2019-2020 “Standing Ovation” Season Announced

Thursday, January 24, 2019

Contact: suzanne.calvin@dallasopera.org

THE DALLAS OPERA PROUDLY PRESENTS ITS

63rd INTERNATIONAL SEASON

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“STANDING OVATION”

Celebrating Ten Years in the Margot and Bill

Winspear Opera House, AT&T Performing Arts Center

The Magic Flute (Oct. 18-Nov. 3, 2019)

The Golden Cockerel (Oct. 25-Nov. 2, 2019)

Don Carlo (In Concert, March 20-28, 2020)

Pulcinella & La Voix Humaine (April 3-8, 2020)

The Barber of Seville (April 24-May 10, 2020)

And TDO’s Acclaimed Family Performance Series

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SEASON SPONSOR

The Nancy A. Nasher and David J. Haemisegger Family

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Linda and Mitch Hart Season Opening Night Performance:

FRIDAY, OCTOBER 18, 2019 AT 8:00 PM

The Margot and Bill Winspear Opera House

At the AT&T Performing Arts Center, Dallas TX

DALLAS, JANUARY 24, 2019 –The Dallas Opera is proud to announce its spellbinding 2019-2020 Season, “Standing Ovation,” consisting of five mesmerizing mainstage productions, including a Dallas Opera coproduction of a rarely performed work by the composer of “Scheherazade”; a ballet with song—featuring dancers from Dallas Black Dance Theatre, on a double bill with a one-woman drama conceived by French legends Francis Poulenc and Jean Cocteau; in addition to perennial favorites in fresh and glorious productions! Patrons will be pleased to learn that the 63rd Season of The Dallas Opera contains some of the most popular operas ever composed—with exceptional international casts, conductors, directors and designers—working with the critically acclaimed Dallas Opera Orchestra and Dallas Opera Chorus.

In an effort to present each work as written by the composer and librettist, The Dallas Opera will continue to produce each opera in its original language with English supertitles projected above the stage for maximum enjoyment.

2019-2020 DALLAS OPERA SEASON

THE MAGIC FLUTE

By Wolfgang Amadeus Mozart

October 18, 20(m), 23, 26 and November 1 & 3(m), 2019

THE GOLDEN COCKEREL

By Nikolai Rimsky-Korsakov

October 25, 27(m), 30, and November 2, 2019

DON CARLO

By Giuseppe Verdi

March 20, 22(m), 25 and 28, 2020

A Dallas Opera Double Bill:

PULCINELLA & LA VOIX HUMAINE

PULCINELLA: Ballet with Song by Igor Stravinsky

LA VOIX HUMAINE (The Human Voice):

By Francis Poulenc with a libretto by Jean Cocteau

April 3, 4, 5(m) and 8, 2020

THE BARBER OF SEVILLE

By Gioachino Rossini

April 24, 26(m), 29 and May 2, 8 and 10(m), 2020

The company will present renowned conductor Emmanuel Villaume, the Mrs. Eugene McDermott Music Director, at the podium for three of this season’s operas; as well as the Martha R. and Preston A. Peak Principal Guest Conductor Nicole Paiement and Italian conductor Riccardo Frizza.

Every mainstage production in 2019-2020 will be presented in the critically acclaimed Margot and Bill Winspear Opera House at the AT&T Performing Arts Center, located at 2403 Flora Street in the heart of the Dallas Arts District.

Season Sponsors are The Nancy A. Nasher and David J. Haemisegger Family.

Subscription prices for the 2019-2020 Season range from $95 to $939 for all five mainstage operas (not including boxes). Dallas Opera Flex Subscriptions allow patrons to select three or more operas for as little as $19 per performance. Subscription seating goes on sale Monday, April 2, 2019 and seats will be assigned by June 15, 2019.

The benefits of becoming a Dallas Opera subscriber include substantial savings off single ticket prices, priority seating, lost ticket replacement, ticket exchanges and invitations to special events.

Single Tickets, starting at the low price of $19, will go on sale to the public in July. For more information, please contact the friendly staff in The Dallas Opera Ticket Office at 214-443-1000 or visit us online at www.dallasopera.org.

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Notable Company Debuts in the 2019-2020 Season Include:

Spanish tenor Xabier Anduaga (Count Almaviva in The Barber of Seville)
Russian tenor Viktor Antipenko (Prince Guidon in The Golden Cockerel)
English tenor Barry Banks (Astrologer in The Golden Cockerel)
American mezzo-soprano Jamie Barton (Princess Eboli in Don Carlo)
American tenor Lawrence Brownlee (Count Almaviva in The Barber of Seville)
American soprano Andrea Carroll (Pamina in The Magic Flute)
American soprano Leah Crocetto (Elizabeth de Valois in Don Carlo)
Russian bass Nikolay Didenko (King Dodon in The Golden Cockerel)
Italian tenor Paolo Fanale (Tamino in The Magic Flute)
American tenor Brian Frutiger (Monastatos in The Magic Flute)
American mezzo-soprano Margaret Gawrysiak (Berta in The Barber of Seville)
Russian soprano Venera Gimadieva (Queen of Shemakha in The Golden Cockerel)
Italian baritone Renato Girolami (Doctor Bartolo in The Barber of Seville)
American mezzo-soprano Samantha Hankey (Second Lady in The Magic Flute)
American soprano Jeni Houser (Papagena in The Magic Flute)
American director Kyle Lang (The Magic Flute)
American mezzo-soprano Hannah Ludwig (Third Lady in The Magic Flute)
American director Christopher Mattaliano (directing The Barber of Seville)
American soprano Diana Newman (First Lady in The Magic Flute)

American bass-baritone Richard Ollarsaba, soloist (Pulcinella)

Polish mezzo-soprano Ewa Plonka (Tebaldo in Don Carlo)
Russian soprano Olga Pudova (Queen of the Night in The Magic Flute)
English set and costume designer Gerald Scarfe (The Magic Flute)
American costume designer Jamie Scott, deceased (The Barber of Seville)

American soprano Elizabeth Sutphen as A Celestial Voice (Don Carlo)

American tenor Robert Watson (title role in Don Carlo)
Austrian baritone Markus Werba (Papageno in The Magic Flute)
American tenor Matthew White, soloist (Pulcinella)
South African soprano Pretty Yende (Rosina in The Barber of Seville

“The coming season offers a splendid opportunity to both celebrate and recollect our first decade in the Winspear Opera House,” explains Ian Derrer, The Kern Wildenthal General Director and CEO.

“The thrill of working in the Winspear, as well as the prospect of making music with the likes of Emmanuel Villaume, Nicole Paiement, and guest conductors like Riccardo Frizza, continues to attract artists of the highest caliber. That trend continues with eagerly-anticipated TDO debuts of many of the most exciting singers of our day: Jamie Barton, Pretty Yende, Venera Gimadieva, Paolo Fanale, Leah Crocetto, Markus Werba, Lawrence Brownlee, Dallas Opera Guild Vocal Competition winner Samantha Hankey, and Robert Watson—to name a few!

“The upcoming season is also marked,” Derrer continues, “by a balanced mix of great opera in several languages, from classic to modern, in both popular and brand-new productions. The Dallas Opera’s ‘Standing Ovation’ Season offers something for everyone.”

Returning International Artists in the 2019-2020 Season:

French conductor and Dallas Opera Music Director Emmanuel Villaume (The Mrs. Eugene McDermott Music Director) leading performances of The Magic Flute, The Golden Cockerel and Don Carlo
French conductor and The Dallas Opera’s Martha R. and Preston A. Peak Principal Guest Conductor Nicole Paiement leading performances of Pulcinella/La Voix Humaine
Italian conductor Riccardo Frizza (The Barber of Seville)
Dallas Opera Chorus Master Alexander Rom (The Magic Flute, The Golden Cockerel, Don Carlo and The Barber of Seville)
American mezzo/contralto Lindsay Ammann as Amelfa (The Golden Cockerel)
American lighting designer Krista Billings (Don Carlo, Pulcinella/La Voix Humaine)
American set and costume designer Tommy Bourgeois (Pulcinella/La Voix Humaine)
Italian conductor Paolo Bressan (Asst. Conductor, The Magic Flute, Don Carlo)
American bass Kevin Burdette as General Polkan (The Golden Cockerel)
American baritone Corey Crider as Prince Afron (The Golden Cockerel)
Scottish director/choreographer Paul Curran (The Golden Cockerel)
American director Candace Evans (Pulcinella)
American lighting designer Paul Hackenmueller (The Golden Cockerel)
British director Sir Peter Hall, deceased, (Original director of The Magic Flute)
American soprano Jeni Houser as The Golden Cockerel (The Golden Cockerel)
Polish baritone Mariusz Kwiecień as Rodrigo di Posa (Don Carlo)
American bass Adam Lau as Don Basilio (The Barber of Seville)
American bass David Leigh as A Monk (Don Carlo)
British set and costume designer Gary McCann (The Golden Cockerel)
American baritone Lucas Meachem as Figaro (The Barber of Seville)
American mezzo-soprano Lindsey Metzger, soloist (Pulcinella)
American set designer Allen Moyer (The Barber of Seville)
American projections designer Driscoll Otto (The Golden Cockerel)
American bass-baritone David Pittsinger as The Speaker (The Magic Flute)
American director and soprano Patricia Racette (La Voix Humaine)
American wig and makeup designer Dawn Rivard (The Magic Flute, The Golden Cockerel)

American bass Morris Robinson as Sarastro (The Magic Flute) and as Phillip II (Don Carlo)

Italian bass Andrea Silvestrelli as The Grand Inquisitor (Don Carlo)

“There’s much to celebrate in 2019 at The Dallas Opera. In fact, it’s difficult to imagine a more exciting time to be Chair of the Dallas Opera, as the company enters a new era under the visionary leadership of General Director and CEO Ian Derrer,” explains Dallas Opera Board Chairman Mark H. LaRoe.

“This year, we will mark the tenth anniversary of our move into the beautiful Margot and Bill Winspear Opera House, a twenty-first century reinterpretation of the grand, traditional ‘horseshoe’ engineered specifically for maximum enjoyment of opera and musical theater. 80,000 people in North Texas experienced The Dallas Opera last year through our critically acclaimed mainstage operas, award-winning education programs, free simulcasts, concerts and other community engagements.

However, there’s still much more to be done to make opera accessible to everyone,” LaRoe adds.

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The Dallas Opera’s 2019-2020 Season begins on a high note with The Linda and Mitch Hart Season Opening Night Performance on Friday, October 18, 2018 at 8:00 p.m. (note the special curtain time). Wolfgang Amadeus Mozart’s final operatic masterpiece, The Magic Flute, in a dazzling Sir Peter Hall production designed for Los Angeles Opera by one of the most renowned satirical cartoonists of the 20^th century!

Italian tenor Paolo Fanale and American soprano Andrea Carroll make their company debuts as the spirited duo of Tamino and Pamina, braving trial by fire and water in order to be united at last. “Tamino demands a beautiful voice that radiates youthful ardor,” wrote Harper’s Bazaar, “and you’ll hear it from this ‘heart-throb Italian tenor (Paolo Fanale).” Meanwhile, Opera News noted that Miss Carroll is “a favorite of the Vienna State Opera, (lauded for her) vibrant soprano (with its) rich, low register and gleaming top.”

Russian soprano Olga Pudova will account for several of the performance’s high notes as the Queen of the Night. This will be her first appearance in the role in Dallas after conquering the stratospheric heights that make her the Queen of choice on major stages from Edinburgh to Vienna. Another eagerly-anticipated debut is Austrian baritone Markus Werba as the delightfully eccentric Papageno. Bachtrack praised his interpretation as “conveying the character’s good and child-like nature…his singing (was) warm and mellifluous.”

Dallas Opera favorite Morris Robinson, an American bass last seen on the Winspear stage as the Commendatore in our acclaimed 2018 spring production of Don Giovanni, “dominates the stage…with his firm, opulent tone that seems to pour forth from another world” (The Classical Review). He returns in the role of the mysterious Sarastro.

This production, originally directed by the late Sir Peter Hall, was designed by British cartoonist and illustrator extraordinaire, Gerald Scarfe, best known for a half century of scathing political cartoons for The London Sunday Times and for directing and designing the animation sequence for Pink Floyd’s film and concert versions of The Wall. Mr. Scarfe has designed sets and costumes for opera companies from Seattle to New Zealand.

The Mrs. Eugene McDermott Music Director Emmanuel Villaume will conduct The Dallas Opera Orchestra in an eighteenth-century masterpiece that is mixes popular song with show-stopping coloratura and a charming touch of glockenspiel.

Casting the roles of the First, Second, and Third Lady is about choosing complementary voices capable of creating one of the great trios in opera. The First Lady will be sung by American soprano Diana Newman, the Second Lady by American mezzo-soprano Samantha Hankey, and the Third Lady by American contralto Hannah Ludwig – all in their TDO debuts.

The villain of the piece, Monastatos, will be portrayed by character tenor Brian Frutiger with soprano Jeni Houser as the charming Papagena and bass David Pittsinger as The Speaker.

This revival will be staged by Kyle Lang in his company debut. As always, chorus preparation is by Dallas Opera Chorus Master Alexander Rom.

Performances of The Magic Flute continue on October 20(m), 23, 26, and November 1 and 3(m), 2019 in the Margot and Bill Winspear Opera House. Evening performances begin at 7:30 p.m., (except for the opening night performance mentioned above) and the curtain rises on TDO Sunday matinees at 2:00 p.m. There is no late seating.

The Magic Flute will be performed in its original language, German, with English-language translations projected above the stage at every performance.

Tickets may be purchased by phone (214.443.1000), online (www.dallasopera.org) or at the door. Student Rush Tickets are available 90 minutes prior to curtain – a valid student ID is required for each ticket.

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The second production of The Dallas Opera’s 2019-2020 Season is a brand-new Dallas Opera co-production of an opera that has not appeared on our stage since 1973. The Golden Cockerel by Nicolai Rimsky-Korsakov opens on Friday, October 25, 2019 at 7:30 p.m. in the Winspear Opera House. Music Director Emmanuel Villaume will conduct this tart-tongued comedy, imaginatively staged by esteemed Scottish director Paul Curran (Becoming Santa Claus).

This opulent Paul Curran production garnered rave reviews when it opened in Santa Fe during the 2017 summer festival. Rimsky-Korsakov’s cautionary tale about lust and power (or the lust for power) captivated both critics and audiences.

Russian soprano Venera Gimadieva will make her company debut as the exotic and oh-so-sultry Queen of Shemakha. Classical Music Critic Scott Cantrell of The Dallas Morning News wrote, “She weaves her spell with showcase vocalism.”

Russian bass Nikolai Didenko (who, according to The New York Sun, “regularly steals the show with his seemingly effortless subterranean voice” will make his Dallas Opera debut as the delusional King Dodon. Russian tenor Viktor Antipenko and American baritone Corey Crider will sing the roles of Dodon’s backstabbing sons, Prince Guidon and Prince Afron.

Bass Kevin Burdette (Joby Talbot and Gene Scheer’s Everest), described by The New York Times as “the Robin Williams of opera,” is the king’s loyal commander, General Polkan. Contralto Lindsay Ammann sings the role of Amelfa, while English tenor Barry Banks, a favorite of Metropolitan Opera audiences, makes his TDO debut as the Astrologer who seems to know all.

The Golden Cockerel will be conducted by acclaimed Music Director Emmanuel Villaume, praised for the sensitivity of his conducting by Zachary Woolfe of The New York Times. This season, Maestro Villaume was praised for his illuminating conducting of our season opener, The Flying Dutchman, which prompted Gregory Sullivan Isaacs of TheaterJones.com to write, “Emmanuel Villaume was astonishing in the pit. Having observed him for years, there is a steady upward trend from fine conductor to one of the best of our time.” Wayne Lee Gay of Texas Classical Review noted in his analysis of our second production of the current season, Carmen, “Even in the opening phrases of the Overture…Villaume’s command of the nuance and unique musical language of Bizet signaled an outstanding performance in the making.”

Scottish director/choreographer Paul Curran, who made a dazzling 2015 Dallas Opera debut with the world premiere of Mark Adamo’s Becoming Santa Claus, will revive his own production here in Dallas.

Set and costume designs are by internationally acclaimed British designer Gary McCann, whose jaw-dropping designs for The Dallas Opera’s 2015 world premiere of Mark Adamo’s Becoming Santa Claus were the talk of the town. Recent and upcoming projects include designing Der Freischütz and Macbeth for Vienna State Opera; Killology for the Royal Court Theatre; Carmen for Philadelphia Opera; and the sets for My Fair Lady for Teatro San Carlo in Naples.

The acclaimed Dallas Opera Chorus will be ably prepared by Dallas Opera Chorus Master Alexander Rom.

Sung in Russian with English supertitles projected above the stage, The Golden Cockerel can also be experienced on October 27(m), 30, and November 2, 2019. Dallas Opera evening performances begin promptly at 7:30 p.m., Sunday matinees at 2:00 p.m.

The complete season schedule, artist and production team bios, synopses and more can be found online, anytime, at www.dallasopera.org.

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The third production of The Dallas Opera’s 63rd “Standing Ovation” Season is one of the greatest and most challenging works in the opera canon: Giuseppe Verdi’s Don Carlo, opening on Friday, March 20, 2020 for the first of four performances in the magnificent Winspear Opera House.

A generation has passed since The Dallas Opera’s sole presentation of Verdi’s titanic tale of clashing Catholics and Protestants. A French princess is forced to marry King Philip II of Spain against her will when her heart belongs to Don Carlo. In the work described by The New York Times as “The Hamlet of Italian opera—a profound and challenging venture for any opera company,” dangerous secrets and dangerous liaisons abound! A terrifying Grand Inquisitor and a duplicitous mistress of the King send tensions sky high in this explosive mix of sex, politics and religion—thrillingly brought to life by Verdi’s masterful score!

This series of concert version performances will be guided from the podium by Dallas Opera Music Director Emmanuel Villaume.

Soprano Leah Crocetto, “a passionate actress with a beautiful, vibrant voice” (Seattle Times) stars as the conflicted Elizabeth de Valois, torn between desire and duty. Mezzo-soprano Jamie Barton, winner of the BBC’s prestigious Cardiff Singer of the World competition, was praised by Opera Now for giving “a searing account of Eboli’s dramatic conflicts and intense emotions.” American tenor Robert Watson, a frequent guest of Deutsche Oper Berlin, has sung repertoire ranging from Cavaradossi to Lohengrin in U.S. and European opera houses. He will make his Dallas Opera debut singing the title role.

Baritone Mariusz Kwiecień, who sings “with palpable musical and emotional investment” (John von Rhein, The Chicago Tribune), returns to TDO in the role of Rodrigo di Posa. Bass Morris Robinson, who last thrilled local audiences as The Commendatore/Stone Guest in 2018’s Don Giovanni, will apply his “gorgeously rich and sepulchral bass (The Washington Post) to the part of King Philip II—in a role debut.

Other principal singers in the cast include bass Andrea Silvestrelli as the feared Grand Inquisitor, bass David Leigh as a Monk, soprano Ewa Plonka in her house debut as Tebaldo, and soprano Elizabeth Sutphen as A Celestial Voice.

Atmospheric lighting is provided by designer Krista Billings and chorus preparation by Dallas Opera Chorus Master Alexander Rom.

Sung in Italian with English translations projected above the stage, Don Carlo will have three additional concert version performances on March 22(m), 25 and 28, 2020.

Tickets are likely to go quickly; renew your Dallas Opera subscription today!

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The fourth production of The Dallas Opera’s 63rd Season is a double bill of two remarkable twentieth-century works: Pulcinella, a ballet with song by Igor Stravinsky (performed in collaboration with Dallas Black Dance Theatre) and La Voix Humaine (The Human Voice) a one-woman tour de force by Francis Poulenc and Jean Cocteau. The Dallas Opera is proud to present a new production of two works never before seen in Dallas!

The character of Pulcinella was introduced in Italy’s commedia dell’arte in 1620; a witty, sometimes foolish, outspoken, “voice of the common man” who conquered geographical and culture boundaries to become a fixture in European entertainment. This neo-classical ballet is based on an eighteenth-century play entitled Four Identical Pulcinellas—and was commissioned by dance impresario Sergei Diaghilev for the famous company he founded in Paris: the Ballets Russes. The original 1920 production also featured sets and costumes by world-renowned Spanish artist Pablo Picasso.

The composer utilized themes from the earlier work, erroneously attributed to Giovanni Battista Pergolesi, updating them with modern cadences and harmonies. About the project, Stravinsky wrote: “Pulcinella was my discovery of the past, the epiphany through which the whole of my late work became possible. It was a backward look, of course—the first of many love affairs in that direction—but it was a look in the mirror, too.”

Artists from the world-renowned Dallas Black Dance Theatre will command centerstage, accompanied by a trio of outstanding soloists: mezzo-soprano Lindsey Metzger, tenor Matthew White, and bass-baritone Richard Ollarsaba. Director Candace Evans (The Merry Widow, Don Pasquale) returns to The Dallas Opera after recently guiding productions of Daniel Catán’s Florencia en al Amazonas for San Diego Opera, La Tragedie de Carmen for Opera Birmingham, Giulio Cesare for Seagle Music Colony, and The Pearl Fishers for North Carolina Opera.

The ballet is being paired with another work new to Dallas Opera audiences, composer Francis Poulenc’s setting of a raw and riveting drama by French playwright/filmmaker Jean Cocteau, La Voix Humaine (The Human Voice). Starring the remarkable Patricia Racette as a woman on the brink in this, her TDO directorial debut, The Human Voice is a one-woman tour de force in which the audience listens in to one side of a final phone conversation between Elle and the callous ex-lover who has abandoned her for another. The Chicago Tribune raved, “Racette raises the emotional ante…she is mesmerizing from first to last, drawing into her character’s increasing distress…as her life unravels.”

This double bill marks the return of the Martha R. and Preston A. Peak Principal Guest Conductor Nicole Paiement, who last conducted the U.S. premiere of Dutch composer Michel van der Aa’s Sunken Garden in 2018.

Other recent career highlights include Handel’s Xerxes at the Glimmerglass Festival, Kevin Puts’ Silent Night for Atlanta Opera, a reprise of Joby Talbot and Gene Scheer’s Everest (which she conducted in the 2015 Dallas Opera world premiere) and numerous premieres and commissions for the San Francisco company she co-founded, Opera Parallèle. Upcoming engagements include Donizetti’s La favorite for Houston Grand Opera and Mason Bates The (R)evolution of Steve Jobs at Seattle Opera. In March, Maestra Paiement will conduct the world premiere of a new American chamber opera, Today It Rains, inspired by an event in the life of twentieth-century visual artist Georgia O’Keeffe.

This new Dallas Opera production will feature sets and costumes designed by Tommy Bourgeois with lighting design by Krista Billings.

Pulcinella & La Voix Humaine will be presented at the Winspear Opera House at the AT&T Performing Arts Center on April 3, 4, 5(m) and 8, 2020. As always, sung in their original languages: Pulcinella in Italian and La Voix Humaine in French with English language supertitles.

Season subscriptions will go on sale to the public on April 2, 2019. Current season subscribers may renew at any time by contacting the friendly professionals in The Dallas Opera Ticket Services Office, at 214.443.1000.

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The final production of the 63rd International Season is a comedy that transcended styles, cultures and languages to become an all-time favorite: Gioachino Rossini’s The Barber of Seville, opening Friday, April 24, 2020 at 7:30 p.m. in the Margot and Bill Winspear Opera House.

Disguises and false identities abound as men—young and old—vie for the hand of the beautiful Rosina in one of the funniest and most frenetic operas ever composed! Rossini’s delightful 19^th century comedy centers on “Figaro, Figaro, Figaro!” a scheming barber and jack-of-all-trades, sung by Grammy Award-winning baritone Lucas Meachem, described by San Francisco Classical Voice as a scene-stealer “who draws all eyes…with his charismatic Figaro.”

Figaro plots with Count Almaviva (sung in their TDO debuts by Spanish tenor Xabier Anduaga in the first two performances, and by tenor Lawrence Brownlee, “a super nova in the grand opera firmament” in all subsequent performances) to release Bartolo’s headstrong ward, Rosina, from her gilded cage. South African soprano Pretty Yende, who displays “a voice that has a lilting, silvery quality that is both bright and delicate,” portrays the willful Rosina in her company debut. Italian baritone Renato Girolami blusters as the easily duped Doctor Bartolo.

American bass Adam Lau will delight audiences as the music master, Don Basilio, and soprano Margaret Gawrysiak portrays Berta, the governess.

Conducted by Italian Maestro Riccardo Frizza, who will guide our spring performances of Verdi’s Falstaff, this Minnesota Opera production will be staged by director Christopher Mattaliano in his company debut. The sets were designed by Allen Moyer, costumes by the late Jamie Scott, and chorus preparation by Dallas Opera Chorus Master Alexander Rom.

Sung in Italian with English translations projected above the stage, this uproarious production will captivate patrons in additional performances on April 26(m), 29, May 2, 8 & 10(m), 2020.

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Evening performances during the 2019-2020 Season will begin at 7:30 p.m., unless otherwise stated (including the 8:00 p.m. curtain for the Linda and Mitch Hart Season Opening Night Performance). All Sunday matinees are slated to begin at 2:00 p.m.

The “Joy and Ronald Mankoff Pre-Opera Talks,” a free background lecture designed to enhance your enjoyment of the opera being performed, takes place in Nancy B. Hamon Hall located just off the Winspear Opera House lobby, one hour prior to each performance, except for Opening Night of the Season.

Dallas Opera performs mainstage works in their original languages. Easy-to-read English translations are projected above the stage during every Dallas Opera performance—even those sung in English—and special headsets are available for the hearing impaired.

No late seating is permitted at Dallas Opera performances once the house doors are closed. Latecomers will be seated at the first available opportunity (usually, intermission).

Flex subscriptions for three mainstage performances of your choice begin at $24 for the 2019-2020 Season. Full Subscriptions begin at $100 for all five productions. New subscriptions will become available on April 2, 2019.

Single Tickets for next season will start at $19 and are expected to go on sale in early July. Group rates are available. Student Rush Tickets are available 90 minutes prior to curtain. With a valid Student ID you can obtain “the best available seat” for as little as $15.

For additional information about the “Standing Ovation” Season, call The Dallas Opera Ticket Services Office at 214-443-1000 or visit us online at www.dallasopera.org.

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Put aside those computers, tablets, and smart phones—and grab the kiddos—in order to take advantage of budget-minded, kid-friendly performances offered by The Dallas Opera in the 2019-2020 Season!

In addition to presenting world-class opera, and to providing support for outstanding young artists, established stars, and up-and-coming female conductors; The Dallas Opera is also committed to introducing the joys of opera to as many people as possible, and to provide budget-minded, kid-friendly performances that can be enjoyed by North Texans of every age, background and educational level.

The always popular Dallas Opera Family Performance Series is generously supported by the Betty and Steve Suellentrop Educational Outreach Fund.

TDO Family Performances are a part of the Perot Foundation Education and Community Outreach Programs.

Five dollar single tickets will be available through The Dallas Opera Ticket Services Office at 214.443.1000 or 24/7 at dallasopera.org/family.

2019-2020 FAMILY PERFORMANCE SERIES

DOCTOR MIRACLE

By Georges Bizet

Sunday, October 6, 2019

Saturday, March 21, 2020

Georges Bizet’s romantic, one-act operetta about love and omelets was composed for a music competition when the composer (world-renowned for his operas Carmen and The Pearl Fishers) was just eighteen years old. A youthful vitality permeates this story set in 19^th century Padua, Italy, in the home of the Mayor, his wife Veronica, and his love-struck daughter, Laurette. She’s enamored of the ever-resourceful Silvio, an army captain, who dons one disguise after another to infiltrate the household, in order to win the hand of the girl he adores. Sound simple? Guess again! The classic storybook set and costumes were designed by Production Designer Tommy Bourgeois.

THE BREMEN TOWN MUSICIANS

By John Davies

Sunday, October 13, 2019

Saturday, April 4, 2020

An operatic version of a Brothers Grimm classic fairytale: “The Town Musicians of Bremen,” enhanced with music by Rossini, Donizetti, Offenbach, Arthur Sullivan and Verdi.

Eddie Pensier, a rooster with operatic aspirations, is chased away from his farm for waking the barnyard with tenor arias. On the very same day, Barcarolle, the dog, and Dorabella, the cat, are cast out by their owner for being too old to catch rabbits and mice. The three animals run into the woods near the road to Bremen where General Boom, a retired army donkey, is marching along playing his drum. He’s on his way to Bremen to begin a new band. As each of the runaways cross the General’s path, he invites them to join his band. They have plans of their own, however, and decline the invitation. The woods surrounding the Bremen Road are filled with uncertainty. Eddie, Dorabella and Barcarolle become lost and argue angrily until General Boom hears their shouting and rescues them. With rumors of robbers approaching, they accept the General’s suggestion to overlook their differences, join his band and march to Bremen. Working together as a team they overcome difficult circumstances further down the road, and as they approach their new home, the newly formed Bremen Town Musicians celebrate the idea that friendship, cooperation, and respect for others is far better than facing problems alone.

$5 performances in the Winspear Opera House. Tickets may be purchased in advance or at the door. Learn more online at www.dallasopera.org/family.

MARK YOUR CALENDARS FOR THIS SPECIAL EVENT!

THE 5^th HART INSTITUTE FOR WOMEN CONDUCTORS SHOWCASE

NOVEMBER 9, 2019 at 7:30 p.m.

THE MARGOT AND BILL WINSPEAR OPERA HOUSE

AT&T PERFORMING ARTS CENTER

Six of the world’s most promising conductors—all of them women—take the podium to conduct a concert of opera favorites featuring some of the nation’s top young singers performing with The Dallas Opera Orchestra. Hundreds of conductors from countries around the globe have competed for the handful of places available in this young-but-prestigious institute. Six are chosen each year to participate in the Linda and Mitch Hart Institute for Women Conductors, an intensive, two-week residency—and an opportunity to work with some of the music industry’s most renowned leaders, artists, conductors, and agents.

Tickets for this exceptional annual concert event start at just $10. Season ticket holders and donors receive priority seating—place your order when you subscribe! Call 214.443.1000.

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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 AT 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 62ndInternational 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 18^th 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: 19^th 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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2018 Hart Institute Concert – Saturday, Nov. 10 at the Winspear

Conductor Priscila Bomfim, one of six chosen for this year’s Hart Institute

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 10^that 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:

Sonia Ben-Santamaria (UK/France)
Priscila Bomfim (Brazil)
Sarah Penicka-Smith (Australia)
Audrey Saint-Gil (France/USA)
Maria Sensi Sellner (USA)
Emily Senturia (USA)

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 10^th 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”:

Jamie Bernstein, author, narrator and filmmaker (guest speaker on Nov. 8^th)
Annie Burridge, General Director, Austin Opera
Peter Czornyj, Dallas Symphony Orchestra Director of Artistic Planning
Ana De Archuleta, ADA Artists, panelist for the NEA’s 2017 Arts Works Opera Grants
Zenetta Drew, Exec. Director of Dallas Black Dance Theatre
Rona Eastwood, Senior Associate Director, Conductors Askonas Holt
Kathleen Kelly, conductor, pianist, répétiteur and coach, Cincinnati College-Conservatory of Music; San Francisco’s Merola program; recent recitals with Jamie Barton, Caitlin Lynch, Michael Kelly and more
Jeffrey Larson, artist development and management; Founder/Pres. L2 Artists
Gianluca Macheda, Founder/Pres. GM Art and Music
Erik Malmquist, artist manager, Zemsky Green Artists Management
Anthony Manoli, conductor, pianist and coach (Washington National Opera; the Spoleto Festival in Italy and the U.S.; L.A. Opera; Opera New England, etc)
Lynn McBee, Chairman, The Dallas Opera and the Board of the Bridge Homeless Shelter; CEO of Young Women’s Preparatory Network; board of directors for AT&T Performing Arts Center, The Salvation Army, etc.
Carlo Montanaro, Music Dir. at Teatr Wielki (Warsaw, Poland), opera and symphonic conductor for companies including Bavarian State Opera, Paris Opera, San Francisco Opera, Seattle Opera, Tokyo NNT, etc.
Kim Noltemy, President & CEO, Dallas Symphony Association
Timothy O’Leary, Gen. Director, Washington National Opera
Deborah F. Rutter, President, John F. Kennedy Center for the Performing Arts
Joanie Schultz, Artistic Dir., WaterTower Theatre (Dallas)
Marc Scorca, President/CEO, OPERA America
Sarah Segner, Director, Digital & Creative Media, 21 Media Group
Neil Shicoff, internationally renowned tenor
Matthew Shilvock, General Director, San Francisco Opera
Debbie Storey, Interim President and CEO, AT&T Performing Arts Center
Sean Waugh, Artistic Planning Manager, San Francisco Opera
Lidiya Yankovskaya, Music Director, Chicago Opera Theater; Refugee Orchestra Project – alumna of the Hart Institute
Francesca Zambello, Gen. Dir., The Glimmerglass Festival; Artistic Dir. of Washington National Opera

Dallas Opera personnel serving on the 2018 Hart Institute faculty include:=

Ian Derrer, The Kern Wildenthal General Dir. and CEO
Emmanuel Villaume, The Mrs. Eugene McDermott Music Director
Nicole Paiement, The Martha R. and Preston A. Peak Principal Guest Conductor
And David Lomeli, TDO Director of Artistic Administration

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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:

Nicole Eubanks (Lyric Opera of Kansas City)
Laura Smalley (Chicago Opera Theater)
Brooke Tolley (Opera Roanoke)

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

~~~~

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

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 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: 19^th 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 18^th 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: 19^th 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

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

* Dallas Opera Debut

** American Debut

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CARMEN Simulcast Rescheduled! NEW DATE: Friday, Nov. 2 at Klyde Warren Park

FOR IMMEDIATE RELEASE:

Wednesday, October 17, 2018

Contact: Suzanne Calvin 214.443.1014

suzanne.calvin@dallasopera.org

THE DALLAS OPERA IS RESCHEDULING

TDO’s 17th LIVE SIMULCAST:

BIZET’S CARMEN
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FRIDAY, NOVEMBER 2, 2018, 7:30 p.m.

Live from the Margot and Bill Winspear Opera House

To Klyde Warren Park

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Activities and Entertainment include Tom & Jerry Cartoon Carmen Get It! and Carmen Costume Contest

TDO’s Free Simulcast made possible by support from

The Enrico Foundation

Additional Support Provided by Texas Instruments

DALLAS, OCTOBER 17, 2018 – Due to continuing wet weather and concerns for the comfort and safety of our patrons, The Dallas Opera has rescheduled the live Carmen simulcast originally scheduled for this Friday.

The free public simulcast at Klyde Warren Park in Downtown Dallas will now be presented on Friday, November 2, 2018 (program begins at 6:30 p.m. /curtain time, 7:30 p.m. from the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center.

George Bizet’s gripping nineteenth-century saga of a woman who won’t be possessed will be experienced by park patrons on a large high-definition video screen with English language supertitles. Set in 19^th century Seville, Spain, Carmen blends love, lust, jealousy, and obsession with extraordinary music and drama—making it one of the most popular operas ever composed.

The November 2nd Carmen Simulcast is made possible in part by The Enrico Foundation with additional support provided by Texas Instruments.

“The free fall simulcast in Klyde Warren Park has quickly evolved into one of our most popular traditions,” explains Dallas Opera Director of Marketing and Ticket Sales Carrie Ellen Adamian. “It’s not merely a grand night for opera, it’s a marvelous opportunity to celebrate community life with your loved ones, children, and friends. For those who may never have experienced opera before, Carmen is especially thrilling with its combination of fantastic melodies and a storyline that will keep you on the edge of your…blanket.”

Klyde Warren Park is located at 2012 Woodall Rodgers Freeway, Dallas, TX 75201. Sign up today for reminders and updates at www.dallasopera.org/simulcast. No reservations are required in order to attend.

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The fun begins at 6:30 p.m. with local broadcast legend Jody Dean and Kristian Roberts, Education Program Senior Manager for The Dallas Opera. Activities include a trivia contest, behind-the-scenes interviews with the cast, and a 1962 Tom & Jerry cartoon, Carmen Get It! (courtesy of WB Classics).

The Dallas Opera will also revive our popular “Carmen Costume Contest” which asks the relevant question: “What Kind of Carmen Are You?”

Whether you envision yourself as a traditional Carmen, a Carmen Electra or a Carmen Miranda—male or female, on two legs or four (yes, pets can enter)—you’re being summoned to the Klyde Warren Park stage in your most imaginative Carmen finery to mark The Dallas Opera’s exciting live simulcast. Judging will take place at the simulcast location around 8:30 p.m. (during first intermission) with prize winners to be determined the old-fashioned way: by audience acclaim. Competitors are advised to bring loud and enthusiastic friends.

The public is encouraged to arrive with time to spare before the 7:30 curtain, and to bring blankets or low lawn-chairs to secure their spot on the lawn. A variety of nearby wining-and-dining options include Savor, serving New American cuisine and assorted food trucks.

“Since its inception, Klyde Warren Park has been committed to bringing the very best of the performing arts free of charge to all our patrons,” said Kit Sawers, President of Klyde Warren Park. “The Dallas Opera simulcast has been one of our most successful and beloved programs, with thousands attending each year from all across North Texas. This valued partnership is a dream come true, bringing together people of all ages, ethnicities and socioeconomic groups for an exciting celebration of the arts with a unique, community-bridging synergy.”

~~~~

Carmen’s stellar international cast includes sultry French mezzo-soprano Stéphanie d’Oustrac in the title role; tenor Stephen Costello in his role debut as Don José; soprano Sara Gartland in her company debut as Micaëla; Russian bass Alexander Vinogradov as Escamillo; sopranos Sarah Tucker as Frasquita and Lindsay Metzger as Mercédès in their company debuts; tenor Rafael Moras as Le Remendado and baritone Corey Crider as Le Dancaïre in their house debuts; bass Ben Wager as Zuniga, and baritone Gideon Dabi in his TDO debut as Morales.

This 1875 masterpiece will be conducted by renowned French guest conductor Pierre Vallet, one of the staff conductors for New York’s Metropolitan Opera. This production by Sir David McVicar is being staged by director Jack Furness in his company debut.

Sung in French, Carmen can also be experienced in the traditional opera house setting during any of six mainstage performances: October 19, 21(m), 24, 27, November 2 & 4, 2018.

Subscriptions and FLEX three-packs (three operas of your choice) for the Dallas Opera’s 2018-2019 “Swept Away” Season are on sale now, starting at just $100 for all five mainstage productions, through the Dallas Opera Ticket Services Office at 214.443.1000 or online at www.dallasopera.org.

Single tickets start at just $19. Student Rush best-available tickets can be purchased at the lobby box office for $15 to $25, depending on the section, (one per valid Student I.D.) ninety minutes prior to each performance. Simulcasts are always free of charge and open to the public.

The complete season schedule, artist and production team bios, synopses and more can be found at www.dallasopera.org.

~~~~

ABOUT KLYDE WARREN PARK

Klyde Warren Park serves as a central gathering space for Dallas and its visitors. The 5.2 acre deck park, designed by the Office of James Burnett, is an urban green space built over the recessed Woodall Rodgers Freeway between Pearl and St. Paul streets in downtown Dallas. Klyde Warren Park is a highly active space, providing daily free programming for the public ranging from yoga to lecture series to outdoor concerts and films. The park is privately operated and managed by the Woodall Rodgers Park Foundation. For more information on programming, volunteering or to make a donation to support free daily programs, please visit www.KlydeWarrenPark.org.

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.

~~~~

2018-2019 SEASON SPONSOR

The Nancy A. Nasher and David J. Haemisegger Family
~~~~

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

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

THE DALLAS OPERA 2018-2019 MAINSTAGE SEASON

The Dallas Opera celebrates its 62ndInternational 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. (unless otherwise indicated) and Sunday matinees begin at 2:00 p.m. 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

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: 19^th 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: Stéphanie 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 Dancaïre), Ben Wager (Zuniga), Gideon Dabi* (Moralès).

MANON LESCAUT by Giacomo Puccini

March 1, 3 (m), 6, 9, 2019

The woman who has everything discovers too late that she has nothing – without true love!

Libretto by Domenico Oliva and Luigi Illica

Time: Late 18^th century

Place: France and America

Conductor: Emmanuel Villaume

Director: Edward Berkeley*

Set Designer: Tommy Bourgeois

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 Renato des Grieux), Andrea Silvestrelli* (Geronte di Revoir), 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: 19^th 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** (Mimì), Anthony Clark Evans* (Marcello), Sara Gartland* (Musetta), Will Liverman* (Schaunard), Nicholas Brownlee* (Colline), and Samuel Ramey (Benoît/Alcindoro), Don LeBlanc (Parpignol), Andrew Ward (Customs House Officer), Christopher Harrison (Sergeant), Dan Crowell (“Prugne di Tours”)

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 Designer: Adrian Linford*

Costume Designer: Adrian Linford*

Lighting Designer: Rick Fisher*

Wig & Make-up Designer: Dawn Rivard

Chorus Master: Alexander Rom

Starring: Mark Delevan* (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

______________________________________________________________________________

###

The Dallas Opera Presents CARMEN Oct. 19-Nov. 4

Media Release

FOR IMMEDIATE RELEASE:

Wednesday, October 17, 2018

Contact: Suzanne Calvin 214.443.1014

suzanne.calvin@dallasopera.org

THE DALLAS OPERA IS PROUD TO PRESENT

THE COMPANY’S SPECTACULAR SECOND PRODUCTION

OF THE 2018-2019 “SWEPT AWAY” SEASON!

GEORGES BIZET’S COLORFUL, SENSUAL 1875 MASTERPIECE

CARMEN

LIBRETTO BY HENRI MEILHAC AND LUDOVIC HALÉVY

BASED ON THE NOVELLA BY PROSPER MÉRIMÉE

~~~~

STARRING FRENCH MEZZO-SOPRANO STÉPHANIE D’OUSTRAC

IN HER DALLAS OPERA DEBUT

TENOR STEPHEN COSTELLO IN HIS ROLE DEBUT AS DON JOSÉ

SOPRANO SARA GARTLAND IN HER TDO DEBUT AS MICAËLA

AND BASS-BARITONE ALEXANDER VINOGRADOV AS ESCAMILLO

~~~~

CONDUCTED BY MUSIC DIRECTOR EMMANUEL VILLAUME

AND MAESTRO PIERRE VALLET (10/24 & 11/2)

PRODUCTION CREATED BY SIR DAVID McVICAR

Directed by Jack Furness in his American Debut

~~~~

OPENING NIGHT: FRIDAY, OCTOBER 19, 2018 AT 7:30 PM

WITH ADDITIONAL PERFORMANCES

Oct. 21(m), 24, 27, Nov. 2 & 4(m), 2018

The Margot and Bill Winspear Opera House

AT&T Performing Arts Center

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GENEROUS SUPPORT PROVIDED BY:

MR. AND MRS. J. DAVIS HAMLIN

BETTY AND STEVE SUELLENTROP

TEXAS INSTRUMENTS FOUNDATION

With Special Thanks to the Estate of

Eleanor P. Stevens

DALLAS, OCTOBER 17, 2018 – The Dallas Opera is proud to present the second production of the 2018-2019 “Swept Away” Season: Georges Bizet’s colorful, sensual and passionate 19^th century masterpiece, Carmen, one of the most beloved and popular works in the entire opera canon. Carmen opens at 7:30 p.m. on Friday, October 19, 2018 in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District.

The Opening Night Performance of Carmen was scheduled to be simulcast to patrons in nearby Klyde Warren Park. Due to the probability of more unseasonably wet weather, the Carmen simulcast has been rescheduled to take place on Friday, November 2, 2018 (curtain time: 7:30 p.m.) in the same outdoor location.

This Gothenburg Opera production from Sweden was originally created by Sir David McVicar for Glyndebourne Opera in the U.K.— it has never before been seen in the U.S.

Carmen will be conducted by The Mrs. Eugene McDermott Music Director Emmanuel Villaume, inaugurating his sixth season with The Dallas Opera this fall—and by guest conductor Pierre Vallet on October 24^th and November 2^nd.

George Bizet’s 1875 masterpiece will be directed by Jack Furness in his American Opera debut. Mr. Furness is best known for his work as the Founder and Artistic Director of Shadwell Opera (UK), which has produced a string of critically-acclaimed modern and chamber operas.

The stellar international cast includes French mezzo-soprano Stéphanie d’Oustrac in the title role; tenor Stephen Costello in his role debut as Don José; soprano Sara Gartland in her company debut as Micaëla; Russian bass Alexander Vinogradov as Escamillo; sopranos Sarah Tucker as Frasquita and Lindsay Metzger as Mercédès in their company debuts; tenor Rafael Moras as Le Remendado and baritone Corey Crider as Le Dancaïre in their house debuts; bass Ben Wager as Zuniga, and baritone Gideon Dabi in his TDO debut as Moralès.

Subsequent performances of CARMEN will take place on October 21(m), 24, 27, November 2 and 4(m), 2018, with generous support from Mr. and Mrs. J. Davis Hamlin, Betty and Steve Suellentrop, and Texas Instruments Foundation, and with special thanks to the estate of Eleanor P. Stevens.

~~~~

She’s the woman no man can resist and, as performed by renowned French mezzo-soprano Stéphanie d’Oustrac in her company debut, who would want to say “non”? Mark Pullinger, writing for bachtrack, had high praise for her mastery of this signature role: “Sultry, fiery, coquettish: a mezzo singing Carmen needs to have all these qualities and d’Oustrac scored on each and every point. From her teasing, orange-peeling habanera to her haughty tossing away of Don José’s ring in the finale, this was a compelling reading of the role.”

Ms. d’Oustrac, the great-grand-niece of composer Francis Poulenc, dedicated herself to music and a life on the stage from a very young age. She will sing opposite a frequent guest artist of The Dallas Opera, tenor Stephen Costello, making an important role debut as the troubled Don José. Heidi Waleson of The Wall Street Journal found his recent performances “stunning,” adding, “His tenor is beautifully poised and free; ardent without pushing.”

James M. Keller, reviewing for The Santa Fe New Mexican, also praised Costello’s “attention to the details of the score (which) reflected a commendable attitude of deeply imbued musicianship.” Costello last appeared on the TDO stage in the 2016 revival of Jake Heggie and Gene Scheer’s Moby-Dick, but has moved local audiences with portrayals that spanned operatic repertoire from bel canto to Russian Romanticism.

Soprano Sara Gartland will make her TDO debut as the faithful Micaëla after earning rave reviews singing the title role in Rusalka with Des Moines Metro Opera, where she previously starred as Jenůfa and Juliette, and at Arizona Opera—where, earlier, she sang Violetta in La traviata. Her Rusalka was praised by Opera News as “an exquisite account of the title role. The soprano’s voice continues to gain body in the midrange yet retains a thread of silver that graces her sound with an ethereal shimmer.”

Regarding her San Francisco Opera appearance as Micaëla, Harmony Wheeler of Broadway World wrote that Gartland “has a strong, stunning voice that commands attention, yet portrays the purity and innocence of the character…(in) a career bound to take her to many more of the world’s famous opera houses.”

Other recent highlights include her San Diego Opera debut as Musetta, Marzelline in Fidelio with Opera Omaha, Violetta for Utah Opera, Adina in L’Elisir d’amore with Austin Lyric Opera, and covering the title role in Norma at TDO.

Ms. Gartland stepped into the role of Micaëla following soprano Vanessa Vasquez’ withdrawal from the Dallas Opera cast for health reasons.

Celebrated Russian bass Alexander Vinogradov makes a welcome return to the Winspear Opera House after a show-stopping turn as Colline in TDO’s 2015 production of La bohème. Gregory Sullivan Isaacs of TheaterJones.com described him as “that rarity of rarities—a real basso.” In addition to singing the role of the confident Escamillo for The Dallas Opera, he will be making his L.A. Opera and Bavarian State Opera debuts this season in the same role. Other season highlights for Vinogradov include his Metropolitan Opera debut in Lucia di Lammermoor and Luisa Miller and Le nozze di Figaro at Moscow’s Bolshoi Theatre.

Other principal roles in this outstanding cast are filled by:

Soprano Sarah Tucker as Frasquita
Soprano Lindsay Metzger as Mercédès
Tenor Rafael Moras as Le Remendado
Baritone Corey Crider as Le Dancaïre
Bass Ben Wager as Zuniga, and
Baritone Gideon Dabi as Moralès

~~~~

The Dallas Opera’s globe-trotting music director, Emmanuel Villaume, who in addition to his work in the world’s great opera houses and orchestra halls, has just released a critically-acclaimed recording of piano concertos with pianist Andrew von Oeyen and the PKF-Prague Philharmonia on the Warner Classics label. The review in London’s Sunday Times praised Villaume’s “magical sense of rhythm and texture in Ravel’s Mother Goose Suite and, especially, in Bizet’s youthful Symphony in C, a toe-tapping joy throughout.”

After Maestro Villaume conducts the first two productions of The Dallas Opera season, The Flying Dutchman and Carmen, he will return to Dallas in the spring of 2019 to conduct Puccini’s Manon Lescaut and – in between – be welcomed back to the Metropolitan Opera to conduct performances of Bizet’s other well-known opera, The Pearl Fishers.

Lawrence A. Johnson of TheClassicalReview.com previously noted Villaume’s “considerable bona fides in French repertoire…conducting a performance that conveyed the melodic richness of Bizet’s music with elegance, delicacy and dramatic point as needed.”

“I think Bizet was totally aware that he was breaking new ground in this work and it’s part of what gives Carmen such incredible intensity,” explains Emmanuel Villaume. “At the same time, he pulls off this passionate tale with taste, a great deal of elegance and, I wouldn’t say ‘restraint’ exactly, but there’s always a frame around what’s happening onstage that I find quite interesting.

“Whenever you break new ground in the arts,” Maestro Villaume adds, “the first one to get there is usually the same one who gets it right. Everyone who follows is simply looking to repeat or expand upon that success; to recreate the magic. The spell cast by Carmen is both irresistible and unique—performance after performance.”

Praised for the elegance and intensity of his interpretations, French Guest Conductor Pierre Vallet (conducting Carmen on 10/24 and 11/2) is frequently engaged by the world’s great opera companies. The New York Times selected his conducting of Persée et Andromède by Ibert at the Manhattan School of Music as one of the ten best classical performances in New York in 2016. He has conducted Madama Butterfly and Faust at the Metropolitan Opera; Tannhäuser at L’Opéra National de Paris; and Samson and Dalila at The Dallas Opera.

This production was originally directed by the internationally renowned Sir David McVicar, who debuted with TDO in 2001 as the director of Manon, a production successfully revived fourteen years later with Ailyn Pérez and Stephen Costello in the starring roles.

Set design is by a legendary figure in the British theater, Michael Vale; costume design is by Sue Blane (who famously designed costumes for the 1975 cult classic, The Rocky Horror Picture Show), with lighting design by Clare O’Donoghue (part of the team that created the Olympic Rings for the 2012 Opening Ceremonies in London)—all three in their company debuts.

Revival Choreographer Andrzej Glosniak joined the Göteburg (Gothenburg) Opera Dance Company in 2001 and has collaborated with world-renowned dancers and choreographers in the years since. This production of Carmen marks his American Opera debut. This production was originally choreographed by Andrew George.

The Dallas Opera Chorus will be prepared by Chorus Master Alexander Rom and the children’s chorus by Children’s Chorus Master Meredith Wallace in her TDO debut.

Wig and make-up designs are by Emmy Award-winner Dawn Rivard.

~~~~

Few operas are as deeply loved as Carmen, and few have generated such immediate controversy. Early audiences and critics attending the 1875 premiere production in Paris were shocked and troubled by the onstage action (from scandalous factory workers puffing on cigarettes to gleefully unrepentant smugglers), as well as the earthy principal characters themselves. However, after receiving a copy of the score, composer Pyotr Tchaikovsky made the prophetic remark that “In ten years time, Carmen will be the most popular opera in the world.”

~~~~

Dallas Opera performances of Carmen will continue on October 21(m), 24, 27, and November 2 & 4, 2018 in the Margot and Bill Winspear Opera House, selected by Southern Living as the best new venue for opera. All evening performances will begin promptly at 7:30 p.m. Sunday matinees begin at 2:00 p.m.

Full season subscriptions are still available, beginning at just $100, and single tickets start at the low, low price of $19. Student Rush best-available tickets can be purchased at the lobby box office for $15 or $25 (one per valid Student I.D.) ninety minutes prior to each performance. Contact the Dallas Opera Ticket Services Office at 214.443.1000 or make your purchase online at dallasopera.org.

A free, pre-performance lecture (“The Joy and Ronald Mankoff Pre-Opera Talks”) will be conducted one hour prior to curtain. The Dallas Opera Guild also hosts “Opera Insights,” a lively panel discussion featuring artists, directors and designers, prior to opening. For more details, check out the events calendar at dallasopera.org.

Parking onsite is available in the Lexus Red Parking beneath the Winspear Opera House and the Lexus Silver Parking adjacent to the Wyly Theatre. Additional paid parking is available at nearby One Arts Plaza and in several nearby surface lots.

~~~~

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.

2018-2019 SEASON SPONSOR

The Nancy A. Nasher and David J. Haemisegger Family
~~~~

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

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

THE DALLAS OPERA 2018-2019 MAINSTAGE SEASON

The Dallas Opera celebrates its 62ndInternational 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. (unless otherwise indicated) and Sunday matinees begin at 2:00 p.m. 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

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: 19^th 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*

MANON LESCAUT by Giacomo Puccini

March 1, 3 (m), 6, 9, 2019

The woman who has everything discovers too late that she has nothing – without true love!

Libretto by Domenico Oliva and Luigi Illica

Time: Late 18^th century

Place: France and America

Conductor: Emmanuel Villaume

Director: Edward Berkeley*

Set Designer: Tommy Bourgeois

Costume Designer: Tommy Bourgeois

Lighting Designer: Krista Billings

Wig & Make-up Designer: Dawn Rivard

Chorus Master: Alexander Rom

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: 19^th 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

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 Designer: Adrian Linford*

Costume Designer: Adrian Linford*

Lighting Designer: Rick Fisher*

Wig & Make-up Designer: Dawn Rivard

Chorus Master: Alexander Rom

* Dallas Opera Debut

** American Debut

_____________________________________________________________________________________

###

“The Flying Dutchman” Opens TDO’s “Swept Away” Season on October 12

FOR IMMEDIATE RELEASE:

Wenesday, October 3, 2018

Contact: Suzanne Calvin 214.443.1014

suzanne.calvin@dallasopera.org

THE DALLAS OPERA IS PROUD TO PRESENT

THE COMPANY’S EPIC SEASON OPENER!

RICHARD WAGNER’S SWEEPING 1843 MASTERPIECE

THE FLYING DUTCHMAN

LIBRETTO BY RICHARD WAGNER AFTER HEINRICH HEINE’S

Aus den Memoiren des Herren von Schnabelewopski

~~~~

CONDUCTED BY DALLAS OPERA MUSIC DIRECTOR

EMMANUEL VILLAUME

DIRECTED BY CHRISTOPHER ALDEN

STARRING ACCLAIMED BASS-BARITONE GREER GRIMSLEY AS THE DUTCHMAN AND SENSATIONAL GERMAN-ITALIAN SOPRANO ANJA KAMPE IN HER TDO DEBUT AS SENTA

ALSO STARRING JAY HUNTER MORRIS AS ERIK

MARK S. DOSS IN HIS TDO DEBUT AS DALAND

LURETTA BYBEE AS MARY

AND ANDREW STENSON IN HIS COMPANY DEBUT AS THE STEERSMAN

~~~~

THE LINDA AND MITCH HART SEASON OPENING NIGHT PERFORMANCE:

FRIDAY, OCTOBER 12, 2018 AT 8:00 PM (Please note special curtain time)

WITH ADDITIONAL PERFORMANCES

AT 7:30 P.M. AND 2:00 P.M. (SUNDAY MATINEE)

Oct. 14(m), 17 & 20, 2018

The Margot and Bill Winspear Opera House

AT&T Performing Arts Center

~~~~

This Production Made Possible by

HOLLY AND TOM MAYER

RICHARD AND ENIKA SCHULZE

JOANNA L. AND T. PETER TOWNSEND

DALLAS, OCTOBER 3, 2018 – The Dallas Opera is extremely proud to present the season opener of the company’s grand 2018-2019 “Swept Away” Season: Richard Wagner’s haunting nineteenth-century masterpiece, The Flying Dutchman (Der fliegende Holländer), a work not seen on The Dallas Opera stage since January of 1994.

The Flying Dutchman will open on Friday, October 12, 2018 in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District. The Linda and Mitch Hart Season Opening Night Performance has a special curtain time of 8:00 p.m.

This compelling production from Canadian Opera Company in Toronto will be directed by Christopher Alden. The Mrs. Eugene McDermott Music Director Emmanuel Villaume will be at the podium for all four performances—kicking off his sixth season at TDO with his first Wagner performance in Dallas!

A world-class international cast of notable Wagnerians includes American bass-baritone Greer Grimsley as the Dutchman; German-Italian soprano Anja Kampe in her house debut as Senta; American tenor Jay Hunter Morris as Erik; American bass-baritone Mark S. Doss in his TDO debut as Daland; American mezzo-soprano Luretta Bybee as Mary, and Korean-American tenor Andrew Stenson in his company debut as the Steersman.

Subsequent performances of The Flying Dutchman will take place on October 14(m), 17, and 20, 2018, with generous underwriting support provided by Holly and Tom Mayer, Richard and Enika Schulze, and Joanna L. and T. Peter Townsend.

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Renowned American director Christopher Alden, (The Ann Stuart Stage Director) returns to The Dallas Opera with a production of the same opera he guided in his 1978 company debut, Wagner’s The Flying Dutchman. He revisited TDO in subsequent seasons to stage a groundbreaking production of Alban Berg’s Wozzeck in 2000, and Mozart’s masterpiece, Le nozze di Figaro. Mr. Alden works regularly with many of the world’s most distinguished companies, including English National Opera Opera, San Francisco Opera, New York City Opera, Canadian Opera Company, Houston Grand Opera, Deutsche Oper Berlin, Santa Fe Opera and The Festival d’ Aix en Provence.

Mr. Alden’s English National Opera production of Handel’s Partenope received the Olivier Award for Best UK Opera Production as well as Australia’s Helpmann Award and his staging of Britten’s A Midsummer Night’s Dream with the Stanislavsky Theater in Moscow won the Golden Mask Award for Best Russian Opera Production.

“What we love about Wagner’s operas is that Wagner took the operatic art form…to new extremes in talking about human beings and society,” Christopher Alden told Arts and Culture Texas in a newly-published feature.

“Wagner was a rather dark person himself—a dark, narcissistic, monomaniacal, amazingly focused artist,” the director added. “He wrote pieces that go to the deepest, darkest places about human beings, and reach down into the deepest aspects of the human psyche. That’s why people are so compelled by them and so obsessed by them.”

The Dallas Opera’s globe-trotting music director, Emmanuel Villaume, in addition to celebrating his Fifth Anniversary with the company, has just released a critically-acclaimed recording of piano concertos with pianist Andrew von Oeyen and the PKF-Prague Philharmonia on the Warner Classics label. The review in London’s Sunday Times praised Villaume’s “magical sense of rhythm and texture in Ravel’s Mother Goose Suite and, especially, in Bizet’s youthful Symphony in C, a toe-tapping joy throughout.”

Maestro Villaume not only conducts the first two productions of the season, The Flying Dutchman and Carmen, he will return to Dallas in the spring to conduct performances of Puccini’s Manon Lescaut. Villaume will be the guest of the Metropolitan Opera in November, where he will conduct eagerly-anticipated performances of Georges Bizet’s The Pearl Fishers.

Louisiana native Greer Grimsley, one of the reigning Wotans of the Modern Era, remains one of the most prominent Wagnerian singers of our day. His interpretations of Wagner roles have earned Grimsley repeat engagements at many of the world’s most prestigious opera houses from Berlin to Santa Fe. He even sang the role of Wotan in Robert Lepage’s landmark “machine” production of Der Ring des Nibelungen at New York’s Metropolitan Opera.

This past summer, Grimsley triumphed in his Bayreuth debut—singing the title role of the Dutchman, as well as Wotan in Die Walküre.

The Seattle Post-Intelligencer reviewing Grimsley’s Dutchman proclaimed “Not only does he move well and possess genuine presence, he has sure musical instincts that support a voice of remarkable depth and lyric breadth. His Dutchman was intelligent and impassioned.”

And The Huffington Post summed him up thusly: “He sings…well…like a god.”

Anja Kampe makes her thrilling Dallas Opera debut in the role of Senta. Her portrayals of several roles have set a new standard, including her Sieglinde at the Bayreuth Festival, Isolde at Ruhrtriennale, Katerina Ismailova at Bavarian State Opera (Munich), and Brünnhilde in performances of Die Walküre at the Salzburg Easter Festival.

Peter Reed of Classical Source wrote that Kampe’s Senta “pinned you to your seat with its intensity and risk-taking abandon” and praised her “gripping mixture of rawness and radiance” in the role.

Ms. Kampe opened last season with concert performances of Fidelio at Teatro San Carlo in Naples, Italy, conducted by Zubin Mehta. She then returned to the stage of the Bavarian State Opera to reprise her explosive performance as Lady Macbeth in Dmitri Shostakovich’s 1934 masterpiece. Other recent career highlight include Isolde in a new production in Berlin, and as Kundry in Parsifal at both the Vienna State Opera and Paris National Opera.

Jay Hunter Morris as “Erik” makes a welcome return to The Dallas Opera after a brilliant revival of Jake Heggie and Gene Scheer’s Moby-Dick in which he sang the role of mad Captain Ahab. Earlier, Morris tackled the daunting role of Paul in TDO’s 2014 production of Erich Wolfgang Korngold’s Die tote Stadt (“The Dead City”).

He sang the role of Siegfried with the San Francisco Opera in 2011 and, perhaps most famously, at the Metropolitan Opera in a Grammy-winning production by Robert Lepage. Senior Critic Anthony Tommasini of The New York Times wrote: “the biggest surprise of the Met’s cast, the hearty, youthful-sounding tenor Jay Hunter Morris.”

Other recent successes include his first Tristan in Valencia with Zubin Mehta, and Schoenburg’s Guerre-Lieder at the Vienna Konzerthaus with Kent Nagano in a stellar career that has taken Morris from Budapest to Beijing.

Grammy Award-winner Mark S. Doss has sung with major orchestras in San Francisco, Philadelphia, Cleveland, Chicago and Toronto, while also performing close to a hundred roles with more than 60 major opera companies around the world: Milan’s Teatro alla Scala, the Vienna State Opera, London’s Covent Garden, San Francisco Opera, Lyric Opera of Chicago, Santa Fe Opera and the Canadian Opera Company (to name a few).

Recent roles have included Sujskij in Dvorák’s Dimitrij at Odessey Opera in Boston, Méphistophélès in Faust with Ópera Oviedo in Spain, Amonasro in Aida with the Teatro Regio in Turin, Jochanaan in Salome in Mallorca, and the title role in Verdi’s Macbeth with the Dorset Opera Festival. The role of Daland marks Mr. Doss’s Dallas Opera debut and he will return in March for Manon Lescaut.

Remarkable range and versatility are the hallmarks of mezzo-soprano Luretta Bybee on the opera and theatrical stage. In addition to singing opera, she is continually exploring the realm of musical theater and character acting and singing, which has led to roles such as Madame Armfeldt in A Little Night Music with the Pine Mountain Music Festival, Little Buttercup in H.M.S. Pinafore, and her role debut as Golde in Fiddler on the Roof at Shreveport Opera. Ms. Bybee has also been seen as Mrs. Lovett in Sondheim’s Sweeney Todd at Vancouver Opera, Glimmerglass Opera, and New Orleans Opera.

This season, in addition to the role of Mary in TDO’s The Flying Dutchman (opposite her real-life husband, Greer Grimsley), Ms. Bybee will perform the concert “On Broadway” with the Springfield Symphony.

Andrew Stenson launches the 2018-2019 Season with his Dallas Opera debut as the Steersman. He also joins the Minnesota Opera as Fadinard in The Italian Straw Hat, as well as Utah Opera where he will sing Tamino in Die Zauberflöte.

Last season, Stenson returned to the Lyric Opera of Chicago as Ferrando in Così fan tutte, sang the title role of Candide with the San Francisco Symphony, and made his company debut with Opera Theatre of St. Louis in An American Soldier, attracting national attention and acclaim in the role of Danny Chen.

Mr. Stenson is the first prize winner in both the 2015 Giulio Gari International Vocal Competition and 2016 Gerda Lissner Foundation Competition. He is also the recipient of a 2011 Sara Tucker Study Grant.

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Allen Moyer designed both sets and costumes for this COC production; OBIE Award-winner Anne Militello is the lighting designer and Emmy Award-winner Dawn Rivard designed wigs and make-up for The Flying Dutchman. This production marks Moyer and Militello’s exciting TDO debuts.

The Dallas Opera Chorus is prepared by acclaimed Chorus Master Alexander Rom.

Performances of this early Wagner masterpiece will continue on October 14(m), 17 & 20, 2018 in the Margot and Bill Winspear Opera House, selected by Southern Living as the best new venue for opera and praised by the U.K.’s Opera magazine as the finest opera house in North America. All evening performances will begin promptly at 7:30 p.m. (with the exception of Opening Night); Sunday matinees begin at 2:00 p.m.

Full season subscriptions are still available, beginning at just $100, and single tickets start at the low, low price of $19. Student Rush Best Available Tickets may be purchased at the Winspear Box Office for $15 or $25 (depending on the section) ninety minutes prior to curtain. Contact the Dallas Opera Ticket Services Office at 214.443.1000 or make your purchase online at dallasopera.org.

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Tickets for the Dallas Opera’s 2018 Opening Night Celebrations, FIRST NIGHT, presented by Hall Arts Residences and Chaired by Shelle and Michael Sills, are available through Special Events Manager Tracy Mott at tracy.mott@dallasopera.org.

A free, pre-performance lecture (“The Joy and Ronald Mankoff Pre-Opera Talks”) will be conducted one hour prior to curtain at most performances—excluding the “Linda and Mitch Hart Season Opening Night Performance.” The Dallas Opera Guild also hosts “Opera Insights,” a lively panel discussion featuring artists, directors and designers, on a Sunday afternoon prior to opening. For specific dates and more details, visit dallasopera.org.

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.

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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.

~~~~

2018-2019 SEASON SPONSOR

The Nancy A. Nasher and David J. Haemisegger Family
~~~~

EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

Additional Information About The Dallas Opera is Available Online at

www.dallasopera.org

FOR HIGH-RESOLUTION PHOTOGRAPHS

Contact Suzanne Calvin, Director of Media and PR at suzanne.calvin@dallasopera.org

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

THE DALLAS OPERA 2018-2019 MAINSTAGE SEASON

The Dallas Opera celebrates its 62ndInternational 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 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

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 possessed by any man returns to The Dallas Opera stage!

Libretto by Henri Meilhac and Ludovic Halévy

Time: 19^th 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: Stéphanie d’Oustrac* (Carmen), Stephen Costello (Don José), Vanessa Vasquez* (Micaëla), Alexander Vinogradov (Escamillo), Sarah Tucker* (Frasquita), Lindsay Metzger* (Mercédès), Rafael Moras* (Le Remendado), Corey Crider* (Le Dancaïre), Ben Wager (Zuniga), Gideon Dabi* (Moralès).

MANON LESCAUT by Giacomo Puccini

A Semi-Staged Concert – March 1, 3 (m), 6, 9, 2019

The woman who has everything discovers too late that she has nothing – without true love!

Libretto by Domenico Oliva and Luigi Illica

Time: Late 18^th century

Place: France and America

Conductor: Emmanuel Villaume

Director: Edward Berkeley*

Set Designer: Tommy Bourgeois

Costume Designer: Tommy Bourgeois

Lighting Designer: Krista Billings

Wig & Make-up Designer: Dawn Rivard

Chorus Master: Alexander Rom

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: 19^th 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

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 Designer: Adrian Linford*

Costume Designer: Adrian Linford*

Lighting Designer: Rick Fisher*

Wig & Make-up Designer: Dawn Rivard

Chorus Master: Alexander Rom

Starring: Mark Delevan* (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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CARMEN Simulcast at Klyde Warren Park

Patrons at Klyde Warren Park Enjoy Opera Beneath the Stars! (Photo by Karen Almond)

FOR IMMEDIATE RELEASE:

Wednesday, September 19, 2018

Contact: Suzanne Calvin 214.443.1014

suzanne.calvin@dallasopera.org

THE DALLAS OPERA IS PROUD

TO ANNOUNCE

Bizet’s CARMEN

TDO’s 17th FREE LIVE SIMULCAST!

Presented in Fabulous Klyde Warren Park
~~~~

FRIDAY, OCTOBER 19, 2018, 7:30 p.m.

Live from the Margot and Bill Winspear Opera House

At The AT&T Performing Arts Center

~~~~

Activities and Entertainment include Tom & Jerry Cartoon Carmen Get It! and Carmen Costume Contest

Opening night simulcast made possible by support from

The Enrico Foundation

Additional Support Provided by Texas Instruments

DALLAS, SEPTEMBER 19, 2018 – The Dallas Opera announces a free public simulcast at beautiful Klyde Warren Park featuring the gripping and passionate story of Carmen, by Georges Bizet. The special presentation takes place in Downtown Dallas on Friday, October 19, 2018 (program begins at 6:30 p.m., curtain time – 7:30 p.m.).

This will be a live simulcast of the opening night performance in the Winspear Opera House at the AT&T Performing Arts Center and presented for park patrons on a large high definition video screen. The Carmen Simulcast is made possible in part by The Enrico Foundation with additional support provided by Texas Instruments.

This event will mark the 17^th free live simulcast presented by The Dallas Opera since 2010.

Klyde Warren Park is located at 2012 Woodall Rodgers Freeway, Dallas, TX 75201. Sign up today for reminders and updates about activities at www.dallasopera.org/simulcast. No reservations are required to attend.

~~~~

The fun begins at 6:30 p.m. before the sun goes down with KLUV Radio’s popular morning show host Jody Dean and Kristian Roberts, Education Program Senior Manager for The Dallas Opera. Activities include a trivia contest, behind-the-scenes interviews with the cast, and a 1962 Tom & Jerry cartoon, Carmen Get It! (courtesy of WB Classics).

The Dallas Opera will also revive our popular “Carmen Costume Contest” which asks the relevant question: “What Kind of Carmen Are You?”

Carmen is the tale of a woman who refuses to be possessed and the man who longs to make her his own forever. Set in 19^th century Seville, Spain, this passionate tale of love, jealousy, and obsession is among the most popular operas ever composed. English language supertitles will be on screen throughout the simulcast.

Carmen’s stellar international cast includes sultry French mezzo-soprano Stephanie d’Oustrac in the title role; tenor Stephen Costello in his role debut as Don José; soprano Vanessa Vasquez in her company debut as Micaëla; Russian bass Alexander Vinogradov as Escamillo; sopranos Sarah Tucker as Frasquita and Lindsay Metzger as Mercédès in their company debuts; tenor Rafael Moras as El Remendado and baritone Corey Crider as El Dancairo in their house debuts; bass Ben Wager as Zuniga, and baritone Gideon Dabi in his TDO debut as Morales.

Sung in French, with English language translations projected above the Winspear Opera House stage, Carmen can also be experienced in the traditional opera house setting during any of six mainstage performances: October 19, 21(m), 24, 27, November 2 & 4, 2018.

The complete season schedule, artist and production team bios, synopses and more can be found at www.dallasopera.org.

~~~~

ABOUT KLYDE WARREN PARK

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.

~~~~

2018-2019 SEASON SPONSOR

The Nancy A. Nasher and David J. Haemisegger Family
~~~~

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

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

THE DALLAS OPERA 2018-2019 MAINSTAGE SEASON

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: 19^th 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), Vanessa Vasquez* (Micaëla), Alexander Vinogradov (Escamillo), Sarah Tucker* (Frasquita), Lindsay Metzger* (Mercédès), Rafael Moras* (El Remendado), Corey Crider* (El Dancairo), Ben Wager (Zuniga), Gideon Dabi* (Morales).

MANON LESCAUT by Giacomo Puccini

Semi-Staged, March 1, 3 (m), 6, 9, 2019

The woman who has everything discovers too late that she has nothing – without true love!

Libretto by Domenico Oliva and Luigi Illica

Time: Late 18^th century

Place: France and America

Conductor: Emmanuel Villaume

Director: Ed Berkeley

Set Designer: TBA

Costume Designer: TBA

Lighting Designer: Krista Billings

Wig & Make-up Designer: Dawn Rivard

Chorus Master: Alexander Rom

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: 19^th 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

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

* Dallas Opera Debut

** American Debut

______________________________________________________________________________

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2019-2020 “Standing Ovation” Season Announced

2018 Hart Institute Concert – Saturday, Nov. 10 at the Winspear

CARMEN Simulcast Rescheduled! NEW DATE: Friday, Nov. 2 at Klyde Warren Park

The Dallas Opera Presents CARMEN Oct. 19-Nov. 4

CARMEN

OPENING NIGHT: FRIDAY, OCTOBER 19, 2018 AT 7:30 PM

“The Flying Dutchman” Opens TDO’s “Swept Away” Season on October 12

THE FLYING DUTCHMAN

FRIDAY, OCTOBER 12, 2018 AT 8:00 PM (Please note special curtain time)

CARMEN Simulcast at Klyde Warren Park