acclaim at the Tampa Bay Performing Arts Center and staged New York City Opera’s National Tour of La Fille du régiment.
He has taught at the University of Missouri/Kansas City and guested at Northwestern and Yale. Currently, he serves as Director of Opera at Florida State University. Mr. Lata is married to the noted mezzo-soprano Phyllis Pancella.
Scenic design for The Magic Flute is by Jörg Zimmermann in his company debut, with costumes designed by Renata Kalanke.
Lighting design will be by Duane Schuler, with wig and make-up designs by David Zimmerman.
Chorus preparation will be by Dallas Opera Chorus Master Alexander Rom and Children’s Chorus Master Melinda Cotton.
Parking onsite will be available in the Lexus Red Parking beneath the Winspear Opera House and the Lexus Silver Parking adjacent to the Wyly Theatre. Should those reach capacity, additional paid parking is available at nearby One Arts Plaza and in several surface lots. Prices range from $5 to $25 per vehicle.
Single tickets for the remaining mainstage productions of the Dallas Opera’s “Tragic Obsessions” Season are on sale now, starting at just $25, through the Dallas Opera Ticket Services Office at 214.443.1000 or online at www.dallasopera.org. Student Rush best-available tickets can be purchased at the lobby box office for $25 (one per valid Student I.D.) ninety minutes prior to each performance.
FLEX Subscriptions for the opera lovers in your life secures seats for all spring mainstage productions: Tristan & Isolde, La traviata, and The Magic Flute. It also gives you the first chance to obtain one or more of the limited number of tickets available to see the Dallas Opera’s new production of a haunting1980 chamber opera: The Lighthouse by Peter Maxwell Davies. Marking the operatic debut of director Kevin Moriarty, Artistic Director of the Dallas Theater Center, this work will play to intimate audiences in the Dee and Charles Wyly Theatre across the street from the Winspear.
THE DALLAS OPERA GRATEFULLY ACKNOWLEDGES
THE TEXAS INSTRUMENTS FOUNDATION,
PRESENTER OF THE 2011-2012 SEASON
ADDITIONAL INFORMATION ABOUT “MARCH AT THE DALLAS OPERA”
IS CONVENIENTLY AVAILABLE ONLINE, 24/7
VISIT WWW.DALLASOPERA.ORG AND CHECK THE CALENDAR LISTINGS
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Or for additional information
Please contact Suzanne Calvin, Manager/Director Media & PR
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Ticket Information for the 2011-2012 Dallas Opera Season
All performances are in the acoustically acclaimed Margot and Bill Winspear Opera House at the AT&T Performing Arts Center. FLEX subscriptions (three outstanding main- stage performances) begin at just $75. Single tickets start at just $25. For additional information, contact the friendly staff at The Dallas Opera Ticket Services Office at 214.443.1000 or visit us online at www.dallasopera.org. Principal cast members and events may be subject to change. All ticket sales are final.
THE DALLAS OPERA 2011-2012 SPRING SEASON INFORMATION
The Dallas Opera celebrates its Fifty-Fifth International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in downtown Dallas. With the exception of Tristan & Isolde, evening performances will begin at 7:30 p.m. and Sunday matinees will begin at 2:00 p.m. Tristan’s evening performances will start at 7:00 p.m. and matinees at 2:00 p.m. Performances of The Lighthouse (new chamber opera series) will take place in the Dee and Charles Wyly Theatre located directly across the street from the Winspear in the AT&T Performing Arts Center. English translations will be projected above the stage at every performance. Assistance is available for the hearing impaired. Student Rush tickets are available at the box office 90 minutes prior to each performance, valid student ID’s required.
TRISTAN & ISOLDE by Richard Wagner
February 16, 19(m), 22 & 25, 2012
A Special Opera-in-Concert, with projections by Moby-Dick’s Elaine McCarthy!
Ancient Myths, Modern Cine-Magic! And a special curtain time: 7:00 p.m.!
An opera in two acts first performed in Munich, June 10, 1865.
Text by Richard Wagner, based on an ancient Celtic and Icelandic legend.
Place: A ship at sea; outside King Marke’s palace, Cornwall; Tristan’s castle at Kareol
Conductor: Graeme Jenkins
Stage Director: Christian Räth
Video Design: Elaine McCarthy
Lighting Design: Alan Burrett
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Starring: Jeanne-Michele Charbonnet (Isolde), Clifton Forbis (Tristan), Mary Phillips (Brangäne), Jukka Rasilainen** (Kurvenal), Kristinn Sigmundsson* (King Marke), Stephen Gadd** (Melot), and Aaron Blake (A Young Sailor/A Shepherd).
THE LIGHTHOUSE by Peter Maxwell Davies
Inaugural production of the Dallas Opera Chamber Series
Presented in collaboration with the Dallas Theater Center
In the Dee and Charles Wyly Theatre at the AT&T Performing Arts Center
March 16, 17 & 18(m), 2012
A chilling supernatural and psychological thriller!
Time: December 1900
Place: Edinburgh Court of Enquiry, Fladda Isle Lighthouse off the Scottish coast
Conductor: Nicole Paiement*
Stage Director: Kevin Moriarty* (opera directorial debut)
Scenic Design: Beowulf Boritt*
Costume Design: Claudia Stephens*
Starring: (in order of vocal appearance:) Andrew Bidlack* (Officer 1/Sandy), Robert Orth (Officer 2/Blazes), and Daniel Sumegi (Officer 3/Arthur/Voice of the Cards).
LA TRAVIATA by Giuseppe Verdi
April 13, 15(m), 18, 21, 27 & 29(m), 2012
Let’s Party Like It’s 1849!
An opera in three acts first performed in Venice at Teatro La Fenice, March 6, 1853
Text by Francesco Maria Piave, based on Alexandre Dumas’ play, La dame aux camélias
Time: 19th century
Conductor: Marco Guidarini
Stage Director: Bliss Hebert
Production Design: Allen Charles Klein
Lighting Design: Thomas Hase
Choreographer: Rosa Mercedes*
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Starring: Myrtò Papatanasiu** (Violetta Valéry), James Valenti (Alfredo Germont), Laurent Naouri* (Giorgio Germont), Amanda Crider* (Flora Bervoix), Timothy Mix* (Baron Douphol), Mark McCrory (Marchese D’Obigny), Ethan Herschenfeld* (Doctor Grenvil), and Susan Nicely (Annina).
THE MAGIC FLUTE by W.A. Mozart
April 20, 22(m), 25, 28, May 4 & 6(m), 2012
Hearts Tested, Tried and True!
An opera in two acts first performed in Vienna, September 30, 1791.
Text by Emanuel Schikaneder.
Place: Mythological Egypt
Conductor: Graeme Jenkins
Production: August Everding
Stage Director: Matthew Lata
Scenic Design: Jörg Zimmermann*
Costume Design: Renate Kalanke*
Lighting Design: Duane Schuler
Wig & make-up Design: David Zimmerman
Chorus Master: Alexander Rom
Children’s Chorus Master: Melinda Cotten
Starring: Ava Pine (Pamina), Shawn Mathey* (Tamina), Patrick Carfizzi (Papageno), L’ubica Vargicová* (The Queen of the Night), Raymond Aceto (Sarastro), Kevin Langan (The Speaker), David Cangelosi (Monostatos), Angela Mannino* (Papagena), Caitlin Lynch* (First Lady), Lauren McNeese* (Second Lady), Maya Lahyani* (Third Lady), Aaron Blake (First Man in Armour) and Darren K. Stokes* (Second Man in Armour).
* Dallas Opera Debut
** American Debut
The Dallas Opera is supported, in part, by funds from: City of Dallas, Office of Cultural Affairs; TACA; 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. Cartier is the official jeweler and watchmaker of The Dallas Opera. Rosewood Crescent Hotel is the official hotel of The Dallas Opera. Advertising support from The Dallas Morning News. A special thanks to Mrs. William W. Winspear and the Elsa von Seggern Foundation for their continuing support.
I flew to Chicago early yesterday morning to arrive in time for a matinee of Lyric’s opening production of the season, Offenbach’s THE TALES OF HOFFMANN, which opened last week to wonderful reviews.
One would never have guessed, but Matthew Polenzani was performing the title role for the first time in his career. He was terrific, and sang this challenging role effortlessly (and in flawless French, according to someone who should know—conductor Emmanuel Villaume.)
The four villains were enacted by James Morris, a veteran of many productions of HOFFMANN, and it showed. He obviously relishes these roles, and is particularly
effective as the sinister “Dr. Miracle” in the “Antonia” (Munich) act.
The version performed was mostly the Choudens edition (as it was heard a few years ago in Dallas) but included the so-called “Violin” aria for “Nicklausse” which allowed Emily Fons, a member of Lyric Opera’s Ryan Center (their young artists program) an opportunity to impress us with her musicality and sensitivity to French style. A wonderful performance!
Lyric chose to use three sopranos for the heroines, and although Anna Christy as “Olympia” was delightful, the most ravishing singing came from Erin Wall as “Antonia.” Erin is a former member of Lyric’s young artist program (and a former winner of the Dallas Opera Guild’s Vocal Competition) and looked and sounded radiant.
The rest of the cast was very good, including David Cangelosi’s mad scientist, “Spalanzani” and Rodell Rosel as the four servants.
Conductor Emmanuel Villaume conducted elegantly and with real panache. This is a deceptively difficult score to make coherent because of its episodic nature and the various choices the conductor has to make among all the editions and variations available. Emmanuel kept things moving where it needed to move and lingered lovingly when the music required. He has a real affinity and affection for French music (as anyone who heard him conduct FAUST in Dallas can attest) but he seems to enjoy great success in a wide variety of musical styles (as he did in Dallas with Mozart’s MARRIAGE OF FIGARO many years ago.
Since the musical values were so elevated, I just wish the production was more effective. Originally staged by Nicolas Joel, the scenery by Ezio Frigerio, (although it looked lovely) made no sense. The “Show Curtain” when the audience walked into the theatre, was an enormous poster for a circus side show (with the text, inexplicably, in English) and Jim Morris dressed as a ringmaster. While this concept was intriguing and could have worked, when the curtain went up, the permanent set, which never really changed, seemed to put us inside a train station, and the circus theme completely abandoned. Why we were inside a train station was never explained, and made no sense in any of the acts.
The one truly clever “bit” was to have “Olympia” the mechanical doll, on a computerized wagon that slid around the stage by remote control. There were also mechanized instruments that mysteriously “played” themselves in the “Antonia” act and gondoliers in the “Giulietta” act that were automatons.
This was obviously an attempt to tie all of Hoffmann’s tales together somehow, but it simply didn’t work.
This afternoon I will hear the members of the Ryan Center in audition, and tonight attend the opening of a new production of LUCIA DI LAMMERMOOR, which will be an interesting experience, since The Dallas Opera is currently in rehearsal for LUCIA, which is set to open on October 21 with a very different cast.
Singer David Cangelosi has been an invaluable asset to the Dallas Opera’s production of “Boris Godunov” – both on and off the stage! Check out his latest blog entry on why this production matters to Dallas and more. Entertaining and informative reading, to be sure, from a real “prince” of an artist.
And, yes, he DID tell us so!
Suzanne Calvin, Manager/Director Media & PR
You know, it’s one thing when a schlub like me waxes enthusiastically about a singer; it’s something else entirely when a bonafide and respected professional does the same about another artist. So, this entry on DavidCangelosi.com was definitely worth noting–in regard to the superb Russian artist singing the title role in our upcoming production of “Boris Godunov.”
It opens April 1st – no fooling! Get your tickets now!
Suzanne Calvin, Manager/Director Media & PR