TDO Carmen Simulcast Stream Media Release – September 29 2020

TDO Carmen Simulcast Stream Media Release – September 29 2020
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 19th 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.”
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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.
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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.
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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
The Dallas Opera is supported, in part, by funds from: Elsa von Seggern Foundation, Texas Instruments Foundation, the City of Dallas Office of Cultural Affairs; the Texas Commission on the Arts and the National Endowment for the Arts (NEA).
American Airlines is the official airline of The Dallas Opera.
Lexus is the official vehicle of The Dallas Opera.
Advertising support from The Dallas Morning News.
The Dallas Opera Family Performances are generously supported by
Texas Instruments, Lockheed Martin, and
The Betty and Steve Suellentrop Educational Outreach Fund
TDO Family Performances are a part of the
Perot Foundation Education and Community Outreach Programs
TICKET INFORMATION FOR THE 2018-2019 DALLAS OPERA SEASON
All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise indicated. Full and Flex Subscriptions are on sale now; single Tickets range from $19 to $289. Family performance tickets are just $5. For more information or to make your purchase, contact The Dallas Opera Ticket Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.
THE DALLAS OPERA 2018-2019 MAINSTAGE SEASON
The Dallas Opera celebrates its 62nd International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District. Evening performances will begin at 7:30 p.m. (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: 19th century
Place: Seville, Spain and the surrounding countryside
Conductor: Emmanuel Villaume and Pierre Vallet (10/24 and 11/2)
Original Director: Sir David McVicar
Revival Director: Jack Furness**
Set Designer: Michael Vale*
Costume Designer: Sue Blane*
Lighting Designer: Clare O’Donoghue*
Chorus Master: Alexander Rom
Original Choreographer: Andrew George
Revival Choreographer: Andrzej Glosniak*
Starring: 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 18th 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: 19th century
Place: The Latin Quarter of Paris, France
Conductor: Giuliano Carella
Director: Tomer Zvulun
Set Designer: Erhard Rom*
Costume Designer: Peter J. Hall
Lighting Designer: Robert Wierzel*
Wig & Make-up Designer: Dawn Rivard
Chorus Master: Alexander Rom
Starring: Jean-Francois Borras* (Rodolfo), Pumeza Matshikiza** (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
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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
LIBRETTO BY HENRI MEILHAC AND LUDOVIC HALÉVY
BASED ON THE NOVELLA BY PROSPER MÉRIMÉE
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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
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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
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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 19th 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 24th and November 2nd.
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.
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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:
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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.
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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.”
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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.
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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, 24/7. VISIT WWW.DALLASOPERA.ORG
FOR HIGH-RESOLUTION PHOTOGRAPHS
Contact Suzanne Calvin, Director of Media and PR at suzanne.calvin@dallasopera.org
The Dallas Opera is supported, in part, by funds from: Elsa von Seggern Foundation, Texas Instruments Foundation, the City of Dallas Office of Cultural Affairs; the Texas Commission on the Arts and the National Endowment for the Arts (NEA). American Airlines is the official airline of The Dallas Opera. Lexus is the official vehicle of The Dallas Opera.
Advertising support from The Dallas Morning News.
The Dallas Opera Family Performances are generously supported by
Texas Instruments, Lockheed Martin, and
The Betty and Steve Suellentrop Educational Outreach Fund
TDO Family Performances are a part of the
Perot Foundation Education and Community Outreach Programs
TICKET INFORMATION FOR THE 2018-2019 DALLAS OPERA SEASON
All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise indicated. Full and Flex Subscriptions are on sale now; single Tickets range from $19 to $289. Family performance tickets are just $5. For more information or to make your purchase, contact The Dallas Opera Ticket Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.
THE DALLAS OPERA 2018-2019 MAINSTAGE SEASON
The Dallas Opera celebrates its 62nd International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District. Evening performances will begin at 7:30 p.m. (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: 19th century
Place: Seville, Spain and the surrounding countryside
Conductor: Emmanuel Villaume and Pierre Vallet (10/24 and 11/2)
Original Director: Sir David McVicar
Revival Director: Jack Furness**
Set Designer: Michael Vale*
Costume Designer: Sue Blane*
Lighting Designer: Clare O’Donoghue*
Chorus Master: Alexander Rom
Original Choreographer: Andrew George
Revival Choreographer: Andrzej Glosniak*
Starring: 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 18th 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: 19th century
Place: The Latin Quarter of Paris, France
Conductor: Giuliano Carella
Director: Tomer Zvulun
Set Designer: Erhard Rom*
Costume Designer: Peter J. Hall
Lighting Designer: Robert Wierzel*
Wig & Make-up Designer: Dawn Rivard
Chorus Master: Alexander Rom
Starring: Jean-Francois Borras* (Rodolfo), Pumeza Matshikiza** (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
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THE DALLAS OPERA OPENS THE 2017-18 SEASON WITH
CAMILLE SAINT-SAËNS’
LIBRETTO BY FERDINAND LEMAIRE
(BASED ON THE BOOK OF JUDGES)
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STARRING TENOR CLIFTON FORBIS AS SAMSON
MEZZO-SOPRANO OLGA BORODINA AS DALILA
IN HER DALLAS OPERA DEBUT
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ALSO STARRING BARITONE RICHARD PAUL FINK, BARITONE MICHAEL CHIOLDI AND BASS-BARITONE RYAN KUSTER
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CONDUCTED BY DALLAS OPERA MUSIC DIRECTOR
EMMANUEL VILLAUME
AND PIERRE VALLET (WED., OCT. 25TH PERFORMANCE)
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STAGED BY DIRECTOR BRUNO BERGER-GORSKI
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ADDITIONAL PERFORMANCES
October 22 (m), 25, 28, and November 5(m)
DALLAS, OCTOBER 5, 2017 – The Dallas Opera is proud to present the initial mainstage offering of the 2017-2018 “Motives Unmasked!” Season: Camille Saint-Saëns’ glorious nineteenth-century grand opera, SAMSON & DALILA, opening with The Linda and Mitch Hart Season Opening Night Performance on Friday, October 20, 2017 at 8:00 p.m. (note special curtain time), the first of five performances in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in Downtown Dallas. Saint-Saëns’ 1877 masterpiece features a tremendous ensemble cast that includes Russian superstar Olga Borodina, Clifton Forbis, Richard Paul Fink, Michael Chioldi and Ryan Kuster.
Performances continue on October 22(m), 25, 28 and November 5(m), 2017 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 our Sunday matinees at 2:00 p.m. There is absolutely no late seating.
SAMSON & DALILA will be performed in its original language, French, 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—starting at the low price of just $19.
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Samson is the only hope of his people, the Hebrews, in the oppressive grip of the Philistines.
Enter Dalila, the calculating seductress capable of capturing men’s hearts with ease. Her temptation of Samson continues until she gets what she wants: the secret of his strength. Camille Saint-Saëns’ opera builds to the familiar, spectacular climax, taken straight from the Book of Judges in this libretto by Ferdinand Lemaire.
Dramatic tenor Clifton Forbis has sung some of the most challenging roles in the operatic repertoire. He has mesmerized Dallas Opera audiences as Siegmund in Die Walküre, as well as a “forceful and manly” Tristan. Samson is a signature role for Mr. Forbis, who has performed this part at Bilbao, San Francisco Opera and New York’s Metropolitan Opera. He was last seen on The Dallas Opera stage in 2012’s groundbreaking production of Richard Wagner’s Tristan und Isolde, directed by Christian Räth, after inaugurating Dallas Opera productions in the Winspear Opera House in October of 2009 in the title role of Otello.
He will star opposite the legendary Russian mezzo-soprano, Olga Borodina, who came to prominence in the West in 1992 when she starred opposite Plácido Domingo in Samson at London’s Covent Garden. This Grammy Award-winner is considered the ultimate Dalila of her generation, according to London-based critic Rupert Christiansen of The Telegraph.
Adam Wasserman of Opera News observed “…to watch Borodina is to see the masterful emergence of a truly human, fully formed character…buttressed by some of the most luxurious, thrilling vocalism that one can hope to encounter in an opera house.” The artist is closely associated with the historic Mariinsky Theatre in her birthplace, Saint Petersburg, Russia, but performs and records throughout the Western world, as well. Ms. Borodina’s recording of the Verdi Requiem with Riccardo Muti conducting the Chicago Symphony Orchestra, won two 2011 Grammy Awards, including Best Classical Album.
Music Director Emmanuel Villaume (The Mrs. Eugene McDermott Music Director) will conduct the renowned Dallas Opera Orchestra in “one of the brightest jewels of French opera.” Maestro Villaume triumphed in a revival of Jonathan Kent’s production of Tosca at the Royal Opera House, Covent Garden; prompting Hannah Nepil of The Financial Times to praise Villaume for “teasing out sultry, sumptuous playing from his orchestra.” He also earned uniformly outstanding notices for his superb conducting of The Dallas Opera’s 2016 revival of Jake Heggie and Gene Scheer’s Moby-Dick, prompting Gregory Sullivan Isaacs of Theater Jones to write, “…with Villaume on the podium, Heggie’s score comes across as much more neo-tonal, lush, magnificently constructed and neo-romantic opera than what I perceived in the score back then. Vocal lines soar, giving singers some great bel-canto phrases that are grateful for the voice.”
Over the past summer, Villaume conducted a critically acclaimed Dallas Opera-Santa Fe Opera co-production of Rimsky-Korsakov’s The Golden Cockerel in its debut as part of the Santa Fe Opera 2017 Season. Directed by Paul Curran and designed by Gary McCann, this new production will take centerstage in Dallas in an upcoming season.
The Samson & Dalila performance on Wednesday, October 25th will be conducted by special guest Pierre Vallet, in his Dallas Opera debut. Praised for the elegance and intensity of his performances, Maestro Vallet is a long-serving member of the Metropolitan Opera Conductors Staff. He also conducts at Paris National Opera; the Bolshoi Theater in Moscow; Sweden’s Göteborg Opera; Barcelona’s Gran Teatro del Liceu; the Saito Kinen Festival and in many other prestigious houses and venues throughout Europe and Asia. The New York Times even cited Vallet for conducting one of the “Ten Best Classical Performances in New York City” in 2016. Maestro Vallet’s symphonic work includes several appearances at the Royal Philharmonic Orchestra in London; the Royal Camerata in Bucharest; the Spoleto Festival USA; and the Greenwich Village Orchestra in New York. With the Royal Philharmonic Orchestra and Elizabeth Sombart, Vallet has recorded the Chopin piano concertos, as well as a CD of adagios from piano concertos.
SAMSON & DALILA will be staged by internationally acclaimed German director Bruno Berger-Gorski in his TDO debut. He has been described as “the only active German opera director who has staged operas on four continents”—including more than a hundred from the standard repertoire. Mr. Berger-Gorski is also considered a champion of rarely performed, unusual, or contemporary works, such as Dirk d’Ase’s Einstein, Gomes’ Condor for the Festival, Wolf-Ferrari’s Sly, and Offenbach’s Rheinnixon hailed as “the discovery of the year” by Opernwelt magazine.
Keith Cerny, the Kern Wildenthal General Director and CEO noted: “We’ve assembled a superb cast and off-stage team for our season opening production, to breathe life into an exciting and accessible grand opera that hasn’t been seen on our stage in nearly half a century!
We are especially pleased to be giving Dallas audiences the chance to personally experience the world-class artistry of Olga Borodina and Clifton Forbis; however, I’m certain patrons will be just as swept away by the power and beauty of this terrific ensemble of principal singers and the amazing Dallas Opera Chorus.
If any show is guaranteed to bring the house down on opening night—it’s this one!”
Other members of this cast include Grammy-winning baritone Richard Paul Fink as the High Priest of Dagon, baritone Michael Chioldi in his TDO debut as Abimélech (the Philistine provincial governor), and bass-baritone Ryan Kuster as the Old Hebrew.
The sets were designed by Peter Dean Beck for Pittsburgh Opera. Carrie Robbins designed the costumes for San Francisco Opera. Both will be making their house debuts. Lighting design is by Allen Burrett and choreography by Nycole Ray, artistic director of Dallas Black Dance Theatre: Encore!, in her Dallas Opera debut.
As always, chorus preparation is by Dallas Opera Chorus Master Alexander Rom.
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Student Rush Tickets are available at the door 90 minutes prior to curtain – a valid student ID is required for each ticket purchased. Contact The Dallas Opera Ticket Office at 214.443.1000. For additional information about the cast, artistic/production team, and synopsis, or to purchase this “hot ticket”—visit www.dallasopera.org today.
SAMSON & DALILA: SYNOPSIS
ACT I
Palestine, 1150 B.C. In a square in Gaza, a group of Hebrews beg Jehovah for relief from their bondage to the Philistines; Samson, their leader, rebukes them for their lack of faith. When the Philistine commander, Abimélech, denounces the Hebrews and their God, Samson kills him and leads the Hebrews away. The High Priest of Dagon comes from the Philistine temple and curses Samson’s prodigious strength, leaving with the slain man’s bier. An Old Hebrew praises the returning Samson. The outer walls of the temple disappear to reveal Samson’s former lover, the Philistine woman Dalila, who invites him to come that night to her nearby dwelling. She and her maidens dance seductively for Samson, who becomes deaf to the Old Hebrew’s dour prophecies.
ACT II
In the Valley of Sorek, Dalila calls on her gods to help her ensnare and disarm Samson, promising the High Priest to find a way to render the hero powerless. Samson appears, passionate in spite of himself; when Dalila has him in her power, she feigns disbelief in his constancy and demands that he show his love by confiding in her the secret of his strength, weeping when he refuses. Samson hears rolling thunder as a warning from God but cannot resist following Dalila inside. Not long afterward, having finally learned that the secret of Samson’s strength is his long hair, she calls to hidden Philistine soldiers, who rush in to capture and blind Samson.
ACT III
In a dungeon at Gaza, the sightless Samson pushes a grist mill in a circle, praying for his people, who will suffer for his sin. He hears their voices castigating him. During a bacchanal in the Temple of Dagon, Dalila and the High Priest taunt Samson. When they force him to kneel to Dagon, he asks a boy to lead him to the two main pillars of the temple. Samson prays to Jehovah to restore his strength, and with a mighty effort he pulls down the pillars and the temple, crushing himself and his foes.
By John W. Freeman – courtesy of Opera News
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 groundbreaking 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 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.
2017-2018 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
Or Celeste Hart, Communications Manager at celeste.hart@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 2017-2018 DALLAS OPERA SEASON
All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise indicated. 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 2017-2018 SEASON MAINSTAGE INFORMATION
The Dallas Opera celebrates its Sixty-First International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District. Evening performances will begin at 7:30 p.m. and Sunday matinees begin at 2:00 p.m. unless otherwise stated. English translations will be projected above the stage at every performance and assistance is available for the hearing impaired. With the exception of FIRST NIGHT, The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain, at most performances.