The 2020 Dallas Opera Guild Biennial Lone Star Vocal Competition has moved online and voting is underway through June 7th. The sole winner will be decided by popular vote. More details can be found in the release below.
20 Guild Vocal Comp Moves Online-FINAL
Click on the link below for the “Songs for Dallas” Media Release.
FOR IMMEDIATE RELEASE:
Monday, September 9, 2019
Contact: Suzanne Calvin 214.443.1014
suzanne.calvin@dallasopera.org
One Competition Becomes TWO
To Celebrate Our Proud Texas Roots!
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THE DALLAS OPERA GUILD BIENNIAL
LONE STAR VOCAL COMPETITION
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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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Applications Will Be Accepted In January
Same Day Semi-Finals and Finals: May 9, 2020
Margot and Bill Winspear Opera House
The AT&T Performing Arts Center, Dallas, Texas
DALLAS, SEPTEMBER 9, 2019 – The Dallas Opera and The Dallas Opera Guild are pleased to announce the revival of a state-based vocal competition to alternate every other year with The Dallas Opera National Vocal Competition sponsored by the Guild.
The inaugural Texas-centric event, The Dallas Opera Guild Biennial Lone Star Vocal Competition, is scheduled to 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.
The Spring 2020 Competition—Chaired by Dr. Susan Fleming—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.
“Patsy and I,” says 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.”
The competition is open to singers ages 18 through 30 (as of the actual date of the 2020 Competition) 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 a principal artist contract with any opera company.
Applications will be accepted only through YAP Tracker, beginning on January 10, 2020. Applications will close on February 14, 2020, and the competition semi-finalists will be announced on March 15, 2020. Additional details will be forthcoming later in the year.
The Dallas Opera is very pleased to announce the return of former Artistic Director Jonathan Pell (long associated with the original statewide competition) as one judge in the blue-ribbon 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.
“I am really delighted now to have been asked by the company and the Opera Guild to help re-launch this unique competition,” Jonathan Pell wrote. “In my long career in the arts, nothing ever brought me more satisfaction or joy than discovering and nurturing extraordinary young talent, and helping to foster the careers of a new generation of opera stars.”
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 writes. “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.”
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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 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 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 is Proud to Announce the
Conductors, Administrators, and Observers for The Fifth Annual
Linda and Mitch Hart Institute for
Women Conductors at The Dallas Opera
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Oct. 27 – Nov. 9, 2019 in Dallas, Texas
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Distinguished 2019 Hart Institute Conducting Faculty Include
Emmanuel Villaume, Nicole Paiement, and Carlo Montanaro
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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,
Betty and Steve Suellentrop, and Martha and Max Wells
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Made Possible by an OPERA America Innovation Grant
Supported by the Ann and Gordon Getty Foundation
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Hart Institute Public Concert: Saturday, November 9, 2019
The Margot and Bill Winspear Opera House
DALLAS, MAY 29, 2019 – The Dallas Opera is proud to announce the names of the twelve distinguished professionals (six conductors, three administrators, and four 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:
Working to address a long-standing issue at the podium, The Dallas Opera in 2015 launched a unique multifaceted program—one of a mere handful in the world—designed to provide training and career support for distinctively talented women conductors on the cusp of major international careers. Female conductors, as well as accomplished women singers, opera coaches, accompanists, and instrumentalists with established careers seeking to further develop their skills at the podium, were encouraged to apply.
“Big D is my Big W,” observed Polish conductor Marta Kluczyńska. “I feel awesome.”
“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.”
This groundbreaking initiative received vital foundational support from the Richard and Enika Schulze Foundation. Naming support came through the generosity of Linda and Mitch Hart.
Additional support for the 2019 Hart Institute comes 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, Betty and Steve Suellentrop, and Martha and Max Wells.
Made possible by an OPERA America Innovation Grant, supported by the Ann and Gordon Getty Foundation.
Ian Derrer, The Dallas Opera’s Kern Wildenthal General Director and CEO explains: “One of the ways we advance our art form and engage more people is by providing career advancement opportunities for gifted women conductors, ensuring they have the chance to compete for top-level positions in classical music.
“That’s why the Hart Institute was founded and why it will be needed for years to come.
“The support and passion of the TDO Family is behind this effort—more 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, four talented U.S. Observers were chosen to audit the 2019 Institute: Rebecca Henry, Jane Kim, Vera Volchansky and Rachel Waddell.
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The 2019 Linda and Mitch Hart Institute 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 last seen on our podium conducting three world-class tenors (Michael Fabiano, Bryan Hymel and Matthew Polenzani) in TDO’s “One Night Only Gala.”
Sessions include career advancement seminars with experienced professionals; topical industry discussions; intensive one-on-ones and networking opportunities; as well as the chance to conduct The Dallas Opera Orchestra in a public concert in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center on the evening of November 9, 2019 (additional details to be announced at a later date).
This year’s Hart Institute for Women Conductors is 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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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.
“The Hart Institute appears to be having a pronounced positive impact on 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.
Marc A. Scorca, President and CEO of OPERA America, earlier remarked: “The Dallas Opera continues to expand its influence and stature among American opera companies, as shown by this exciting new initiative. The company is to be applauded for taking a significant step to remedy the existing gender imbalance on the podium. This effort complements OPERA America’s support of the work of female opera composers and promises to enrich the art form by encouraging more gifted artists to express themselves through opera.”
Chinese conductor Jiannan Cheng summed up: “I am honored and thrilled to be selected to participate in the Hart Institute at the Dallas Opera and I am looking forward to growing as a conductor through this world-class experience!”
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While the Hart Institute began with a focus on supporting talented conductors, the challenges faced by women opera administrators are equally daunting. To address this imbalance, The Dallas Opera last year 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 at some point in their careers.
The 2019 Hart Institute Administrators are:
The selected opera administrators will have access to all group sessions and special sessions during the annual residency in Dallas. This curriculum includes the role of the board, leadership development, personal branding, media and PR training, effective artist management, and navigating recruiting processes for senior level positions. To continue to develop their musical skills, which is essential for any opera executive, the administrators will observe rehearsals with The Dallas Opera Orchestra and conducting master classes. Special sessions on Development, Finance, and Marketing will be offered as well.
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.
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2019 Hart Institute Conductors
TIFFANY CHANG (USA)
Taiwanese-American conductor Tiffany Chang is the Visiting Assistant Professor of Conducting and Conductor at Oberlin Conservatory and Assistant Professor at the Berklee College of Music. She also served impactful terms as Interim Director of Orchestral Studies at Baldwin Wallace Conservatory and Acting Director of Orchestral Activities at Boston University. A 2017 Winner of The American Prize in Opera Conducting, Chang has been engaged by NEMPAC Opera Project, BlueWater Chamber Orchestra, OperaHub, Pro Arte Chamber Orchestra of Boston, ALEA III, Xanthos Ensemble, Brookline Symphony Orchestra, international music festivals such as IASAS and AMIS, among others. She studied with David Hoose and Bridget-Michaele Reischl, receiving a DMA in orchestral conducting from Boston University and several degrees in cello performance, music education, composition, and music theory from Oberlin Conservatory.
JIANNAN CHENG (CHINA)
Jiannan Cheng, a native Chinese conductor, served as an assistant in the 2018 Opernfestspiele Heidenheim in Germany where she conducted a performance of Verdi’s Nabucco with the Stuttgart Philharmonic. Recently, Cheng worked with the City Lyric Opera in New York City as the répétiteur and the assistant conductor in a production of La Tragédie de Carmen. Cheng was the 2018 Conducting Fellow of the Cincinnati Symphony Orchestra and served as the Music Director in the CCM production of Mozart’s La Clemenza di Tito and the 2019 Interim Music Director of the CCM Concert Orchestra. Cheng was a candidate for the 2017 German Conductors’ Award, second prize winner of the 2016 4×4 Competition for Composers & Conductors and studied with Kurt Masur at the 2015 Aurora Music Festival in Sweden.
TAMARA DWORETZ (USA)
Tamara Dworetz is a 2019 Conducting Fellow for the Cabrillo Festival of Contemporary Music. Her upcoming commitments include serving as assistant conductor to Bramwell Tovey, Principal Conductor of the BBC Concert Orchestra at the BBC Proms in London. Recently, Tamara was awarded 2nd prize in the Boston Pops’ Bernstein-inspired conducting competition. Previous positions include Assistant Conductor for the Austin Symphony Orchestra and the Butler Opera Center. A dedicated music educator, Tamara was the conductor for the Austin Youth Orchestra, University of Texas University Orchestra and Lakeside High School Orchestra program in Atlanta, Georgia. Tamara attended Indiana University, the University of Texas at Austin, and she is currently pursuing a Doctorate of Musical Arts degree at Boston University.
MARTA KLUCZYŃSKA (POLAND)
Marta Kluczyńska graduated with degrees in Symphony and Opera Conducting and Piano Studies from The Fryderyk Chopin University of Music Warsaw. At the age of 24 she made her opera debut at the Polish National Opera in Warsaw where she, as a resident conductor, has conducted numerous opera and ballet performances including A Midsummer Night’s Dream by Benjamin Britten, The Haunted Manor by Stanisław Moniuszko, The Nutcracker by Peter Tchaikovsky, and Romeo and Juliet by Sergej Prokofiev. In 2017, Kluczyńska made her critically acclaimed debuts at the Wrocław Opera with La Cenerentola and at Landestheater Coburg (Germany) with Le nozze di Figaro. She has led concerts with orchestras such as Sinfonia Varsovia, Polish National Radio Symphony Orchestra (Katowice), Polish Radio Orchestra (Warsaw) and the Polish Sinfonia Iuventus.
MADELINE TSAI (TAIWAN)
Chi-Chen Madeline Tsai is a versatile musician who has been trained as a conductor, pianist, singer, organist, and timpanist. She was the only Asian female invited to the Solti International Conducting Competition in Hungary, where she won the People’s Choice Award. Following this award, she conducted the Pazardzhik Symphony Orchestra in Bulgaria and the Kaohsiung Symphony Orchestra in Taiwan. She has also conducted the St. Petersburg Chamber Philharmonic, the Philharmonic Chamber Orchestra Berlin, the Rousse Philharmonic Orchestra, the Lithuanian State Philharmonic Orchestra, and the National Radio Orchestra Bucharest. As a coach and accompanist, she assisted Grace Bumbry for her masterclasses on Aida and Cavalleria Rusticana in Vienna. Ms. Tsai is currently completing a doctorate in orchestral conducting at the University of Cincinnati.
MOLLY TURNER (USA)
Molly Turner is an emerging young conductor from Seattle, Washington. She recently completed her Bachelors in Music Composition at Rice University and will pursue a Masters in Orchestral Conducting at Juilliard in the fall. Her primary conducting mentors include Larry Rachleff, Gerard Schwarz, and Jerry Hou. At Juilliard, she will be working with David Robertson. Recently, she has been featured with the Rice Campanile Orchestra, the Eastern Festival Orchestra, and the Shepherd Undergraduate Opera Scenes. She has also conducted The Philharmonia Orchestra (UK) and the Bay Area Youth Symphony (Houston). A strong advocate for new music, Ms. Turner regularly collaborates with Rice’s New Music Ensemble “Hear & Now” as a composer, violist, and conductor. She enjoys writing for the voice and conducts her own works.
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2019 Hart Institute Administrators
KRISTEN BIGHAM (USA)
Kristen Bigham is the Gift Planning Associate at Lyric Opera of Chicago. Combining over five years of experience in the financial services industry with her background as a trained vocalist and director, she works to enhance and expand Lyric’s robust legacy giving program and community, The Overture Society. A native of Fort Worth, TX, she received her Bachelor of Music degree from the University of North Texas and her Master of Music degree in Vocal Performance from Roosevelt University’s Chicago College of Performing Arts. Dedicated to promoting the presence, creativity, and leadership of women within the performing arts, Kristen is a passionate arts advocate and development professional, and has worked with numerous arts organizations throughout Chicago, including Rough House Theater, Piven Theatre, Links Hall, and Forte Chicago.
BEVERLY LOVE (USA)
Beverly Love is currently a search consultant and Chief Operations & Administrative Officer with Wilbanks Partners, a boutique asset management executive search firm. She previously worked in the office of the Chief Economist and Asia Chairman of Morgan Stanley & Company and subsequently spent three years in Russell Reynolds Associates’ asset and wealth management practice. Prior to that, Beverly was the founding Director of the Greater Atlanta Christian School of Music. A jugendlich dramatischer soprano, she has performed throughout the US and in Italy and Austria. She earned a Masters in Voice/Opera Performance from Southern Methodist University, summa cum laude and Phi Kappa Lambda, and a Bachelors in Vocal Performance from Abilene Christian University, where she graduated with Honors, summa cum laude, and Valedictorian.
SUZANNE VINNIK
Suzanne Vinnik is an award-winning international opera singer, photographer and arts entrepreneur known for her innate musical phrasing, daring fashion sense and ability to provide innovative marketing solutions to artists, brands and arts organizations. The soprano saw a need for a specialized social media network and marketplace for women in classical music thus creating, Shoperatic. The community stands at over 11k female identifying women in opera (the largest in the industry) and is responsible for generating well over $450k in income for artists since 2017 with zero outside funding or paid advertisement. As a cultural affiliate, the soprano enjoys volunteering and co-producing events with Sing For Hope. Vinnik is an alumnus of the Opera Studio di Accademia Nazionale di Santa Cecilia in Rome, Italy.
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2019 Hart Institute Observers
REBECCA HENRY (USA)
Rebecca Henry began the 2018-2019 season as Music Director for Georgetown Gilbert and Sullivan Society’s production of Ruddigore. This summer, she will be serving on the voice faculty of the Performing Arts Institute at Wyoming Seminary. A proponent of new music, Rebecca was music director for the world premiere of Do Not Disturb (Forgotten Opera Company) and premiered works in New Works Fest with Opera on Tap. Additional conducting credits include The Mikado, La Perichole, HMS Pinafore, Ruddigore, and Robin Hood (Victorian Lyric Opera Company). Future engagements include an appointment as Associate Conductor for Bel Canto in Tuscany. When she is not conducting, she can be seen performing as a mezzo-soprano throughout the country and abroad. She received her Undergraduate degree from Rice University and her Masters from McGill University in Montreal.
JANE KIM (USA)
Jane Kim 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.
VERA VOLCHANSKY (USA)
Vera Volchansky, described as conductor of “impeccable taste…whose artistic ability transforms a performance into a meaningful event,” has performed in the United States, Europe, Asia and Russia. Ms. Volchansky is the 2013 American Prize finalist in Conducting, and holds a master’s degree in Conducting from the Eastman School. She was chosen as Conducting Fellow with the American Academy of Conducting in Aspen. As a winner of the Fulbright Award, she studied music of the Russian Avant-Garde and the style of the St. Petersburg school of conducting. Her favorite performances include Stravinsky’s Soldier’s Tale, Lucia di Lammermoor, and a sold-out concert celebrating the newly-installed Reuter Organ with Grammy-Winning organist Paul Jacobs. Vera was also recently featured on the Moving Forward Podcast with John Lim.
RACHEL WADDELL (USA)
Rachel L. Waddell is an American conductor rapidly gaining acclaim for her innovative concert programming, and commitment to new music, education, and collaboration. In recognition of her concert programs, Waddell was recently named a finalist for the American Prize’s 2019 Vytautas Marijosius Memorial Award in Orchestral Programming. Waddell is entering her third season as the Director of Orchestral Activities at the University of Rochester in New York. She previously served as the Associate Conductor of the Canton Symphony Orchestra and Music Director of the award-winning Canton Youth Symphonies. While with Canton, Waddell conducted over eighty performances. Additionally, she has guest conducted around the country, including the Rochester Philharmonic Orchestra, Cleveland’s Suburban Symphony Orchestra, the Las Vegas Philharmonic, and the Flagstaff Light Opera Company.
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ABOUT THE DALLAS OPERA
Founded in 1957, The Dallas Opera is an internationally-recognized innovator dedicated to the overall advancement of the operatic art form and the support of established and emerging artists, as well as the education and development of new opera audiences in North Texas—and beyond. These goals are achieved by commissioning and producing world-class opera; through ground-breaking institutes, national competitions and topical programs; and by presenting opera in both traditional and non-traditional formats and venues in order to attract patrons of every age, background, educational level, and ethnicity—while engaging with more than 87,000 people in our community each year. TDO is equally committed to the task of responsible stewardship and is managed with efficiency and accountability, to the highest possible standards.
2019-2020 SEASON SPONSOR
The Nancy A. Nasher and David J. Haemisegger Family
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EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE
FOR HIGH-RESOLUTION PHOTOGRAPHS
Contact Suzanne Calvin, Director of Media and PR at suzanne.calvin@dallasopera.org
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.
TICKET INFORMATION FOR THE 2019-2020 DALLAS OPERA SEASON
All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise indicated. Full and Flex Subscriptions are on sale now; single Tickets range from $19 to $289 and go on sale to the public on July 15, 2019. Family performance tickets are just $5. For more information or to make your purchase, contact The Dallas Opera Ticket Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.
THE DALLAS OPERA 2019-2020 MAINSTAGE SEASON
The Dallas Opera celebrates its 63rd International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District. Evening performances will begin at 7:30 p.m. and Sunday matinees begin at 2:00 p.m. unless otherwise stated. English translations will be projected above the stage at every performance and assistance is available for the hearing impaired. With the exception of FIRST NIGHT, The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain, at most performances.
THE MAGIC FLUTE by Wolfgang Amadeus Mozart
October 18, 20(m), 23, 26, November 1 & 3(m), 2019
This magical production from LA Opera and Seattle Opera opens the season on a high note!
Libretto by Emanuel Schikaneder
Time: Ancient times
Place: An Egyptian-inspired mythological land
Conductor: Emmanuel Villaume
Original Director: Sir Peter Hall
Director: Kyle Lang*
Set and Costume Designer: Gerald Scarfe
Lighting Designer: TBA
Wig & Make-up Designer: Dawn Rivard
Chorus Master: Alexander Rom
Starring: Paolo Fanale* (Tamino), Andrea Carroll* (Pamina), Olga Pudova* (The Queen of the Night), Morris Robinson (Sarastro), Markus Werba* (Papageno), Diana Newman* (First Lady), Samantha Hankey* (Second Lady), Hannah Ludwig* (Third Lady), Brian Frutiger* (Monastatos), Jeni Houser* (Papagena), David Pittsinger (The Speaker), Aaron Short* (1st Man in Armor) and Ryan Kuster (2nd Man in Armor).
THE GOLDEN COCKEREL by Nikolai Rimsky-Korsakov
October 25, 27(m), 30, and November 2, 2019
A Dallas Opera co-production that opened to rave reviews in Santa Fe!
Libretto by Vladimir Belsky based on the poem by Alexander Pushkin
Time: 19th century
Place: The thrice-tenth tsardom, a faraway place in Russian folklore
Conductor: Emmanuel Villaume
Director and Choreographer: Paul Curran
Set and Costume Designer: Gary McCann
Lighting Designer: Paul Hackenmueller
Projections Designer: Driscoll Otto
Chorus Master: Alexander Rom
Wig and Make-up Designer: Dawn Rivard
Starring: Venera Gimadieva* (Queen of Shemakha), Nikolay Didenko* (King Dodon), Viktor Antipenko* (Prince Guidon), Corey Crider (Prince Afron), Kevin Burdette (General Polkan), Barry Banks* (The Astrologer), Lindsay Ammann (Amelfa), and Jeni Houser (The Golden Cockerel).
DON CARLO by Giuseppe Verdi in Concert/Semi-Staged
March 20, 22(m), 25 & 28, 2020
Father against son; Catholic against Protestant; friend against friend in this epic opera.
Libretto by Joseph Méry and Camille du Locle after Friedrich von Schiller’s poem “Don Carlos, Infant von Spanien”
Time: Around 1560
Place: France and Spain
Conductor: Emmanuel Villaume
Director: Edward Berkeley
Lighting Designer: Krista Billings
Chorus Master: Alexander Rom
Starring: Leah Crocetto* (Elizabeth de Valois), Jamie Barton* (Princess Eboli), Robert Watson* (Don Carlo), Mariusz Kwiecien (Rodrigo), Morris Robinson (Philip II), Andrea Silvestrelli (The Grand Inquisitor), David Leigh (A Monk), Ewa Plonka* (Tebaldo), Elizabeth Sutphen* (A Heavenly Voice), and Angel Vargas (Count Lerma/The Royal Herald).
PULCINELLA / THE HUMAN VOICE (La voix humaine) – a new Dallas Opera production!
Pulcinella, a ballet with song in One Act by Igor Stravinsky
La voix humaine an opera by Francis Poulenc with a libretto by Jean Cocteau (from his stage play)
April 3, 4, 5(m) & 8, 2020
PULCINELLA (100TH Anniversary Production)
Conductor: Nicole Paiement
Director: Candace Evans
Set and Costume Designer: TBA
Lighting Designer: Krista Billings
Choreographer: Sean Smith
Wig & Make-up Designer: Dawn Rivard
Starring: Sean Smith (Pulcinella), Lindsay Metzger (Rosetta), Richard Ollarsaba* (Fourbo & Dottore), Matthew White* (Caviello) with soloists and corp dancers from Dallas Black Dance Theatre.
THE HUMAN VOICE (La voix humaine)
Time: 20th century
Place: Paris, France
Conductor: Nicole Paiement
Director: Patricia Racette
Set Designer: Tommy Bourgeois
Lighting Designer: Krista Billings
Wig & Make-up Designer: TBA
Starring: Patricia Racette (Elle)
THE BARBER OF SEVILLE by Gioachino Rossini
April 24, 26(m), 29, May 2, 8 & 10(m), 2020
Your heart will be racing—but not for the exit!
Libretto by Cesare Sterbini based on Beaumarchais’ play Le Barbier de Séville
Time: 18th century
Place: Seville, Spain and the surrounding countryside
Conductor: Riccardo Frizza
Director: Christopher Mattaliano
Set Designer: Allen Moyer
Costume Designer: Jamie Scott
Lighting Designer: Krista Billings
Wig & Make-up Designer: Dawn Rivard
Chorus Master: Alexander Rom
Starring: Lucas Meachem (Figaro), Pretty Yende* (Rosina), Lawrence Brownlee* (Count Almaviva April 29 through May 19), Xabier Anduaga* (Count Almaviva April 24 & 26), Renato Girolami* (Doctor Bartolo), Adam Lau (Don Basilio), and Margaret Gawrysiak* (Berta).
* Dallas Opera Debut
** American Debut
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FOR IMMEDIATE RELEASE:
Friday, February 8, 2019
Contact: Suzanne Calvin 214.443.1014
Twenty Semi-Finalists Have Been Selected
To Compete for Awards and Cash Prizes at The 31st Annual Dallas Opera Guild Vocal Competition
With The Dallas Opera Orchestra
Conducted by Riccardo Frizza
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Emceed by Miss America 2019 Nia Franklin
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Semi-Finals: Thursday, May 2, 2019 11 am
Finals Concert: Friday, May 3, 2019 7:30 pm
The Margot and Bill Winspear Opera House
AT&T Performing Arts Center, Dallas, TX
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2019 Co-Chairs Dr. Susan Fleming & Linda McKown
Honoring Holly and Dr. Tom Mayer
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$5 Tickets and Information at dallasopera.org/vocal
DALLAS, TX, FEBRUARY 8, 2019 – Twenty of the finest young opera singers in the United States will be competing in the 31ST Annual Dallas Opera Guild Vocal Competition presented, jointly, by The Dallas Opera and The Dallas Opera Guild.
The artists will compete onstage in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in Dallas on Thursday, May 2 & Friday, May 3, 2019. At stake are thousands of dollars in generous cash awards and prestigious honors including the “People’s Choice Award” selected during the Finals Round by audience ballot.
The 2019 Guild Vocal Competition is being co-chaired by Susan Fleming, Ph.D., and Linda McKown and the Finals Round will be emceed by Miss America 2019 Nia Franklin, a classically trained opera singer, composer, and advocate for the arts.
The quest for these gifted young singers will begin with the Semi-Finals Round of the Vocal Competition taking place on Thursday, May 2, 2019, from 11:00 a.m. until 4:00 p.m. Tickets are free and can be obtained at www.dallasopera.org/vocal.
Six finalists will be selected that day to return the following evening for the Finals Round Concert on Friday, May 3, 2019 at 7:30 p.m. At that time, the remaining competitors will perform with The Dallas Opera Orchestra, conducted by the internationally renowned Italian Maestro Riccardo Frizza, Music Director of the Donizetti Opera Festival in Bergamo, Italy.
Concert tickets are just $5 and available at the door, by calling The Dallas Opera Ticket Office at 214.443.1000, or online at www.dallasopera.org/vocal.
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This year, the twenty semi-finalists were selected by a panel of preliminary judges that included American pianist and educator Dr. Brian Zeger of the Marcus Institute for Vocal Arts at The Juilliard School, and David Lomeli, Director of Artistic Administration for The Dallas Opera. These semi-finalists were among a group of 307 applicants from 36 states.
THE 2019 SEMI-FINALISTS
THE DALLAS OPERA GUILD VOCAL COMPETITION
Competitors in the 2018 Competition took home prize monies totaling $18,500. Although this competition has as its primary focus artists in the 18 to 34 age range, singers of any age were eligible to apply and considered on a case-by-case basis.
The Dallas Opera Guild Vocal Competition originally focused on young artists with Texas roots or Lone Star academic connections, and its many distinguished alumni include luminaries from throughout the opera world: Latonia Moore, Clifton Forbis, Marjorie Owens, Michael Sumuel, Weston Hurt, Steven LaBrie, Amanda Woodbury, Jesus Garcia.
As the competition sought to gain even greater prominence and significance, The Dallas Opera and The Dallas Opera Guild made significant changes in 2015, prompting Dallas Morning News Classical Music Critic Scott Cantrell to write that the competition had “considerably upped its ante.” The evolution didn’t stop there:
The impact of these changes was immediately perceived. Senior Classical Music Critic Gregory Sullivan Isaacs of theaterjones.com wrote: “The results surely exceeded expectations for this newly re-envisioned competition…It won’t take long to situate itself at the top of such events and become an important gold star on any young artist’s résumé.”
Winners in 2015 and in the years since have included J’nai Bridges, Anthony Clark Evans, Kang Wang, Virginie Verrez, Samantha Hankey (the 2018 Metropolitan Opera National Council Auditions Grand Finals winner), Laura Wilde, Kihun Yoon, and, most recently, Mario Rojas, Josh Lovell and last year’s top prize winner – countertenor Aryeh Nussbaum Cohen.
The special guest emcee for this year’s Finals Round, Nia Franklin, is the reigning Miss America who wowed the audience and judges during the competition with her rendition of “Quando m’en Vo” from La bohème. Ms. Franklin is a graduate of the University of North Carolina School of the Arts where she studied music composition.
“I am thrilled to be a part of the 31st Annual Dallas Opera Guild Vocal Competition!” writes Ms. Franklin. “It is such an honor to emcee this competition featuring the best young opera singers from around the country as they share their talent and dedication for all of Dallas to see!”
This year’s honorees are Holly and Tom Mayer for their tremendous dedication, service and support of The Dallas Opera and its commitment to emerging and developing artists. Most recently, Holly served as Chairman of The Dallas Opera (2016-2018) and she continues to guide and inspire the company as a member of The Dallas Opera Board Executive Committee.
Dallas Opera Guild Co-Presidents James and Jan Clay remarked, “Our exciting annual competition is the most high-profile facet of The Dallas Opera Guild’s yearlong commitment to support exceptionally talented young opera artists. The future of opera, not only in Texas—but throughout the world—is dependent on the discovery and development of bright new talent. The Guild takes that part of our mission very seriously and we encourage everyone in the community to turn out next spring to show their support for these fine young singers, as well.”
Linda McKown, one of the 2019 Co-Chairs for the annual competition, writes: “I’m excited to be getting more involved with the Dallas Opera Guild Vocal Competition and doing what I can to help Susan Fleming carry out the Guild’s responsibilities. I feel it is so important to give these young opera singers the opportunity to perform before a live audience with Maestro Frizza conducting the outstanding Dallas Opera Orchestra.”
Adds Co-Chair Susan Fleming, “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 this year—twenty from over 300 applicants—and look forward to hosting a large audience on May 2 and 3, 2019.
“We encourage YOU to be part of the crowd that comes to the Winspear Opera House to cheer them on!”
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Lexus Red Parking beneath the Winspear Opera House is free for the Semi-Finals Round, from 11:00 a.m. until 4:30 p.m. on Thursday, May 2. Parking is $6 for the Finals Round of the competition the following evening, Friday, May 3, 2019 at 7:30 p.m.
The list of esteemed judges for the 2019 Vocal Competition reads like a music industry “Who’s Who.”
Judges for the 2019 Dallas Opera Guild Vocal Competition:
Peter Czornyj
Vice President of Artistic Operations, The Dallas Symphony Orchestra
Ian Derrer
The Kern Wildenthal General Director & CEO, The Dallas Opera
Dominic Domingo
Director of Artistic Administration, San Diego Opera
Riccardo Frizza
Music Director of the Donizetti Opera Festival in Bergamo, Italy
David Lomeli
Director of Artistic Administration, The Dallas Opera
Andreas Melinat
Vice President, Artistic Planning, Lyric Opera of Chicago
Evamaria Wieser
Casting Director, Salzburg Festival
Brian Zeger, Chair
Artistic Director of the Ellen and James S. Marcus Institute for Vocal Arts
The Juilliard School
However, the judging isn’t left entirely to the professionals; “amateur” music lovers will have the opportunity to express their views, too. Audience participation is part of the fun at each year’s Dallas Opera Guild Vocal Competition. For the nineteenth consecutive year, attendees will be given the chance to vote on their personal favorites to receive the coveted “People’s Choice Award.”
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RICCARDO FRIZZA CONDUCTOR
Award-winning Italian maestro Riccardo Frizza is a galvanizing presence on the podium, inspiring performances as exhilarating as they are expressive. Championed by Alberto Zedda, Bruno Cagli, and Gian Carlo Menotti, he is a leading exponent of the bel canto repertoire, collaborating with a who’s who of today’s most iconic singers at opera houses from Milan’s Teatro alla Scala to the Metropolitan Opera in New York. In the concert hall, he graces the podiums of such world-class ensembles as the Leipzig Gewandhaus, Rome’s Orchestra dell’Accademia Nazionale di Santa Cecilia, London’s Philharmonia Orchestra, and the Tokyo Symphony, while his extensive discography includes Decca’s Una furtiva lagrima, winner of the 2004 Cannes Classical Award.
Highlights of Riccardo Frizza’s last season included Falstaff at Festival Verdi di Parma, La Traviata at New National Theatre in Tokyo, Il barbiere di Siviglia at the Opéra National de Paris, Norma in Tokyo, Luisa Miller at Zürich Opera, L’elisir d’amore and Norma at Teatro La Fenice in Venice, Semiramide at the Bavarian State Opera and Il pirata at Teatro alla Scala in Milan. In September 2017, Maestro Frizza was named Music Director of the Donizetti Opera Festival in Bergamo, Italy. Having already conducted Roberto Devereux at San Francisco Opera, in other season highlights, he will appear at the podium of La Fenice three times (for three different productions), will return to Bilbao in order to conduct his debut performance of Verdi’s I Lombardi, and will conduct Falstaff in The Dallas Opera’s spring season finale in 2019.
NIA IMANI FRANKLIN (MISS AMERICA 2019)
Classically trained opera singer and advocate for the arts
Nia Franklin was born in Winston-Salem, North Carolina and lived in the state through graduate school. She earned an undergraduate degree in composition from East Carolina University, and a master’s in fine arts from The University of North Carolina’s School of the Arts. Shortly thereafter, Nia was awarded a Kenan Fellowship at New York’s Lincoln Center Education and made the move to New York City. She currently resides in Brooklyn.
During Nia Franklin’s college freshman year, her father was diagnosed with non-Hodgkin’s lymphoma, and she became his stem cell donor. This turn of events led Nia to the Miss America Organization. “I had to find a way to pay for myself to go to school and so I entered this competition and this organization and it became much more than just the scholarship money for me, it was also about the mentorship, leadership and sisterhood you find in this program.”
Nia was crowned Miss Five Boroughs at the age of 23, and then went on to win Miss New York 2018. And was awarded the job of Miss America 2019 on September 9, 2018.
Ms. Franklin has been a teacher and music mentor, and has written over 100 songs, including one she began performing at age five. (The lyrics begin: “Love, love, love, love, love is the only thing that matters to me…”). For the Miss America 2019 competition, Franklin sang “Quando m’en Vo’” from Puccini’s La bohème and wowed audiences and judges alike.
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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 The Dallas Opera management and the enthusiastic support of Artistic Director Nicola Rescigno, a committee comprised of Pat Blankenship, Nora Sands and Maria Santarelli, chaired by Connie Klemow, 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, it must grow and evolve. During these past three decades there have been many changes, including the additions of a “People’s Choice Award,” and a significant name change to “The Dallas Opera Guild Vocal Competition” in 2004.
From the initial grants program, the concept evolved into an annual competition that, until 2014, focused on vocalists with a Texas connection, both home-grown and temporary residents. 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, former Artistic Director of The Dallas Opera, led the Judge’s panel for the first 26 years.
The vocal competition was significantly reimagined and expanded in its 27th year, under the leadership of former Dallas Opera General Director and CEO Keith Cerny, to allow applicants from all 50 states and U.S. Territories. Dr. Brian Zeger, Artistic Director of Juilliard’s Marcus Institute for Vocal Arts and former Executive Director for the Lindemann Young Artist Development Program of the Metropolitan Opera now chairs a judge’s panel that includes leading figures in music administration and classical music.
The competition was expanded to take place over a two-day period. Participants in 2019 will be heard during Thursday’s semi-finals and the selected finalists will perform again Friday evening, accompanied by The Dallas Opera Orchestra under the direction of Riccardo Frizza.
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 this prestigious annual competition succeeds in cultivating the next generation of world-class artists.
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SPECIAL THANKS
TO THE AT&T PERFORMING ARTS CENTER AND STAFF
FOR THEIR SUPPORT OF THE
2019 DALLAS OPERA GUILD VOCAL COMPETITION
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2018-2019 SEASON SPONSOR
The Nancy A. Nasher and David J. Haemisegger Family
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ABOUT THE DALLAS OPERA
Founded in 1957, The Dallas Opera is an internationally-recognized innovator dedicated to the overall advancement of the operatic art form and the support of established and emerging artists, as well as the education and development of new opera audiences in North Texas—and beyond. These goals are achieved by commissioning and producing world-class opera; through ground-breaking institutes, national competitions and topical programs; and by presenting opera in both traditional and non-traditional formats and venues in order to attract patrons of every age, background, educational level, and ethnicity—while engaging with more than 87,000 people in our community each year. TDO is equally committed to the task of responsible stewardship and is managed with efficiency and accountability, to the highest possible standards.
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EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE
ADDITIONAL INFORMATION ABOUT THE DALLAS OPERA
IS AVAILABLE ONLINE, 24/7. VISIT WWW.DALLASOPERA.ORG
FOR HIGH-RESOLUTION PHOTOGRAPHS
Contact Suzanne Calvin, Director of Media and PR at suzanne.calvin@dallasopera.org
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.
The Dallas Opera Family Performances are generously supported by
Texas Instruments, Lockheed Martin, and
The Betty and Steve Suellentrop Educational Outreach Fund
TDO Family Performances are a part of the
Perot Foundation Education and Community Outreach Programs
TICKET INFORMATION FOR THE 2018-2019 DALLAS OPERA SEASON
All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise indicated. Flex Subscriptions are on sale now; single tickets range from $19 to $289 (excluding boxes). Family performance tickets are just $5. For more information or to make your purchase, contact The Dallas Opera Ticket Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.
THE DALLAS OPERA 2018-2019 MAINSTAGE SEASON: SPRING
The Dallas Opera celebrates its 62nd International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District. Evening performances will begin at 7:30 p.m. and Sunday matinees begin at 2:00 p.m. unless otherwise stated. English translations will be projected above the stage at every performance and assistance is available for the hearing impaired. With the exception of FIRST NIGHT, The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain, at most performances.
MANON LESCAUT by Giacomo Puccini
Semi-Staged Concert, March 1, 3 (m), 6, 9, 2019
Featuring images of select art works from the collections of The Dallas Museum of Art!
The woman who has everything discovers too late that she has nothing – without true love!
Libretto by Domenico Oliva and Luigi Illica
Time: Late 18th century
Place: France and America
Conductor: Emmanuel Villaume
Director: Ed Berkeley
Costume Designer: Tommy Bourgeois
Lighting Designer: Krista Billings
Wig & Make-up Designer: Dawn Rivard
Chorus Master: Alexander Rom
Starring: Kristin Lewis* (Manon Lescaut), Musa Ngqungwana (Lescaut), Gregory Kunde (Chevalier des Grieux), Andrea Silvestrelli (Geronte de Ravoir), Jonas Hacker* (Edmondo), Mark S. Doss (Innkeeper), Alyssa Martin (Singer), Matthew Grills* (Dance Master), Clay Hilley* (Lamplighter), Mark McCrory (Sergeant of the Royal Archers) and David Leigh* (Naval Captain).
LA BOHÈME by Giacomo Puccini
March 15, 17 (m), 20, 23, 29, 31 (m), 2019
The most timeless love story in all of opera returns to break your heart!
Libretto by Giuseppe Giacosa and Luigi Illica
Time: 19th century
Place: The Latin Quarter of Paris, France
Conductor: Giuliano Carella
Director: Tomer Zvulun
Set Designer: Erhard Rom
Costume Designer: Peter J. Hall
Lighting Designer: Robert Wierzel
Wig & Make-up Designer: Dawn Rivard
Chorus Master: Alexander Rom
Starring: Jean-François Borras* (Rodolfo), Pumeza Matshikiza** (Mimi), Anthony Clark Evans* (Marcello), Sara Gartland (Musetta), Will Liverman* (Schaunard), Nicholas Brownlee* (Colline), and Samuel Ramey (Benoit/Alcindoro).
FALSTAFF by Giuseppe Verdi
April 26, 28 (m), May 1, 4, 2019
Shakespeare’s uproarious comedy brought to musical life!
Libretto by Arrigo Boito
Time: During the reign of Henry IV of England
Place: Windsor
Conductor: Riccardo Frizza
Original Director: Lee Blakeley
Revival Director: Shawna Lucey*
Set and Costume Designer: Adrian Linford*
Lighting Designer: Rick Fisher*
Wig & Make-up Designer: Dawn Rivard
Chorus Master: Alexander Rom
Starring: Mark Delavan* (Sir John Falstaff), Angela Meade (Alice Ford), Quinn Kelsey* (Ford), Mojca Erdmann* (Nanetta), Airam Hernández* (Fenton), Stephanie Blythe* (Dame Quickly), Megan Marino* (Meg Page), Alex Mansoori* (Bardolfo), Andrea Silvestrelli (Pistola), and Robert Brubaker (Dr. Caius).
* Dallas Opera Debut
** American Debut
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FOR IMMEDIATE RELEASE:
Thursday, November 1, 2018
Contact: Suzanne Calvin 214.443.1014
suzanne.calvin@dallasopera.org
The Dallas Opera is Proud to Present
In Concert – For One Night Only!
The Linda and Mitch Hart Institute for
Women Conductors at The Dallas Opera
SATURDAY, NOVEMBER 10, 2018 at 7:30 p.m.
The Margot and Bill Winspear Opera House
At the AT&T Performing Arts Center
$10 General Admission Seats
214.443.1000 or dallasopera.org/harttickets
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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, and Martha and Max Wells, and
Debra Witter and Scott Chase
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Made Possible by an OPERA America Innovation Grant
Supported by the Ann and Gordon Getty Foundation
DALLAS, NOVEMBER 1, 2018 – The Dallas Opera is pleased to present an evening of arias and orchestral favorites on Saturday, November 10th at 7:30 p.m. in the Margot and Bill Winspear Opera House. This extraordinary concert event will feature The Dallas Opera Orchestra and international opera artists conducted by the six women selected to participate in the fourth annual residency of the Linda and Mitch Hart Institute for Women Conductors taking place Oct. 28 – Nov. 10, 2018 at the Dallas Opera.
General admission seating for this “Hart Institute Showcase Concert” is available for just $10 per person at https://dallasopera.org/harttickets or, through The Dallas Opera Ticket Office at 214.443.1000. The 2018 Hart Institute Concert conductors will be:
Working to address a long-standing issue at the podium, The Dallas Opera in 2015 launched a unique, new residential program—one of only three in the world—designed to provide training and career support for distinctively talented women conductors on the cusp of major international careers.
“For me, the Hart Institute embodies the American Dream,” wrote Audrey Saint-Gil. “Work hard, dream big, and grab your opportunity tight with both hands when it comes.”
The initiative received vital foundational support from the Richard and Enika Schulze Foundation. Naming support came through the generosity of Linda and Mitch Hart.
Additional support for the 2018 Hart Institute comes from The Andrew W. Mellon Foundation, Baker Botts LLP, Dallas SEO Geek, Cindy and Charlie Feld, Jenifer and Peter Flynn, Susan and Mark Geyer, the Honorable Deborah Hankinson, Holly and Tom Mayer, J.P. Morgan, Betty and Steve Suellentrop, Martha and Max Wells, Debra Witter and Scott Chase.
Made possible by an OPERA America Innovation Grant, supported by the Ann and Gordon Getty Foundation.
The November 10th concert will also showcase a host of exciting young opera artists: countertenor Ryan Belongie, baritone Jeff Byrnes, mezzo-soprano Daryl Freedman, bass William Meinert, soprano Toni Marie Palmertree, mezzo-soprano Gina Perregrino, soprano Haley Sicking, and tenor Angel Vargas.
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A total of 51 women conductors and professional musicians heeded the call in 2018, despite even more stringent admissions requirements this year. Applicants from 19 countries included music directors, principal and assistant conductors, concertmasters and music staff from top-ranked symphonies, opera companies, and conservatories.
“Getting into the Hart Institute will be a game-changer for me,” observed conductor Sarah Penicka-Smith. “I value the existence of a program which addresses the whole conductor, not just her technique, and I hope this will allow us to develop as many unique models of what it means to be a conductor as there are women to fill those positions.”
Maria Sensi Sellner agrees: “I’m thrilled to have the opportunity to work with the team of exceptional mentors and advisors assembled by The Dallas Opera, and to broaden my community of female colleagues, as we work towards equity on the podium.”
Adds conductor Emily Senturia, “I look forward to learning from industry leaders and the other talented women who have been chosen to participate in this groundbreaking program.”
As is the case each year, four talented U.S. observers were chosen to “audit” the 2018 Institute: Laurann Gilley, Laura Giuli, Amy Owens, and Sara Parkinson.
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“Although still in the early stages,” says Dallas Opera Director of Artistic Administration David Lomeli, “The Institute appears to be having a pronounced positive impact on the field, with Hart Institute alumnae being singled out for important appointments, projects, and commissions in both the opera and symphonic world. This concert is the public’s opportunity to show enthusiastic support for women in positions of leadership.”
This year’s faculty reads like a music industry “Who’s Who”:
Dallas Opera personnel serving on the 2018 Hart Institute faculty include:=
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While the Hart Institute began with a focus on supporting talented conductors, the challenges faced by women opera administrators are equally daunting. To address this imbalance, The Dallas Opera last year 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 at a later point in their careers.
The 2018 Hart Institute Administrators are:
The selected opera administrators will have access to all group sessions and special sessions during the annual residency in Dallas. This curriculum includes the role of the board, leadership development, personal branding, media and PR training, effective artist management, and navigating recruiting processes for senior level positions. To continue to develop their musical skills, which is essential for any opera executive, the administrators will observe rehearsals with The Dallas Opera Orchestra and conducting master classes. Special sessions on Development, Finance, and Marketing will be offered as well.
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.
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2018 Hart Institute Conductors
SONIA BEN-SANTAMARIA (UK/FRANCE)
Sonia Ben-Santamaria is the first female conductor to be associated with the Royal Opera House Jette Parkers young artists programme 2017/2018. Highlights of her season includes shadowing Sir Antonio Pappano on Shostakovitch’s Lady Macbeth of Mtsensk, leading the Youth Opera Company chorus on Barrie Kosky’s Carmen and conducting the presentation of The Monstrous Child. Originally Spanish but French born, Sonia trained at the Conservatoire de Toulouse, the Royal Academy of Music, the National Opera Studio, London, and was subsequently offered a position at the English National Opera as trainee repetiteur and vocal coach. Sonia is the proud founder of Glass Ceiling Orchestra, a socially engaged chamber orchestra which promotes equal opportunities, female conductors and composers. Future engagements include Un Ballo in Maschera for Opera Holland Park.
PRISCILA BOMFIM (BRAZIL)
Priscila Bomfim was born in Braga, Portugal, where she began her musical studies and won her first piano competition when she was nine years old. At the Federal University of Rio de Janeiro / Brazil (UFRJ), she graduated “Summa cum laude” with a Bachelor in Piano Performance. In that same institution, she obtained her Master’s Degree in Piano Performance and also a Bachelor’s Degree in Orchestral Conducting. As a conductor, Priscila performed with the Philharmonic Orchestra of Minas Gerais, the Cesgranrio Symphony Orchestra, the Santo André Symphony Orchestra, the National Symphony Orchestra of Chile. She was the first woman to conduct at Theatro Municipal do Rio de Janeiro in a main stage production conducting Serse by Handel and Carmen by Bizet in the 2016-2017 season.
SARAH PENICKA-SMITH (AUSTRALIA)
Dr. Sarah Penicka-Smith is a freelance conductor and vocal coach. She is Director of Music at St Andrew’s College, Principal Conductor with Macquarie Singers, Artistic Director of Opera Prometheus and Pacific Pride Choir, and a partner of Penicka-Smith Arts & Event Management, along with her wife Melanie. From 2005-2017, Sarah was Music Director of the Sydney Gay & Lesbian Choir, where she worked on a range of pioneering projects. She has worked with Sydney Philharmonia Choirs since 2005 as a chorusmaster and workshop presenter, and conducted orchestras that include the University of Sydney Intercol Orchestra, Willoughby Symphony Orchestra, Kuringai Philharmonic Orchestra, and Penrith Symphony Orchestra. Sarah is an alumna of the Symphony Australia Conductor Development Program and holds a PhD from the University of Sydney.
AUDREY SAINT-GIL (FRANCE/USA)
French conductor, Audrey Saint-Gil graduated summa cum laude in solo piano concurrent with her PhD in Greek Philosophy. Her career and operatic passion began at the Théâtre du Capitôle, Toulouse, followed by appointments as Head Vocal Coach of the Ecole Normale, Paris and as assistant conductor to Bertrand de Billy in Vienna. A US resident since 2007, Ms Saint-Gil was engaged as assistant conductor at NYCO, WNO, Cincinnati and Ravinia Festivals, and frequently with LA Opera alongside James Conlon and Plácido Domingo. She is the French Opera specialist at Philadelphia’s AVA and guest vocal coach at the ROH, Covent Garden and Bayerische Staatsoper. Current projects include conducting La Traviata, Narnia Festival, Italy; Bizet at HGO and recitals in Salzburg, Copenhagen and San Francisco with her partner, Christopher Maltman.
MARIA SENSI SELLNER (USA)
Maria Sensi Sellner is recognized for her artistry and versatility as a conductor of opera, orchestras, and choruses. Praised as “mightily impressive,” she was the first three-time winner of the American Prize for Opera Conducting and serves as the Artistic & General Director of Resonance Works Pittsburgh, which she founded in 2013. Recent engagements include the Center for Contemporary Opera, Syracuse Opera, Symphoria, Hubbard Hall Opera, cover conductor for the Pittsburgh Symphony Orchestra (assisting Manfred Honeck, Sir Mark Elder), and conducting staff for the world premiere of David Lang’s “the public domain” at Lincoln Center. Previous positions include Acting Music Director of the Mendelssohn Choir of Pittsburgh (chorus for the Pittsburgh Symphony), interim faculty at Carnegie Mellon University, and Director of the Akron Symphony Chorus.
EMILY SENTURIA (USA)
Ms. Senturia made her mainstage debut with Houston Grand Opera in 2018 conducting Rossini’s Il barbiere di Siviglia, followed by her Kennedy Center debut leading the same opera for Washington National Opera. In the summer of 2018 she makes her West Coast debut leading Mata Hari for West Edge Opera. Emily Senturia will make her Hawaii Opera Theatre debut in the spring of 2019 leading La traviata. After graduating from the Houston Grand Opera Studio, Ms. Senturia joined the HGO music staff during which time she conducted performances of L’elisir d’amore, The Little Prince, and The Magic Flute. Recently, Ms. Senturia has been on the music staff at The Atlanta Opera (Sweeney Todd), Opera Philadelphia (O17 Festival and O18 Festival), and at Wolf Trap Opera where she has conducted two Studio Spotlight programs.
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2018 Hart Institute Administrators
NICOLE EUBANKS (USA)
Nicole Eubanks is the Individual Giving Director at Lyric Opera of Kansas City where she is responsible for the annual fund and individual giving strategies that center on funding the company’s mission of producing transformational opera for the community. Prior to her time in Kansas City, Eubanks held the position of Assistant Director of Donor Services and Special Events at Lyric Opera of Chicago where she managed donor benefits, donor services, key company events, and all operations pertaining the William B. and Catherine Graham Room, the private dining space in the opera. Eubanks holds bachelor’s degrees in Music with an emphasis in Vocal Performance and Interdisciplinary Studies in Music and Business from MidAmerica Nazarene University and is a member of the Kansas City Symphony Chorus.
LAURA SMALLEY (USA)
Laura Smalley is a Marketing & Communications Associate of Chicago Opera Theater as well as the Development Director for Chicago Fringe Opera. She is passionate about expanding the reach of opera and championing the art form for modern audiences. Laura has worked in marketing and development for many prominent arts organizations, including Des Moines Metro Opera and Stage 773. A lifelong lover of music, Ms. Smalley holds a BM in Vocal Performance from DePaul School of Music. While in school, she founded two student music ensembles that self-produced and performed contemporary and original works. She works regularly as a singer and performer in the Chicago area.
BROOKE TOLLEY (USA)
Brooke Tolley is a native of Roanoke, Virginia and was recently named Chief Operating Officer of Opera Roanoke, where she handles all aspects of daily operation including finance, marketing, special events and production management. She is also the newly appointed Director of the opera’s innovative Apprentice Artist Program, which guides regional college students to the next step in their professional careers. Brooke holds music degrees from Liberty University and Radford University and is an incoming member of Leadership Roanoke Valley’s 2018-19 class. As an opera administrator and active performer, she is passionate about using her unique skill set to connect with close-knit communities, helping to build viable arts and culture programs that create lasting impact. She has been at Opera Roanoke since 2015.
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2018 Hart Institute Observers
LAURANN GILLEY (USA)
Laurann Gilley has been on faculty with the Ryan Opera Center at Lyric Opera of Chicago since 2005, and on faculty at Northwestern University since 2010. She has worked as coach, pianist, assistant conductor, recitative accompanist, and chorus director for companies such as Glimmerglass Opera, San Francisco Opera, Seattle Opera, San Diego Opera, and Vancouver Opera, with conductors including Sir Andrew Davis, Richard Bonynge, Edoardo Müller, Leon Botstein, and Stewart Robertson. As a recital accompanist, she has appeared at venues including Carnegie Hall’s Weill Hall, the Chicago Cultural Center, and San Francisco’s Schwabacher Series. A regular accompanist for the Metropolitan Opera National Council auditions, Ms. Gilley holds degrees from The Manhattan School of Music, The Eastman School of Music, and Southern Methodist University.
LAURA GUILI (USA)
Laura Guili is a versatile musician and freelance conductor currently based in the Midwest. She travels extensively to pursue professional opportunities and has held music director and assistant conductor positions with Midwest-based orchestras and opera companies. In addition, she conducts studio recording sessions for film and world music. A horn player and former string educator, she received her MM from Northwestern University and has studied with Kenneth Kiesler and Victor Yampolsky. Passionate about the arts, Ms. Guili furthers her involvement in artistic philanthropy as a seven-year member of the Lyric Opera of Chicago’s Young Professionals board. In addition to her professional successes in music, she works as an actress and model in TV, film and print, currently represented by Modelogic and The Helen Wells Agency.
AMY OWENS (USA)
Amy Owens enjoys a diverse singing career in concert work, opera, new music, and alternative pop. She has appeared in concert in venues ranging from the Filene Center at Wolf Trap to Carnegie Hall. Her operatic engagements have taken her to Santa Fe Opera, Wolf Trap Opera, Dallas Opera, Utah Opera, Central City Opera, and others. She appears regularly with the New York Festival of Song, and she has collaborated with many composers including Matthew Aucoin, William Bolcom, Bright Sheng, Paola Prestini, and David Hanlon. Her debut album of original music, HAETHOR, was released Spring 2018 to acclaim in the electronica world. She has received awards from the Sullivan Foundation, the George London Foundation, the Metropolitan Opera National Council Auditions, and the Santa Fe Opera.
SARA PARKINSON (USA)
Sara Parkinson enjoys a varied career as conductor, vocal coach and pianist. She served on the staff and faculties at the University of Colorado at Boulder, Cornell College and Metropolitan State University of Denver. Recent and upcoming performance engagements include Boulder Chamber Orchestra, Boulder Bach Festival, Colorado Ballet Orchestra and the Colorado Symphony. Sara was Music Director of Boulder Opera Company for their 2017-2018 season where she made her operatic conducting debut with Massenet’s Cendrillon followed by Mozart’s Così fan tutte. Sara has been a member of Central City Opera Ensemble since 2012 and worked with numerous singers. Sara received degrees from the University of Iowa, New England Conservatory of Music and CU-Boulder. Principal teachers include Victor Rosenbaum, Anne Epperson and Maestro Nicholas Carthy.
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ABOUT THE DALLAS OPERA
Founded in 1957, The Dallas Opera is an internationally-recognized innovator dedicated to the overall advancement of the operatic art form and the support of established and emerging artists, as well as the education and development of new opera audiences in North Texas—and beyond. These goals are achieved by commissioning and producing world-class opera; through ground-breaking institutes, national competitions and topical programs; and by presenting opera in both traditional and non-traditional formats and venues in order to attract patrons of every age, background, educational level, and ethnicity—while engaging with more than 87,000 people in our community each year. TDO is equally committed to the task of responsible stewardship and is managed with efficiency and accountability, to the highest possible standards.
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2018-2019 SEASON SPONSOR
The Nancy A. Nasher and David J. Haemisegger Family
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EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE
ADDITIONAL INFORMATION ABOUT THE DALLAS OPERA
IS AVAILABLE ONLINE, 24/7. VISIT WWW.DALLASOPERA.ORG
FOR HIGH-RESOLUTION PHOTOGRAPHS
Contact Suzanne Calvin, Director of Media and PR at suzanne.calvin@dallasopera.org
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.
The Dallas Opera Family Performances are generously supported by
Texas Instruments, Lockheed Martin, and
The Betty and Steve Suellentrop Educational Outreach Fund
TDO Family Performances are a part of the
Perot Foundation Education and Community Outreach Programs
TICKET INFORMATION FOR THE 2018-2019 DALLAS OPERA SEASON
All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise indicated. Full and Flex Subscriptions are on sale now; single Tickets range from $19 to $289. Family performance tickets are just $5. For more information or to make your purchase, contact The Dallas Opera Ticket Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.
THE DALLAS OPERA 2018-2019 MAINSTAGE SEASON
The Dallas Opera celebrates its 62nd International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District. Evening performances will begin at 7:30 p.m. and Sunday matinees begin at 2:00 p.m. unless otherwise stated. English translations will be projected above the stage at every performance and assistance is available for the hearing impaired. With the exception of FIRST NIGHT, The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain, at most performances.
THE FLYING DUTCHMAN by Richard Wagner
October 12, 14 (m), 17 & 20, 2018
The season sets sail with Wagner’s sweeping, romantic masterpiece – not seen in Dallas since 1994!
Time: the German Expressionist 1920s
Place: the coast of Norway
Conductor: Emmanuel Villaume
Original Director: Christopher Alden
Set Designer: Allen Moyer
Costume Designer: Allen Moyer
Lighting Designer: Anne Militello*
Wig & Make-up Designer: Dawn Rivard
Chorus Master: Alexander Rom
Starring: Greer Grimsley (The Dutchman), Anja Kampe* (Senta), Jay Hunter Morris (Erik), Mark S. Doss* (Daland), Luretta Bybee* (Mary) and Andrew Stenson* (Steersman).
CARMEN by Georges Bizet
October 19, 21 (m), 24, 27, November 2 & 4 (m), 2018
The woman who won’t be owned returns to The Dallas Opera stage!
Libretto by Henri Meilhac and Ludovic Halévy
Time: 19th century
Place: Seville, Spain and the surrounding countryside
Conductor: Emmanuel Villaume and Pierre Vallet (10/24 and 11/2)
Original Director: Sir David McVicar
Revival Director: Jack Furness**
Set Designer: Michael Vale*
Costume Designer: Sue Blane*
Lighting Designer: Clare O’Donoghue*
Chorus Master: Alexander Rom
Original Choreographer: Andrew George
Revival Choreographer: Andrzej Glosniak**
Starring: Stephanie d’Oustrac* (Carmen), Stephen Costello (Don José), Sara Gartland* (Micaëla), Alexander Vinogradov (Escamillo), Sarah Tucker* (Frasquita), Lindsay Metzger* (Mercédès), Rafael Moras* (Le Remendado), Corey Crider* (Le Dancaire), Ben Wager (Zuniga), Gideon Dabi* (Morales).
MANON LESCAUT by Giacomo Puccini
Semi-Staged Concert, March 1, 3 (m), 6, 9, 2019
Featuring images of select art works from the collections of The Dallas Museum of Art!
The woman who has everything discovers too late that she has nothing – without true love!
Libretto by Domenico Oliva and Luigi Illica
Time: Late 18th century
Place: France and America
Conductor: Emmanuel Villaume
Director: Ed Berkeley
Costume Designer: Tommy Bourgeois
Lighting Designer: Krista Billings
Wig & Make-up Designer: Dawn Rivard
Chorus Master: Alexander Rom
Starring: Kristin Lewis* (Manon Lescaut), Musa Ngqungwana (Lescaut), Gregory Kunde (Chevalier des Grieux), Andrea Silvestrelli* (Geronte de Ravoir), Jonas Hacker* (Edmondo), Mark S. Doss (Innkeeper), Alyssa Martin (Singer), Matthew Grills* (Dance Master), Clay Hilley* (Lamplighter), Mark McCrory (Sergeant of the Royal Archers) and David Leigh* (Naval Captain).
LA BOHÈME by Giacomo Puccini
March 15, 17 (m), 20, 23, 29, 31 (m), 2019
The most timeless love story in all of opera returns to break your heart!
Libretto by Giuseppe Giacosa and Luigi Illica
Time: 19th century
Place: The Latin Quarter of Paris, France
Conductor: Giuliano Carella
Director: Tomer Zvulun
Set Designer: Erhard Rom
Costume Designer: Peter J. Hall
Lighting Designer: Robert Wierzel
Wig & Make-up Designer: Dawn Rivard
Chorus Master: Alexander Rom
Starring: Jean-Francois Borras* (Rodolfo), Pumeza Matshikiza** (Mimi), Anthony Clark Evans* (Marcello), Sara Gartland (Musetta), Will Liverman* (Schaunard), Nicholas Brownlee* (Colline), and Samuel Ramey (Benoit/Alcindoro).
FALSTAFF by Giuseppe Verdi
April 26, 28 (m), May 1, 4, 2019
Shakespeare’s uproarious comedy brought to musical life!
Libretto by Arrigo Boito
Time: During the reign of Henry IV of England
Place: Windsor
Conductor: Riccardo Frizza
Original Director: Lee Blakeley
Revival Director: Shawna Lucey*
Set and Costume Designer: Adrian Linford*
Lighting Designer: Rick Fisher*
Wig & Make-up Designer: Dawn Rivard
Chorus Master: Alexander Rom
Starring: Mark Delavan* (Sir John Falstaff), Angela Meade (Alice Ford), Quinn Kelsey* (Ford), Mojca Erdmann* (Nanetta), Airam Hernández* (Fenton), Stephanie Blythe* (Dame Quickly), Megan Marino* (Meg Page), Alex Mansoori* (Bardolfo), Andrea Silvestrelli (Pistola), and Robert Brubaker (Dr. Caius).
* Dallas Opera Debut
** American Debut
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