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    THE GOLDEN COCKEREL Opens Friday, Oct. 25th

    King Dodon and his court (Photo by Karen Almond)

    MEDIA RELEASE

    FOR IMMEDIATE RELEASE:

    Wednesday, October 23, 2019

    Contact: Suzanne Calvin 214.443.1014

    suzanne.calvin@dallasopera.org

     

    The Dallas Opera is Delighted to Present

    THE GOLDEN COCKEREL

    ~~~~

    Nikolai Rimsky-Korsakov’s Brilliant Political Satire about Sex, War, and Power

    OCTOBER 25 – NOVEMBER 2, 2019

    Conducted by Music Director Emmanuel Villaume

    Directed by Paul Curran

    ~~~~

    Starring Nikolay Didenko (King Dodon), Olga Pudova (Queen of Shemakha), Kevin Burdette (General Polkan), Barry Banks (Astrologer), Lindsay Ammann (Amelfa), Viktor Antipenko (Prince Guidon), Corey Crider (Prince Afron) and Jeni Houser as the Voice of the Golden Cockerel

    ~~~~

    DALLAS, OCTOBER 23, 2019 – The Dallas Opera’s 2019-2020 “Standing Ovation” Season scales new comedic heights this Friday with the opening of Nikolai Rimsky-Korsakov’s hilarious-yet-thought-provoking final opera, The Golden Cockerel.

    The October 25, 2019 performance in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center will begin at 7:30 p.m.

    Conducted by Maestro Emmanuel Villaume (The Mrs. Eugene McDermott Music Director of The Dallas Opera) and directed by Paul Curran (The James R. Seitz, Jr., Stage Director), this rarely-performed work has not been seen on The Dallas Opera stage since 1973.

    This opulent new co-production garnered rave reviews when it opened in Santa Fe during the 2017 summer opera festival. “Gary McCann’s vibrant and kitschy costumes,” wrote Arya Roshanian for OperaWire, “inspired by Russian matryoshka dolls, contain some of the most fabulous and original costumes of the season.”

    Opera Warhorses praised Maestro Villaume’s “majestically-contoured, sensitive performance of Rimsky-Korsakov’s Orientalist score.” And Scott Cantrell of The Dallas Morning News had high praise for the score itself: “The orchestral writing mixes bright-colored Russian impressionism and echoes of Russian folk idioms. The Queen weaves her spell with showcase vocalism alternately slithery and flickering.”

    Rimsky-Korsakov’s turn-of-the-century cautionary tale about lust and power (or the lust for power) may be more relevant than ever.

    The Golden Cockerel, a three-act satirical masterpiece, premiered in Moscow in 1909 after initially being banned by government censors. The composer, Rimsky-Korsakov, did not live to see his work on stage.

    Tickets for The Golden Cockerel may be purchased by phone (214.443.1000), online (dallasopera.org) or at the door, starting at just $19.

    ~~~~

    Russian bass Nikolay 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 coloratura soprano Olga Pudova will be making her company debut as the exotic and sultry Queen of Shemakha. Ms. Pudova is an audience favorite at the Mariinsky Theatre in St. Petersburg, Russia, where this season alone, she sings the roles of Tytania in Benjamin Britten’s A Midsummer Night’s Dream, Nanetta in Falstaff, Adina in L’elisir d’amore and the title role in Ruslan and Lyudmila.

    Bass Kevin Burdette (Everest, Great Scott), described by The New York Times as “the Robin Williams of opera,” is the king’s loyal commander, General Polkan.

    Renowned mezzo-soprano 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 and (possibly) control all.

    Russian tenor Viktor Antipenko in his Dallas Opera debut, and American baritone Corey Crider will sing the roles of Dodon’s backstabbing, bone-headed sons, Prince Guidon and Prince Afron.

    Last but certainly not least, soprano Jeni Houser (currently appearing in TDO’s season opener, The Magic Flute, as the Queen of the Night) is the voice of the Golden Cockerel.

    The other principals in this production are Jay Gardner and Christopher Harrison as Boyars. Samuel P.J. Lopez will sing the tenor solo.

    ~~~~

    All four performances of The Golden Cockerel will be conducted by internationally-acclaimed Music Director Emmanuel Villaume, praised for the sensitivity of his conducting by Zachary Woolfe of The New York Times.

    Wayne Lee Gay of Texas Classical Review noted in his analysis of last season’s 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.”

    This season, in his recent review of The Magic Flute, Dallas Morning News Classical Music Critic Scott Cantrell observed that “Villaume got well disciplined, suave playing from The Dallas Opera Orchestra. Ensemble singing in the first act was impressively precise.” Meanwhile, Gregory Sullivan Isaacs of TheaterJones.com wrote, “Emmanuel Villaume’s extensive research into the score presents a refreshing new take…that will delight those familiar with the music.”

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

    Set and costume designs are by famed 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 Opera Philadelphia; and the sets for My Fair Lady for Teatro San Carlo in Naples.

    Lighting design for this production is by Paul Hackenmueller with projections designed by Driscoll Otto. Wig and make-up designs are by Dawn Rivard.

    As always, The Dallas Opera Chorus will be prepared by The Dallas Opera Chorus Master Alexander Rom.

    Sung in Russian (the original language) with English supertitles projected above the stage, The Golden Cockerel can also be enjoyed at additional performances 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. Student Rush Tickets are available at the box office 90 minutes prior to curtain – a valid student ID is required for each $15 or $25 ticket (price varies by seat location).

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

     

    The Dallas Opera Wishes to Express Our Gratitude to Those

    Whose Generous Contributions Made Possible

    This 2019 Production of The Golden Cockerel:

    The James R. Seitz, Jr. Stage Director in Honor of John Gage: Paul Curran

    Additional Special Support Provided by:

    Robert L. and Myra Barker Hull

    James R. Seitz, Jr.

    Joanna L. and T. Peter Townsend

     

    ABOUT THE DALLAS OPERA:

    One of the leading opera companies in the country, The Dallas Opera has an extraordinary legacy of world-class productions and thrilling premieres featuring the greatest operatic artists of our time. Inaugurated in 1957 with a concert featuring the incomparable Maria Callas, TDO is known for the notable U.S. debuts of a host of legendary artists including Plácido Domingo, Dame Joan Sutherland, Jon Vickers, Franco Zeffirelli, and Sir David McVicar. The company has long been an industry leader and innovator through groundbreaking initiatives like the Hart Institute for Women Conductors, free public simulcasts, acclaimed art song recitals, the national vocal competition, special concerts, and outstanding family and award-winning education programs. TDO’s home is the Margot and Bill Winspear Opera House, a jewel in the Dallas Arts District. As one of the largest performing arts employers in North Texas, TDO is proudly committed to diversity, onstage and off, and is a major contributor to the economic vitality and international cultural reputation of this region.

     

    2019-2020 SEASON SPONSOR

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

    EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

     

    The Dallas Opera is supported, in part, by funds from: Elsa von Seggern Foundation,

    Texas Instruments, the City of Dallas Office of Arts and Culture, 

    The Texas Commission on the Arts and the National Endowment for the Arts (NEA).

    American Airlines is the official airline of The Dallas Opera.

    Lexus is the official vehicle of The Dallas Opera.

    Advertising support from The Dallas Morning News.

     

    All performances in The Dallas Opera’s 63rd International Season will take place in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center, unless otherwise indicated. Evening performances will begin at 7:30 p.m. and Sunday matinees begin at 2:00 p.m. unless otherwise stated.  English translations will be projected above the stage at every performance and assistance is available for the hearing impaired.

    The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain at most performances. Full and Flex subscriptions are designed to meet the needs of every budget. Prices range from just $57 (for three performances of your choice) to a top orchestra floor price of $777 for all five mainstage productions. Single tickets are priced from $19 to $289 (a few box seats may be higher). For additional information or to make your purchase, call 214.443.1000 or visit dallasopera.org.

    _____________________________________________________________________________________________

    ###

    The Dallas Opera and NorthPark Center Present “The Fabric of Opera: The Winspear World Premieres”

    Principal singers in costume for the 2015 world premiere of Mark Adamo’s “Becoming Santa Claus” (photo by Karen Almond, Dallas Opera)

    FOR IMMEDIATE RELEASE:

    Thursday, September 12, 2019

    Contact: Suzanne Calvin 214.443.1014

    suzanne.calvin@dallasopera.org

     

    The Dallas Opera and NorthPark Center Present

    THE FABRIC OF OPERA:

    The Winspear World Premieres

    ~~~~

    Exhibit of Historic Dallas Opera Costumes Sept. 13 – Nov. 6, 2019

    NorthPark Center, Dallas, TX

    ~~~~

    The Nancy A. Nasher and David J. Haemisegger Family – Season Sponsors of The Dallas Opera

     

    DALLAS, SEPTEMBER 12, 2019 – The Dallas Opera and NorthPark Center are proud to present rarely-exhibited historic costumes from the private collection of The Dallas Opera.

    The all-new FABRIC OF OPERA exhibition, building on the popular success of last year’s inaugural display, will be on view from September 13, 2019 through November 6, 2019 at NorthPark Center, 8687 N. Central Expressway, Dallas, TX 75225. The exhibition is located on Level One near Neiman Marcus.

    This year’s exhibition will consist of spectacular costumes created for The Dallas Opera by some of the finest design talents in the world—including Tony Award winners Jane Greenwood and Bob Crowley, renowned British set and costume designer Gary McCann, and Drama Desk Award winner David C. Woolard.  The new exhibition will showcase designs specifically created for The Dallas Opera world premieres at the Winspear Opera House (2009-2019) during the company’s first decade in this critically-acclaimed venue.

    “We were delighted by the chance to create a second edition of The Fabric of Opera, and happy to renew our partnership with NorthPark Center,” said Ian Derrer, The Kern Wildenthal General Director and CEO.

    “As The Dallas Opera celebrates a successful decade in the Winspear Opera House, it seemed only natural to focus on the world premieres that helped put the company in the international spotlight.”

    The Fabric of Opera: The Winspear World Premieres, curated by Dallas Opera set and costume designer Tommy Bourgeois, will showcase characters and costumes—both real and fantastical.

    NorthPark Center visitors will get close-up views of the meticulously-researched outfits of nineteenth century seafarers, modern day mountaineers, contemporary opera stars, and the imaginary denizens of the North Pole—including sprightly elves and a young man named Nick.  It will also include revealing commentary from the composers and librettists who poured themselves into these important contemporary works.

    “From the start,” writes Moby-Dick (2010) composer Jake Heggie, “we imagined an innovative, modern set and physical production, but we always thought of the costumes in classic terms. So did the great Jane Greenwood and she delivered beautiful clothes that helped us to understand and identify the characters clearly at every turn.”

    Mark Adamo, the composer/librettist of Becoming Santa Claus (2015), worked closely with set and costume designer Gary McCann: “What Gary came up with is, to me, a designer’s equivalent to what Tolkien devised in The Lord of the Rings: a world made entirely of fantasy which is, at once, as persuasive as history. I tried to achieve that project in sound. Gary made that sound visible.”

    “Superb costume designs have always been an integral part of our company fabric,” explains Mr. Derrer. “The work of today’s best designers, seen in this exhibit, will undoubtedly inspire new generations of artists, designers, and Dallas Opera audiences.

    “We are deeply indebted to Nancy Nasher and David Haemisegger for their unwavering support for this project.”

    NorthPark Center, Dallas’ premier shopping destination, has long been associated with high style and luxury, as has opera design from the very beginning. As NorthPark is the long-term presenting sponsor of TDO’s FIRST SIGHT Fashion Presentation and Luncheon, it is the perfect place to host these exhibitions.

    “The amazing Nasher Sculpture Center was one of the first places I visited when I came to Dallas,” recalls Emmanuel Villaume, the Mrs. Eugene McDermott Music Director. “That world-class collection told me a great deal about the influence of the Nasher Family on the arts in North Texas. However, it was a subsequent trip to NorthPark Center that made me realize that there was so much more to be explored.

    “I embrace every opportunity for collaboration between our two companies,” Maestro Villaume adds. “They are always profoundly beautiful experiences.”

    ~~~~

    ABOUT THE DALLAS OPERA:

    One of the leading opera companies in the country, The Dallas Opera has an extraordinary legacy of world-class productions and thrilling premieres featuring the greatest operatic artists of our time. Inaugurated by the incomparable Maria Callas in 1957, TDO is known for the notable U.S. debuts of a host of legendary artists including Plácido Domingo, Dame Joan Sutherland, Jon Vickers, Franco Zeffirelli, and Sir David McVicar. The company has long been an industry leader and innovator through groundbreaking initiatives such as the Hart Institute for Women Conductors, free public simulcasts, acclaimed art song recitals, the national and state vocal competitions, special concerts, and outstanding family and education programs. TDO’s home is the Margot and Bill Winspear Opera House, a jewel in the Dallas Arts District. As one of the largest performing arts employers in North Texas, TDO is proudly committed to diversity, onstage and off, and is a major contributor to the economic vitality and international cultural reputation of this region.

     

    2019-2020 SEASON SPONSOR

    The Nancy A. Nasher and David J. Haemisegger Family

    ~~~~

    EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

    The Dallas Opera is supported, in part, by funds from: Elsa von Seggern Foundation;

    Texas Instruments Foundation; the City of Dallas Office of Cultural Affairs; 

    The Texas Commission on the Arts and the National Endowment for the Arts (NEA).

    American Airlines is the official airline of The Dallas Opera.

    Lexus is the official vehicle of The Dallas Opera.

    Advertising support from The Dallas Morning News.

    All performances in The Dallas Opera’s 63rd International Season will take place in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center, unless otherwise indicated. Evening performances will begin at 7:30 p.m. and Sunday matinees begin at 2:00 p.m. unless otherwise stated. English translations will be projected above the stage at every performance and assistance is available for the hearing impaired.

    The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain at most performances. Full and Flex subscriptions are designed to meet the needs of every budget. Prices range from just $57 (for three performances of your choice) to a top orchestra floor price of $777 for all five mainstage productions. Single tickets are priced from $25 to $289 (a few box seats may be higher). For additional information or to make your purchase, call 214.443.1000 or visit www.dallasopera.org.

    _____________________________________________________________________________________________

    ###

     

     

    The Dallas Opera Guild’s New Texas-Based Vocal Competition!

     

    2019 Guild Vocal Competition Winners by Karen Almond

     

    FOR IMMEDIATE RELEASE:

    Monday, September 9, 2019

    Contact: Suzanne Calvin 214.443.1014

    suzanne.calvin@dallasopera.org

     

    One Competition Becomes TWO

    To Celebrate Our Proud Texas Roots!

    ~~~~

    THE DALLAS OPERA GUILD BIENNIAL

    LONE STAR VOCAL COMPETITION

    ~~~~

    For Accomplished Young Artists with Texas Connections

    ~~~~

    2020 Competition Chair Dr. Susan Fleming

    Honorary Chair, Martha Allday

    ~~~~

    Applications Will Be Accepted In January

    Same Day Semi-Finals and Finals: May 9, 2020

    Margot and Bill Winspear Opera House

    The AT&T Performing Arts Center, Dallas, Texas

     

    DALLAS, SEPTEMBER 9, 2019 – The Dallas Opera and The Dallas Opera Guild are pleased to announce the revival of a state-based vocal competition to alternate every other year with The Dallas Opera National Vocal Competition sponsored by the Guild.

    The inaugural Texas-centric event, The Dallas Opera Guild Biennial Lone Star Vocal Competition, is scheduled to take place on Saturday, May 9, 2020 in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center, Dallas, TX.

    General Director and CEO Ian Derrer notes, “The Dallas Opera Guild has always had a special affection for homegrown talent. It’s easy to understand why the membership wished to return to that proud tradition and recreate that sense of excitement in an entirely new way.

    “This new competition has our full support and should complement—beautifully—The Dallas Opera National Vocal Competition in 2021, which will continue to feature the full Dallas Opera Orchestra,” Derrer adds.

    The Spring 2020 Competition—Chaired by Dr. Susan Fleming—will offer thousands of dollars in prize monies to Texas-based singers. The winner will also be guaranteed a spot in the Semi-Finals Round of The Dallas Opera’s national vocal competition taking place the following year, along with the chance to perform for an audience of Dallas Opera Board and Trustees.

    “Patsy and I,” says Dallas Opera Guild Co-Chair Bob Brooks, “along with Susan Fleming, as this year’s vocal competition chairperson—and the entire Dallas Opera Guild—are excited to sponsor this return to a biennial Texas-based competition to complement The Dallas Opera’s national vocal competition.”

     

    The competition is open to singers ages 18 through 30 (as of the actual date of the 2020 Competition) who are Texas residents or students. Applicants may not have participated in any Young Artist or Resident Artist Program with a professional opera company, or, had a principal artist contract with any opera company.

    Applications will be accepted only through YAP Tracker, beginning on January 10, 2020. Applications will close on February 14, 2020, and the competition semi-finalists will be announced on March 15, 2020. Additional details will be forthcoming later in the year.

    The Dallas Opera is very pleased to announce the return of former Artistic Director Jonathan Pell (long associated with the original statewide competition) as one judge in the blue-ribbon panel, along with TDO’s Director of Artistic Administration David Lomeli and renowned arts administrator, educator and adjudicator Dr. Brian Zeger.  On the faculty of The Juilliard School since 1993 and its Artistic Director of Vocal Arts since 2004, Dr. Zeger, who will head the panel, is also the former Executive Director of the Metropolitan Opera Lindemann Young Artist Development Program.

    “I am really delighted now to have been asked by the company and the Opera Guild to help re-launch this unique competition,” Jonathan Pell wrote. “In my long career in the arts, nothing ever brought me more satisfaction or joy than discovering and nurturing extraordinary young talent, and helping to foster the careers of a new generation of opera stars.”

    2020 Competition Chair Dr. Susan Fleming remarked, “The Dallas Opera Guild is extremely proud of the many professional voices in development that we have fostered for more than three decades. We are eager to hear those who will be selected to compete this year and look forward to hosting an enthusiastic hometown crowd in the Winspear next May!

    “We encourage YOU to come be part of the Lone Star cheering section!”

    This year’s Honorary Chair is longtime Dallas Opera supporter and Guild Member Martha Allday.

    Now in her fifth year as a member of The Dallas Opera Board, Martha Allday has given her enthusiastic support to The Dallas Opera’s Hart Institute for Women Conductors, as well as the annual vocal competition.

    With her husband, Dr. Robert Allday, Martha served as Guild Co-President during our second season in the Winspear Opera House (2010-2011). It was in that capacity that she became involved in the Guild’s annual vocal competition.

    Beginning in the spring of 2010 with the world premiere production of Heggie and Scheer’s Moby-Dick, the Alldays have hosted numerous visiting artists (and, at times, their families) in their home during extended stays in Dallas.

    “Every artist has a unique story about how they came to their careers in opera, and vocal competitions are frequently a part of that story,” Martha Allday writes. “Recognizing the importance of the competitions to artists in the critical, nascent stages of their careers, I feel it is incumbent upon us to support their development in this way.”

    ~~~~

    HISTORY OF THE DALLAS OPERA GUILD VOCAL COMPETITION:

    In February of 1987, then-Dallas Opera Guild Presidents Connie and Jerry Klemow proposed establishing a Guild-sponsored scholarship fund to financially assist qualified singers seeking a career in opera. With the approval of TDO management and the enthusiastic support of Artistic Director and Principal Conductor Nicola Rescigno, a committee comprised of Chair Connie Klemow, Pat Blankenship, Nora Sands and Maria Santarelli, was entrusted to formulate a plan. Soon, the committee welcomed the assistance of then-General Director Plato Karayanis, company dramaturg Roger Pines and Dallas Morning News Classical Music Critic John Ardoin.

    Mr. Ardoin suggested a grants program be established in lieu of a scholarship fund or a competition. His suggestion was considered and the concept accepted. It was decided to focus on applicants from North Texas, ages 18-35 with some professional experience. Roger Pines named the program “The Career Development Grant for Singers” (CDGS), and after 20 months of planning the first CDGS program was presented on October 8, 1988 at SMU’s Caruth Auditorium.

    However, for any program to remain dynamic, change and growth must occur. During these past 27 years there have been many changes. From the initial grants program, the concept evolved into The Dallas Opera Guild Vocal Competition which, until 2014, was focused on vocalists with a Texas connection, both natives and temporary residents. A “People’s Choice Award” and Encouragement Awards were added and, today, financial awards are given directly to the winners to use at their discretion. Through this event, the Guild continues to recognize and honor members of The Dallas Opera community who have demonstrated a special interest in promoting the careers of talented young singers, or, have given exceptional support to The Dallas Opera and the Guild. Jonathan Pell led the Judge’s panel for the first 26 years.

    The vocal competition was significantly re-imagined and expanded in its 27th year to allow applicants from all 50 states and U.S. Territories. Dr. Brian Zeger began chairing a judge’s panel that includes leading figures in American Opera administration and classical music.

    The national competition was reorganized to take place over a two-day period. Finalists were accompanied by The Dallas Opera Orchestra under the direction of the Mrs. Eugene McDermott Music Director Emmanuel Villaume through 2018 and under the baton of Maestro Riccardo Frizza in 2019.

    Now, the competition has evolved yet again to serve the needs of accomplished young artists at both the statewide and national level.

    The Dallas Opera Guild remains dedicated to its original commitment to recognize, honor and support exceptionally talented young singers. The distributed award monies are funded anew each year. Guild members graciously donate their time, energy, money and talents to ensure that these prestigious competitions, both national and Texas-centric, succeed in cultivating the next generation of world-class opera artists.

    ~~~~

    ABOUT THE DALLAS OPERA:

    One of the leading opera companies in the country, The Dallas Opera has an extraordinary legacy of world-class productions and thrilling premieres featuring the greatest operatic artists of our time. Inaugurated by the incomparable Maria Callas in 1957, TDO is known for the notable U.S. debuts of a host of legendary artists including Plácido Domingo, Dame Joan Sutherland, Jon Vickers, Franco Zeffirelli, and Sir David McVicar. The company has long been an industry leader and innovator through groundbreaking initiatives such as the Hart Institute for Women Conductors, free public simulcasts, acclaimed art song recitals, the national vocal competition, special concerts, and outstanding family and award-winning education programs. TDO’s home is the Margot and Bill Winspear Opera House, a jewel in the Dallas Arts District. As one of the largest performing arts employers in North Texas, TDO is proudly committed to diversity, onstage and off, and is a major contributor to the economic vitality and international cultural reputation of this region.

    2019-2020 SEASON SPONSOR

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

    EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

    The Dallas Opera is supported, in part, by funds from: Elsa von Seggern Foundation;

    Texas Instruments Foundation; the City of Dallas Office of Cultural Affairs; 

    The Texas Commission on the Arts and the National Endowment for the Arts (NEA).

    American Airlines is the official airline of The Dallas Opera.

    Lexus is the official vehicle of The Dallas Opera.

    Advertising support from The Dallas Morning News.

    All performances in The Dallas Opera’s 63rd International Season will take place in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center, unless otherwise indicated. Evening performances will begin at 7:30 p.m. and Sunday matinees begin at 2:00 p.m. unless otherwise stated.  English translations will be projected above the stage at every performance and assistance is available for the hearing impaired.

    The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain at most performances. Full and Flex subscriptions are designed to meet the needs of every budget. Prices range from just $57 (for three performances of your choice) to a top orchestra floor price of $777 for all five mainstage productions. Single tickets are priced from $25 to $289 (a few box seats may be higher). For additional information or to make your purchase, call 214.443.1000 or visit www.dallasopera.org.

    _____________________________________________________________________________________________

     

    ###

     

     

     

     

    Dolce&Gabbana Will Command Centerstage at FIRST SIGHT 2019

    FOR IMMEDIATE RELEASE:

    Monday, July 29, 2019

    Contact: Suzanne Calvin 214.443.1014

    suzanne.calvin@dallasopera.org

     

    THE DALLAS OPERA IS PROUD TO ANNOUNCE

    THE INTERNATIONAL FASHION HOUSE

    Dolce&Gabbana

    Will be Center Stage in the 2019

    FIRST SIGHT

    Fashion Presentation and Luncheon

    Thursday, October 17, 2019

    The Margot and Bill Winspear Opera House

    At the AT&T Performing Arts Center

    ~~~~

    NorthPark Center, Presenting Sponsor

    Kim and Greg Hext, Chairs for

    FIRST SIGHT/FIRST NIGHT 2019

    ~~~~

    Gourmet Luncheon by Wolfgang Puck Catering

    Ellen Winspear, Fashion Presentation & Luncheon Chair

     

    DALLAS, JULY 29, 2019 – Fashionistas and opera lovers alike are marking their fall calendars for one of the early highlights of the season, The Dallas Opera’s FIRST SIGHT Fashion Presentation and Luncheon (NorthPark Center, Presenting Sponsor) taking place Thursday, October 17, 2019, beginning with a late-morning reception in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center (2403 Flora St., Dallas, TX 75201).  The highlight of the 2019 FIRST SIGHT Fashion Presentation will be head-turning designs created by the acclaimed international design house of Dolce&Gabbana.

    The Chairs for this year’s FIRST SIGHT/FIRST NIGHT, as announced during the Opening Night Dinner last October, are Kim and Greg Hext.

    “I am delighted that The Dallas Opera will be partnering in 2019 with the ultra-sophisticated Dolce&Gabbana brand to enable FIRST SIGHT—which in a few short years has become a firmly established fashion institution—to expand the scope of its influence,” says Kim Hext.

    “I am profoundly grateful to Nancy Nasher and our presenting sponsor, NorthPark Center and, of course, to Dolce&Gabbana for their enthusiastic support of The Dallas Opera’s FIRST SIGHT celebrations.

    “We will have other exciting partnership announcements to share later this summer,” Ms. Hext adds.

     

    Additional Chairs for the upcoming events are:

    • Ellen Winspear, FIRST SIGHT Fashion Presentation and Luncheon Chair
    • Carol and Don Glendenning, Dinner Chairs for FIRST NIGHT
    • Honorary Chairs for 2019 FIRST SIGHT & FIRST NIGHT: The Winspear Family

    ~~~~

    FIRST SIGHT – 2019

    ELLEN WINSPEAR, FASHION PRESENTATION & LUNCHEON CHAIR

    Socialites, benefactors, and avid supporters of the performing arts in North Texas will gather in the C. Vincent Prothro Lobby for a reception, while a superb seated luncheon is meticulously prepared by Wolfgang Puck Catering.  A fashion presentation will follow the reception.

    “This October, the people of Dallas will celebrate the tenth anniversary of the Margot and Bill Winspear Opera House and the AT&T Performing Arts Center,” explains 2019 FIRST SIGHT Fashion Presentation and Luncheon Chair Ellen Winspear.  “These festivities will showcase the many ways in which these venues have created opportunities for world-class performances and quality entertainment right in the heart of the city.

    “The Winspear Family is tremendously pleased to serve as Honorary Chairs for FIRST SIGHT and FIRST NIGHT, and it is my special privilege to help launch these celebrations on October 17th with support from an amazing array of sponsors and underwriters.

    “FIRST SIGHT is one of my favorite events on the fall calendar and just when I thought it couldn’t possibly top last year—we found a new and exciting partner in Dolce&Gabbana!” she adds.

    ~~~~

    Established in 1985, Dolce&Gabbana is an international leader in the fashion and luxury goods sector.  The founders, Domenico Dolce and Stefano Gabbana, have always been the creative and stylistic source of all the brand’s activities as well as the drivers behind the development strategies.

    The Group creates, produces and distributes high-end clothing, leather goods, footwear, accessories, jewelry and watches.  The brand is present in the Prêt-à-porter segment with Men’s, Women’s and Children’s collections and has Alta Moda, Alta Sartoria, Alta Gioielleria and Alta Orologeria collections.

    The only activities entrusted to licensee partners are the production and distribution of Eyewear and Beauty lines.

    ~~~~

    Early sales have begun for both FIRST SIGHT (Thurs. October 17, 2019) and FIRST NIGHT (Friday, October 18, 2019).

    FIRST SIGHT tables will range from $5,000 to $25,000.  Individual tickets are also on sale starting at $500.

    For additional information about FIRST SIGHT and FIRST NIGHT or to purchase tables for either event, please visit www.dallasopera.org/firstsight or contact Special Events Manager Tracy Mott at 214.443.1063 or tracy.mott@dallasopera.org.

     

    2019 FIRST SIGHT/FIRST NIGHT CHAIR BIOS

     

    About Kim Hext:

     

    From 1991 through 2012, Kim Hext was a National Spokesperson for Buick Motor Division.  Prior and concurrent to that role, she was a Feature Correspondent on the “Scuba World Television Series” which was syndicated to The Travel and Discovery Channels. Additionally, from 1982 to 1998 she was a Corporate Meeting Planner for Hugh Hunt Productions. Kim was also with the premier Kim Dawson Agency from 1988 to 2008 where she had various modeling and acting roles. Kim’s love of fashion and modeling, as well as her strong philanthropic involvement, has led her to her position as a 2019 NorthPark Luxury Ambassador.

    Kim has made it her life’s work to positively impact the community around her. She currently sits on the Board of Governors for the Texas Ballet Theater and The Dallas Symphony Orchestra.  She serves on the Board of Directors for The Dallas Opera, the Aging Minds Foundation and serves as Vice-Chair of the board for Hope Supply Co. Kim has been involved with a number of other Non-Profits. She is a member of The Crystal Charity Ball Committee and loves the Dallas Zoo.  In 2018, Kim and her husband, Greg, chaired Zoo To Do raising over $1 million for the zoo.

    The American Heart Association is another organization that has been near and dear to Kim’s heart. She was the Cotes du Coeur Gala Co-Chairman in 2017, and helped to raise $4.61 million at the annual Celebrity Chef Dinner and wine auction. Kim has been involved with the Dallas Symphony Orchestra for many years and in 2018, she was the Savor the Symphony Chair for the Dallas Symphony Orchestra League. She continues her involvement as a Board of Governors member and serves on the Development Committee.

    In 2017, Kim began working with The Arts Community Alliance (TACA). She is a member of their Nominating Committee and has served as a Grant Panelist.  She also sits on their Board of Directors. In 2020, Kim will be the Party on the Green Chair.

    In 2003, Kim began volunteering with Dallas Salvation Army Auxiliary.  She has a passion for the Angel Tree Program and has served in the Christmas Distribution Center and as an Angel Tree Volunteer. In 2020, she will be the Dallas Salvation Army Auxiliary’s Fashion Show and Luncheon Chair.

    Kim is so thrilled to be the 2019 First Sight/First Night Gala Chair (along with husband Greg Hext) for the Dallas Opera. She has been involved with the Opera in the past serving on the FIRST SIGHT/FIRST NIGHT Advisory Committee and as a member of the Women’s Council. Kim also serves as a 2019 NorthPark Center Ambassador, a recognition of her commitment to our community.

     

    About Greg Hext:

     

    From 1974 through 1979, Greg Hext was President of a closely held, family-owned corporation, which was diversified in its business endeavors.  In 1979, Greg joined the Houston office of Benson, Wells & Co., a regional CPA firm.  In 1980 the Houston office formed the firm of Shelby, Rucksdashel & Jones (SRJ).  Greg continued with the new firm.

    In 1984, Greg opened the Dallas office of SRJ as Partner-in-Charge. He continued as an Audit and Consulting Partner as well as Partner-in-Charge of the Dallas office until 1989. In 1990, he became the Shareholder in charge of Audit and Consulting, for Chapman, Hext & Co. (CH&Co).  In 2006, Greg assumed the role of majority shareholder of the firm and CEO of the firm and its family of companies.

    Currently he is the CEO and sole shareholder of Chapman, Hext &Co and the family of companies, which consist of White Rock Advisors (WRA), CH Wealth Management and the White Rock Venture Fund.

    WRA is a registered FINRA Broker Dealer and provides Investment Banking services to private and public companies across the United States and globally. CH Wealth Management provides wealth management and investment advisory services to family office and high net worth individuals. The White Rock Venture Fund operates as a family office and invests in companies needing expansion and growth capital. Greg has extensive experience in consulting, merger & acquisition transactions, financial reporting, along with a breadth of experience in corporate finance, debt and equity financing transactions.

    Mr. Hext is a member of the American Institute of Certified Public Accountants, Texas Society of Certified Public Accountants, and various civic and religious organizations.  He also holds a Series 7, 24, 63 and 79 securities licenses. In addition, he sits on various corporate and advisory boards.

    Greg and his wife Kim live in Dallas. They have a son Preston who attends SMU at the Cox School of Business. Greg and Kim are involved with SMU. Kim pursues her passion for philanthropy and sits on the Board of a number of non-profits in Dallas.

     

    About Ellen Winspear:

     

    Ellen Winspear is a native Dallasite having graduated from the Hockaday School. Following her undergraduate degree at TCU, she completed her graduate education at SMU as a Certified Academic Language Therapist.  She then engaged in a successful career as a teacher and private tutor at schools focusing on children with learning differences.

    Ellen has many interests in Dallas ranging from the arts, animals, and education.  She either has or currently serves on the Board of Directors of The Dallas Opera, the Dallas Zoo, the Annette Simmons School of Education at SMU and the Dallas Film Society.  She has served as Chair of First Sight/First Night twice for The Dallas Opera. Ellen and Don also served as NorthPark Ambassadors in 2017.

    Ellen has been married to Don for 38 years.  Together, they have two sons and three grandsons.  The older son serves as a Sergeant First Class in the United States Army.  The younger is also married and is a maritime engineer residing in the area following his education at the United States Merchant Marine Academy.

     

    About Carol and Don Glendenning:

     

    Carol and Don Glendenning have been attending and supporting the Dallas Opera since they married and moved to Dallas 40 years ago after meeting in law school at Stanford.  Don jokes that he was an unwilling attendee of the Opera for the first 17 years, but has enjoyed the last 23.  Carol served on the Board of Directors of The Dallas Opera from 1988-1997 and, again, from 2009 until 2014.

    Carol and Don are also ambassadors for The Dallas Opera, having served as Chairs of the 2013 Dallas Opera Magnifique Gala, and having chaired the Ovation Champagne Dessert Celebrations, part of the celebratory events that opened the Margot and Bill Winspear Opera House in 2009. Through Carol’s leadership, Strasburger & Price, now Clark Hill Strasburger, was a supporter of the Dallas Opera Offices Campaign, making it possible for the Opera to enjoy rent-free office space in the Winspear Opera House.  In 2014, Carol and Don received the Juanita and Henry S. Miller, Jr. Founders Award from the Women’s Board of The Dallas Opera.

    Together, Carol and Don are deeply involved in the Dallas community, giving their time and talent to many different organizations encompassing not only the arts, but human rights and social justice, public health, education and the environment.  Currently, Carol serves as a Director of the United Way of Metropolitan Dallas Foundation and of North Texas Public Broadcasting, Inc.  Don currently serves as a Director of the SMU Tower Center, the Trinity Park Conservancy, the Texas Trees Foundation and Year Up.  Don was a 2015 recipient of the TACA Silver Cup Award, and Carol and Don are 2019 Recipients of the TACA Founders Circle Award. They recently co-chaired the TACA Silver Cup Award luncheon honoring Opera supporters Margot Perot and Davis Hamlin.

     

    About The Winspear Family, Honorary Chairs:

     

    Music and, in particular, Opera has been a part of the Winspear family for generations.  It has been the foundation for music education, for awareness of the art form and for love.

    Even as university students, both Bill Winspear and Margot Macleod enjoyed opera.  When Bill proposed to Margot, they were listening to an AM Radio.  Just as he reached for the ring, something amazing happened.  Bill had arranged for the radio station to play the trio—their favorite aria from Gounod’s opera, Faust—at that specific time.  So, as the radio personality announced that the following was by special request, Bill got down on one knee and asked Margot to marry him; hence, cementing a lifelong love affair of each other and of opera. The one constant in each of the cities they lived in was their involvement with the local opera company. They were both extremely active on the Opera Boards and guilds of Edmonton, Vancouver, Toronto and ultimately, Dallas.

    While all five children were attending opera by the time they were living in Toronto, some were exposed to the art form many years prior. Don remembers his first opera: Gounod’s Faust from his time in Edmonton.  Despite finding it a “sappy” love story, he was most pleased that it had the devil and demons. Oldest sister Deb remembers that Ermanno Mauro, whom Bill and Margot discovered in Edmonton, was slated to perform at her wedding until he had to decline at the last minute for a performance at La Scala.

    Seven sets of season tickets were purchased in the lower orchestra.  Attendance was compulsory, all homework was to be completed. This was in the early 70’s which predated subtitles, so reading the plot summary beforehand was extremely beneficial.  The children all learned to appreciate the art form that was one of their parents’ biggest passions. Some have continued to support the art in cities around North America with Don and his wife Ellen being ardent supporters of the opera here in Dallas.

    The pinnacle of Bill and Margot’s affection for opera would be their donation of $42 million towards the creation of a world class opera house in Dallas.  In his announcement of the donation, his final words were from the movie, Field of Dreams.  He told those in attendance that “if you build it, they will come.”  And come they have.  They made the donation because, as Bill said, “We love opera, and we love Dallas.”

     

    About NorthPark Center

     

    NorthPark Center is the preeminent shopping center in the Southwest and one of the finest shopping experiences in the world with more than 230 stores and restaurants, including more than 60 market exclusives. Anchored by Neiman Marcus, Nordstrom, Macy’s, and Dillard’s, NorthPark offers an unparalleled collection of luxury boutiques set amid internationally acclaimed 20th and 21st century art, award-winning architecture, and extraordinary landscaping—as well as a 1.4-acre garden, CenterPark, and a state-of-the-art movie theatre, AMC NorthPark 15. NorthPark consistently ranks as one of the top five performing shopping centers in the United States and is North Texas’ number one visitor destination. NorthPark is conveniently located 7 miles from downtown Dallas and 35 miles from Fort Worth. northparkcenter.com, 214.363.7441, 8687 N. Central Expressway, Dallas, TX 75225.

     

    About The Dallas Opera

    Founded in 1957, The Dallas Opera is an internationally-recognized innovator dedicated to the overall advancement of the operatic art form and the support of established and emerging artists, as well as the education and development of new opera audiences in North Texas—and beyond. These goals are achieved by commissioning and producing world-class opera; through ground-breaking institutes, national competitions and topical programs; and by presenting opera in both traditional and non-traditional formats and venues in order to attract patrons of every age, background, educational level, and ethnicity—while engaging with more than 87,000 people in our community each year.  TDO is equally committed to the task of responsible stewardship and is managed with efficiency and accountability, to the highest possible standards.

     

    2019-2020 SEASON SPONSOR

    The Nancy A. Nasher and David J. Haemisegger Family

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    EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

    FOR HIGH-RESOLUTION PHOTOGRAPHS

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

     

    The Dallas Opera is supported, in part, by funds from: Elsa von Seggern Foundation;

    Texas Instruments Foundation; the City of Dallas Office of Cultural Affairs; 

    The Texas Commission on the Arts and the National Endowment for the Arts (NEA).

    American Airlines is the official airline of The Dallas Opera.

    Lexus is the official vehicle of The Dallas Opera.

    Advertising support from The Dallas Morning News.

     

    TICKET INFORMATION FOR THE 2019-2020 DALLAS OPERA SEASON

    All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise indicated. Full and Flex Subscriptions are on sale now; single Tickets range from $19 to $289. Family performance tickets are just $5. For more information or to make your purchase, contact The Dallas Opera Ticket Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.

    THE DALLAS OPERA 2019-2020 MAINSTAGE SEASON

    The Dallas Opera celebrates its 63rd International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District. Evening performances will begin at 7:30 p.m. and Sunday matinees begin at 2:00 p.m. unless otherwise stated.  English translations will be projected above the stage at every performance and assistance is available for the hearing impaired. With the exception of FIRST NIGHT, The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain, at most performances.

     

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    Featured Artist – Drew Field

    What is your official position at TDO and how long have you worked with us?
    I am the Director of Production and Technical Operations and, at this time, I am working on my 28th season with The Dallas Opera.

    How did you get started in the industry? 
    I started in the opera world in 1976 while a student at the Yale School of Drama. I was hired by the Yale Symphony to build a production of Peter Grimes in Battell Chapel. While doing that, I was offered a job at The Santa Fe Opera for the 1977 season.

     

    What are some of the challenges you anticipate during the upcoming 2019-2020 season?
    We have the usual challenge of producing two large shows in rotating repertory. The Golden Cockerel and The Magic Flute are both fairly large shows with multiple scenes (Magic Flute has 12 with several of those having two parts) as well as a few tricks each–such as the aerial entrance of the Queen of the Night in Flute and the trap elevator in Cockerel. So the challenge is assembling the productions quickly, hanging 500 or so lights, focusing all those lights, and then sitting down and developing the light cues that give life to the production and enable the transition from one scene to another make sense.  In addition to that, we have to rehearse with the crews on just how to transition from one scene to another and also work out how we do the change over from Flute to Cockerel and back.  During all this, we have to rehearse the singers and the orchestra on the stage as well as figure out the logistics of adding several hundred costumes into the mix.  And not to be forgotten, is the work to be done to simulcast The Magic Flute to Klyde Warren Park.

    What are you most looking forward to in the 2019-2020 season at TDO?
    Working with my colleagues.  Opera is a wonderful world in that it brings people from all over to collaborate in one place for a number of weeks in order to produce a product. This season, I welcome back several artists whom I have enjoyed working with and sharing laughs with for a number of years, while also welcoming new artists to the Dallas Opera mix.

    what has been your favorite production to work on?
    I have been in the opera business for 42 years, so, it is a bit hard to pin down one favorite production.  Rather than a single favorite, I have a number of favorites. It should be noted that, sometimes, what makes them a personal favorite is not necessarily the quality of the piece but, rather, the circumstance and the process involved in producing the piece.  Here they are:  The American premiere of the full three-act Lulu in Santa Fe in 1979; the production of Leonard Bernstein’s  Mass at the Opera Company of Boston with Sarah Caldwell conducting and directing; The production of Robert Di Domenica’s Balcony at the Bolshoi in 1991.  And here in Dallas, I would have to say Billy Budd, The Manuel de Falla Trilogy, Moby-Dick and Everest.

    What opera trends do you see on the horizon? 
    Video, video, video.  Video is taking over the stage, both as projections and as video content incorporated into the structure of stage scenery.The other trend I have observed, first hand, is the production of more and more new works, particularly American ones. I have worked on and seen more new works in the last 10 years than I did in the first 30 years of my time on the opera stage.

    Featured Artist – Krista Billings

    Resident Lighting Designer: The Dallas Opera

    Q: A Lighting Designer is a very niche position. How did you know you wanted pursue that career?  Starting in high school I would help with set construction and lighting for the musicals, but I had no idea you could make a living at it. Right out of high school I went to LA for Interior Design School and after a year decided that it was not for me. After spending the summer and part of the winter working at a resort outside of Yellowstone, I went to the University of Wyoming to try to decide where to go next. While I was considering what degree to pursue, I got a job in the theatre department and just stayed. It was there that I realized that you could make a career out of theatre. When I decided that Grad school was the next step, I had to choose a field and lighting felt like the natural choice.

     

    Q:? How did you begin your process for designing this show?  I begin by reading and listening to the synopsis, libretto, and music. After that, I enter discussions with the director and designers to see how we want to tell the story. Are we playing it traditional or are we putting a twist to it? If we are stepping away from traditional, how far will we go? What season is it? What time of day? What mood are we trying to set? That all ends up influencing the design approach: the colors, the equipment, the angle and so on. After we agree on the design approach, I look for paintings or images that reflect the emotional journey of the story. This gives me a starting point for each scene from which I can develop the full arc.

     

    Q: Lighting is more than just the audience’s ability to see the actors on stage. Can you elaborate on what lighting a show really means?
    Lighting helps tells the story through mood, ambience, color, and focus. For example, even if you’re in a very bright scene, I can make one area a little brighter and that is where the audience will focus their attention. The quality of the light in a scene has a major effect on how the action and emotion is perceived. Lighting can really help propel the story forward.

    Q: Where do you get your inspiration?
    Everywhere. Walking down the sidewalk, seeing shadows of the trees. The light reflecting off of buildings, paintings in museums, concerts. What the sky is like in different parts of the country or the world: Dallas vs Wyoming or Santa Fe, for example. The world is a festival of lighting design choices.

    Q: What would you say to the next generation wanting to work in this industry? What do they need to bring?
    They need to be a gap-filler. By that I mean they need to take every chance they can get no matter how small, i.e. don’t be afraid to be an assistant. The knowledge you can get from a position like that is invaluable. Everything moves so fast, the better you can educate yourself, the better you’ll be at your craft.

    Q: What are you most looking forward to in the 2019-2020 season at TDO?
    I am most looking forward to designing Pulcinella. I’m excited to design a dance piece; this is an exciting opportunity to tell a story through primarily movement. And dancers are fun to light!!