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    Fabiano, Hymel and Polenzani Headline a Gala Evening of Cocktails and Classics!

    Together Onstage – for the Very First Time!

    FOR IMMEDIATE RELEASE:

    Monday, March 25, 2019

    Contact: Suzanne Calvin 214.443.1014

    suzanne.calvin@dallasopera.org

     

    Time is Running Out!

    Don’t Miss Your One Chance to Experience

    Three of the Finest Tenors of Our Time:

     “FABIANO, HYMEL & POLENZANI”

    With The Dallas Opera Orchestra

    Conducted by Maestro Carlo Montanaro

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    SATURDAY, MAY 11, 2019, 7:00 P.M.

    The Margot and Bill Winspear Opera House

    AT&T Performing Arts Center, Dallas TX

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    Centerpiece of 2019 Dallas Opera Gala

    https://dallasopera.org/performance/one-night-only/

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    Concert Tickets Include Access to After Party With Complimentary Wine, Beer and Band!

    DALLAS, TX, MARCH 25, 2019 – The Dallas Opera is proud to present three of the most sought-after tenors of the 21st century as they perform a tremendously exciting program of classic opera arias, Broadway favorites and American standards.

    “Fabiano, Hymel, and Polenzani” will perform together onstage for the very first time on Saturday, May 11, 2019 at 7:00 p.m. (please note special time) in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center, as the centerpiece of The 2019 Dallas Opera Gala, an elegant annual spring fundraiser.

    “The V.I.P. Experience” includes pre-concert reception, premium concert seats, seated dinner and the After Party.  Additional information and pricing are available at https://dallasopera.org/performance/tdo-gala/.

    Concert tickets may be purchased separately by calling The Dallas Opera Ticket Office at 214.443.1000 or visiting https://dallasopera.org/performance/one-night-only/.

    Single tickets for the concert are priced at $50 to $275 each and include free access to the exciting post-performance After Party—with live music and complimentary beer and wine—in the magnificent lobby of the Winspear Opera House.

    Internationally-acclaimed American tenors Michael Fabiano, Bryan Hymel and Matthew Polenzani will perform with The Dallas Opera Orchestra under the baton of renowned Italian guest conductor Carlo Montanaro.

    Each of these magnificent artists is “at the top of his game.”  This season alone, their schedules reveal an impressive array of “must see” concerts and performances including:

    • Michael Fabiano – Boito’s Mefistofele at the Metropolitan Opera; Puccini’s La bohème at the Met and Lyric Opera of Chicago; Concert in Tchaikovsky Concert Hall, Moscow; Massenet’s Werther at Sydney Opera House; Gounod’s Faust at London’s Royal Opera House; Rigoletto at Berlin State Opera and Verdi’s Giovanna d’Arco at Madrid’s Teatro Real.
    • Bryan Hymel – Verdi’s Les vêpres siciliennes at Bavarian State Opera; Puccini’s La bohème at Vienna State Opera; Bizet’s Carmen at the Royal Opera House, Covent Garden; and a solo concert in Prague with the Janáček Philharmonic.
    • Matthew Polenzani – Mozart’s Idomeneo for Lyric Opera of Chicago; Concert, New World Center, Miami; La bohème at Teatro Massimo, Palermo, Italy; Tchaikovsky’s Iolanta at the Met (role debut); Carnegie Hall recital; La clemenza di Tito at the Metropolitan Opera; Carmen (role debut) at San Francisco Opera.
    • Carlo Montanaro – Lucia di Lammermoor for Opera Australia (Sydney Opera House); Rigoletto for Montréal Opera; The Hart Institute for Women Conductors at The Dallas Opera (faculty); Madama Butterfly for Polish National Opera; Il trovatore at Seattle Opera’s McCaw Hall; Werther in the Sydney Opera House for Opera Australia; and Mozart’s Requiem at Teatro Regio di Parma (Italy).

    The Dallas Opera, with support from Holly and Tom Mayer, invites you to experience these four world-class artists performing together for the first time.  The trio, conducted by Maestro Montanaro, will sing a selection of Opera’s most memorable moments from Turandot, Pagliacci, Werther, L’elisir d’amore, Fedora, Eugene Onegin and La Gioconda.  The program will also include an American Song medley and unforgettable songs from some of the finest productions of the twentieth-century musical stage.

    “Maestro Montanaro and these incredibly gifted tenors have come together in the prime of their careers to create an unforgettable evening of poignant and passionate performances,” explains Ian Derrer, The Kern Wildenthal General Director and CEO.  “The trio will perform highlights from the opera repertoire that have made them world famous, as well as audience favorites that originated under the bright lights of Broadway.

    “It’s easy to see why true opera lovers are willing to travel long distances to experience these artists onstage, and why our patrons are already buzzing with anticipation.

    “This opportunity to hear Michael Fabiano, Bryan Hymel and Matthew Polenzani, side by side,” Derrer adds, “is not likely to be repeated here in Dallas.  Music lovers should take note and make the most of it!”

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    V.I.P. Gala Tickets include an exclusive pre-performance reception, the concert, a post-performance dinner curated and prepared by Wolfgang Puck Catering, and a lively After Party featuring complimentary wine and beer.

    Gold Box Gala Tickets start at $1,250 apiece – Tenor Orchestra Gala Tickets start at $1,000.

    For additional information about the full gala package, please contact Dallas Opera Special Events Manager Tracy Mott at 214.443.1063 or tracy.mott@dallasopera.org.

    For single tickets and information regarding the concert itself, consult the friendly people in The Dallas Opera Ticket Office at 214.443.1000 or online at https://dallasopera.org/performance/one-night-only/

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    MICHAEL FABIANO Tenor

    Of Michael Fabiano’s debut as Lensky in Tchaikovsky’s Eugene Onegin at the Royal Opera, The Sunday Times in London wrote: “I can’t think of a Lensky at Covent Garden who has held the audience so spellbound in 40 years of Onegin-going… a glorious debut.” The recipient of the 2014 Beverly Sills Artist Award and the 2014 Richard Tucker Award, Mr. Fabiano is the first singer to win both awards in the same year, and is considered one of the greatest tenors in the world today.

    In the 2018/19 season, Mr. Fabiano made his Lyric Opera of Chicago debut as Rodolfo, opening their season in a new production of La bohème. He returns to the Metropolitan Opera for his role debut as Faust in Boito’s Mefistofele followed by Rodolfo in La bohème, and portrays a second incarnation of Faust when he assumes the title role in the Gounod opera at the Royal Opera. His debut at Staatsoper Berlin follows, where he will sing the Duke in a new production of Rigoletto, followed by another role debut as Carlo VII in Verdi’s Giovanna d’Arco (Joan of Arc) at the Teatro Real.  This season, Fabiano opened the Royal Opera in a new production of La bohème conducted by Antonio Pappano, and sang the Duke in Rigoletto, a role in which he made his debut at the Los Angeles Opera. Mr. Fabiano sang his first Des Grieux in Massenet’s Manon at the San Francisco Opera, with subsequent performances in Bilbao at ABAO-OLBE. He performed in recital for Oper Frankfurt, returned to the Metropolitan Opera for Rodolfo in La bohème, and Edgardo in Lucia di Lammermoor, a role he will reprise for Opera Australia, and sang Corrado in Il Corsaro at the Palau de les Arts Reina Sofia. Both the La bohème and the Rigoletto from the Royal Opera as well as the La bohème from the Met received international HD broadcasts. In celebration of the Bernstein centennial, Mr. Fabiano finishes his season with a performance of excerpts from West Side Story at the Napa Valley Festival, and a Bernstein concert at the Ravinia Festival.

     

    BRYAN HYMEL Tenor

    Hailed by the Frankfurter Allgemeine Zeitung for his “range of expression and vocal power combined with the subtle art of characterization,” tenor Bryan Hymel is the winner of the 2013 Olivier Award for Outstanding Achievement in Opera for his trio of performances in Les Troyens, Robert le diable, and Rusalka at London’s Royal Opera House. The New York Times praised his “unflagging stamina and impetuous abandon” during his 2012 Metropolitan Opera debut as Énée in Les Troyens, for which he was presented with the Metropolitan Opera’s Beverly Sills Artist Award. An exclusive recording artist for Warner Classics, his first solo album Héroïque debuted at number 3 on the Billboard Classical Music chart, and earned Hymel the coveted Georges Thill Prize by the Académie Nationale du Disque Lyrique and the Newcomer of the Year Award from ECHO Klassik.

    On the concert stage, Hymel has been seen in Beethoven’s Symphony No. 9 led by Gustavo Dudamel at Milan’s Teatro alla Scala; the Verdi Requiem with the Rotterdam Philharmonic Orchestra under Music Director Yannick Nézet-Séguin and at the Edinburgh Festival under Donald Runnicles; Walter Braunfels’ Jeanne d’Arc with the Salzburg Festival; a European Tour of La Damnation de Faust with the Orchestre National du Capitole de Toulouse; Roger Waters’ Ça Ira at the Gothenburg Culture Festival and in its US debut with the Nashville Symphony; and in Berlioz’ Requiem with The Netherlands Philharmonic Orchestra and the Orchestre National du Capitole de Toulouse. A frequent collaborator with the PKF – Prague Philharmonia, he appeared at the Royal Opera House in Oman for a special New Year’s concert under Music Director Emmanuel Villaume, as well as concerts in Prague’s Smetana Hall and the Théâtre des Champs-Élysées in Paris. He made his debut in recital at London’s Wigmore Hall in 2016.

     

    MATTHEW POLENZANI Tenor

    One of the most gifted and distinguished lyric tenors of his generation, Matthew Polenzani’s elegant musicianship, innate sense of style, dramatic commitment, and timeless artistry have established his continued presence at leading operatic, concert and recital venues worldwide.

    In his triumphant 2017-18 Season, Matthew returned to Lyric Opera of Chicago in two of his signature roles: the Duke of Mantua in Rigoletto and Nadir in Les Pêcheurs de Perles. His reprisal of Nemorino in Donizetti’s L’elisir d’amore at the Metropolitan Opera was praised by The New York Times for his “pliant strength and clarion tone” and was broadcast on PBS, as well as “The Met: Live in HD.”  Mr. Polenzani traveled to Zürich Opera for his role debut as Rodolfo in Verdi’s Luisa Miller and to the Bavarian State Opera as Fernand in Donizetti’s La favorite, receiving rave reviews for both.  He ended last season singing Rodolfo in La bohème at the Royal Opera House, heralded for his “pleasant lilt and clear timbre (Bachtrack).

    Notable concert highlights last season included his performances as the tenor soloist in Haydn’s Creation with the Chicago Symphony Orchestra at the Ravinia Festival and his “A Night at the Opera” concert with the Philadelphia Orchestra, led by Yannick Nézet-Séguin.

    Other recent season highlights include his Don Ottavio in Michael Haneke’s acclaimed staging of Don Giovanni for Paris National Opera.  He sang Werther at both the Bavarian and Vienna State Operas.  His role debuts at the Metropolitan Opera include Nadir in Les Pêcheurs de Perles and the title role of Roberto Devereux in a production by Sir David McVicar.  Both operas were featured on the Met’s “Live in HD” series and subsequently released on DVD.  To date, the acclaimed tenor has starred in more than 300 performances at New York’s Metropolitan Opera.

    Matthew Polenzani was the recipient of the 2004 Richard Tucker Award, the Metropolitan Opera’s 2008 Beverly Sills Award, and a 2017 Opera News Award.

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    2018-2019 SEASON SPONSOR

    The Nancy A. Nasher and David J. Haemisegger Family

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    ABOUT THE DALLAS OPERA 

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

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    EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

    ADDITIONAL INFORMATION ABOUT THE DALLAS OPERA

    IS AVAILABLE ONLINE, 24/7.  VISIT WWW.DALLASOPERA.ORG

     

    FOR HIGH-RESOLUTION PHOTOGRAPHS

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

    The Dallas Opera is supported, in part, by funds from: Elsa von Seggern Foundation, Texas Instruments Foundation, the City of Dallas Office of Cultural Affairs; the Texas Commission on the Arts and the National Endowment for the Arts (NEA).  American Airlines is the official airline of The Dallas Opera.  Lexus is the official vehicle of The Dallas Opera.

    Advertising support from The Dallas Morning News.

    The Dallas Opera Family Performances are generously supported by

    Texas Instruments, Lockheed Martin, and

    The Betty and Steve Suellentrop Educational Outreach Fund

    TDO Family Performances are a part of the

    Perot Foundation Education and Community Outreach Programs

     

    TICKET INFORMATION FOR THE 2018-2019 DALLAS OPERA SEASON

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

    THE DALLAS OPERA 2018-2019 MAINSTAGE SEASON: SPRING

    The Dallas Opera celebrates its 62nd International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District. Evening performances will begin at 7:30 p.m. and Sunday matinees begin at 2:00 p.m. unless otherwise stated.  English translations will be projected above the stage at every performance and assistance is available for the hearing impaired. With the exception of FIRST NIGHT, The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain, at most performances.

     

    MANON LESCAUT by Giacomo Puccini

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

    Featuring images of select art works from the collections of The Dallas Museum of Art!

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

    Libretto by Domenico Oliva and Luigi Illica

    Time: Late 18th century

    Place: France and America

    Conductor: Emmanuel Villaume

    Director: Edward Berkeley

    Costume Designer: Tommy Bourgeois

    Lighting Designer: Krista Billings

    Wig & Make-up Designer: Dawn Rivard

    Chorus Master: Alexander Rom

    Starring: Kristin Lewis* (Manon Lescaut), Musa Ngqungwana (Lescaut), Gregory Kunde (Chevalier des Grieux), Andrea Silvestrelli (Geronte de Ravoir), Jonas Hacker* (Edmondo), Mark S. Doss (Innkeeper), Alyssa Martin (Singer), Matthew Grills* (Dance Master), Clay Hilley* (Lamplighter), Mark McCrory (Sergeant of the Royal Archers) and David Leigh* (Naval Captain).

     

    LA BOHÈME by Giacomo Puccini

    March 15, 17 (m), 20, 23, 29, 31 (m), 2019

    The most timeless love story in all of opera returns to break your heart!

    Libretto by Giuseppe Giacosa and Luigi Illica

    Time: 19th century

    Place: The Latin Quarter of Paris, France

    Conductor: Giuliano Carella

    Director: Tomer Zvulun

    Set Designer: Erhard Rom

    Costume Designer: Peter J. Hall

    Lighting Designer: Robert Wierzel

    Wig & Make-up Designer: Dawn Rivard

    Chorus Master: Alexander Rom

    Starring: Jean-François Borras* (Rodolfo), Pumeza Matshikiza** (Mimi), Anthony Clark Evans* (Marcello), Sara Gartland (Musetta), Will Liverman* (Schaunard), Nicholas Brownlee* (Colline), and Samuel Ramey (Benoit/Alcindoro).

     

    FALSTAFF by Giuseppe Verdi

    April 26, 28 (m), May 1, 4, 2019

    Shakespeare’s uproarious comedy brought to musical life!

    Libretto by Arrigo Boito

    Time: During the reign of Henry IV of England

    Place: Windsor

    Conductor: Riccardo Frizza

    Original Director: Lee Blakeley

    Revival Director: Shawna Lucey*

    Set and Costume Designer: Adrian Linford*

    Lighting Designer: Rick Fisher*

    Wig & Make-up Designer: Dawn Rivard

    Chorus Master: Alexander Rom

    Starring: Mark Delavan* (Sir John Falstaff), Angela Meade (Alice Ford), Quinn Kelsey* (Ford), Mojca Erdmann* (Nanetta), Airam Hernández* (Fenton), Stephanie Blythe* (Dame Quickly), Megan Marino* (Meg Page), Alex Mansoori* (Bardolfo), Andrea Silvestrelli (Pistola), and Robert Brubaker (Dr. Caius).

    * Dallas Opera Debut

    ** American Debut

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    20 Semi-Finalists Named for 2019 Guild Vocal Competition Hosted by Miss America Nia Franklin

    Winners of the 2018 Dallas Opera Guild Vocal Competition (Photo by Karen Almond)
    Miss America 2019 Nia Franklin, opera singer and arts advocate

    FOR IMMEDIATE RELEASE:

    Friday, February 8, 2019

    Contact: Suzanne Calvin 214.443.1014

    Twenty Semi-Finalists Have Been Selected

    To Compete for Awards and Cash Prizes at The 31st Annual Dallas Opera Guild Vocal Competition

    With The Dallas Opera Orchestra

    Conducted by Riccardo Frizza

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    Emceed by Miss America 2019 Nia Franklin

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    Semi-Finals: Thursday, May 2, 2019 11 am

    Finals Concert: Friday, May 3, 2019 7:30 pm

    The Margot and Bill Winspear Opera House

    AT&T Performing Arts Center, Dallas, TX

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    2019 Co-Chairs Dr. Susan Fleming & Linda McKown

    Honoring Holly and Dr. Tom Mayer

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    $5 Tickets and Information at dallasopera.org/vocal

     

    DALLAS, TX, FEBRUARY 8, 2019 – Twenty of the finest young opera singers in the United States will be competing in the 31ST Annual Dallas Opera Guild Vocal Competition presented, jointly, by The Dallas Opera and The Dallas Opera Guild.

    The artists will compete onstage in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in Dallas on Thursday, May 2 & Friday, May 3, 2019.  At stake are thousands of dollars in generous cash awards and prestigious honors including the “People’s Choice Award” selected during the Finals Round by audience ballot.

    The 2019 Guild Vocal Competition is being co-chaired by Susan Fleming, Ph.D., and Linda McKown and the Finals Round will be emceed by Miss America 2019 Nia Franklin, a classically trained opera singer, composer, and advocate for the arts.

    The quest for these gifted young singers will begin with the Semi-Finals Round of the Vocal Competition taking place on Thursday, May 2, 2019, from 11:00 a.m. until 4:00 p.m.  Tickets are free and can be obtained at www.dallasopera.org/vocal.

    Six finalists will be selected that day to return the following evening for the Finals Round Concert on Friday, May 3, 2019 at 7:30 p.m.  At that time, the remaining competitors will perform with The Dallas Opera Orchestra, conducted by the internationally renowned Italian Maestro Riccardo Frizza, Music Director of the Donizetti Opera Festival in Bergamo, Italy.

    Concert tickets are just $5 and available at the door, by calling The Dallas Opera Ticket Office at 214.443.1000, or online at www.dallasopera.org/vocal.

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    This year, the twenty semi-finalists were selected by a panel of preliminary judges that included American pianist and educator Dr. Brian Zeger of the Marcus Institute for Vocal Arts at The Juilliard School, and David Lomeli, Director of Artistic Administration for The Dallas Opera.  These semi-finalists were among a group of 307 applicants from 36 states.

     

    THE 2019 SEMI-FINALISTS

     THE DALLAS OPERA GUILD VOCAL COMPETITION

    • Lindsay Kate Brown, mezzo-soprano, Houston Grand Opera Studio / Des Moines Metro Opera Apprentice Artist Program
    • Jeff Byrnes, baritone, Opera Theatre of Saint Louis Gerdine Young Artists Program
    • Anthony Ciaramitaro, tenor, Santa Fe Opera Apprentice Program / Merola Opera Program
    • Lauren Decker, contralto, The Patrick G. and Shirley W. Ryan Center at Lyric Opera of Chicago
    • Ben Edquist, baritone, Houston Grand Opera Studio
    • Calvin Griffin, bass-baritone, Marion Roose Pullin Arizona Opera Studio
    • Pureum Jo, soprano, Houston Grand Opera Studio
    • Meghan Kasanders, soprano, Artist Diploma in Opera Studies at the Juilliard School
    • Andrew Manea, baritone, Adler Fellowship at San Francisco Opera
    • Felicia Moore, soprano, Artist Diploma in Opera Studies at the Juilliard School
    • Rafael Moras, tenor, Santa Fe Apprentice Program / Domingo Colburn Stein Young Artists Los Angeles Opera
    • John Matthew Myers, tenor, Academy of Vocal Arts
    • Diana Newman, soprano, The Patrick G. and Shirley W. Ryan Center at Lyric Opera of Chicago
    • Ndumiso Nyoka, tenor, Southern Methodist University
    • Christopher Oglesby, tenor, San Francisco Opera Adler Fellowship / Utah Opera Resident Artist
    • Emmett O’Hanlon, baritone, The Patrick G. and Shirley W. Ryan Center at Lyric Opera of Chicago
    • Christian Pursell, bass-baritone, Adler Fellowship at San Francisco Opera
    • Abigail Rethwisch, soprano, Santa Fe Apprentice Program / Utah Opera Resident Artist
    • Reginald Smith, Jr., baritone, Winner of Metropolitan Opera National Council Auditions / Houston Grand Opera Studio
    • Xiaomeng Zhang, baritone, Artist Diploma in Opera Studies at the Juilliard School

     

    Competitors in the 2018 Competition took home prize monies totaling $18,500.  Although this competition has as its primary focus artists in the 18 to 34 age range, singers of any age were eligible to apply and considered on a case-by-case basis.

    The Dallas Opera Guild Vocal Competition originally focused on young artists with Texas roots or Lone Star academic connections, and its many distinguished alumni include luminaries from throughout the opera world: Latonia Moore, Clifton Forbis, Marjorie Owens, Michael Sumuel, Weston Hurt, Steven LaBrie, Amanda Woodbury, Jesus Garcia.

    As the competition sought to gain even greater prominence and significance, The Dallas Opera and The Dallas Opera Guild made significant changes in 2015, prompting Dallas Morning News Classical Music Critic Scott Cantrell to write that the competition had “considerably upped its ante.”  The evolution didn’t stop there:

    • In order to attract the most talented applicant pool with the greatest potential, the eligibility criteria for applicants changed. Today, it is open to residents of all 50 states and U.S. Territories, including international students attending American colleges, universities, and music conservatories.  Also eligible are active members of any young artist program associated with an American opera company.

     

    • During the Finals Round, competing artists will be accompanied by The Dallas Opera Orchestra, guided in 2019 by noted guest conductor Riccardo Frizza. Up to six finalists will participate, singing two arias each.

     

    The impact of these changes was immediately perceived.  Senior Classical Music Critic Gregory Sullivan Isaacs of theaterjones.com wrote: “The results surely exceeded expectations for this newly re-envisioned competition…It won’t take long to situate itself at the top of such events and become an important gold star on any young artist’s résumé.”

    Winners in 2015 and in the years since have included J’nai Bridges, Anthony Clark Evans, Kang Wang, Virginie Verrez, Samantha Hankey (the 2018 Metropolitan Opera National Council Auditions Grand Finals winner), Laura Wilde, Kihun Yoon, and, most recently, Mario Rojas, Josh Lovell and last year’s top prize winner – countertenor Aryeh Nussbaum Cohen.

    The special guest emcee for this year’s Finals Round, Nia Franklin, is the reigning Miss America who wowed the audience and judges during the competition with her rendition of “Quando m’en Vo” from La bohème.  Ms. Franklin is a graduate of the University of North Carolina School of the Arts where she studied music composition.

    “I am thrilled to be a part of the 31st Annual Dallas Opera Guild Vocal Competition!” writes Ms. Franklin.  “It is such an honor to emcee this competition featuring the best young opera singers from around the country as they share their talent and dedication for all of Dallas to see!”

    This year’s honorees are Holly and Tom Mayer for their tremendous dedication, service and support of The Dallas Opera and its commitment to emerging and developing artists.  Most recently, Holly served as Chairman of The Dallas Opera (2016-2018) and she continues to guide and inspire the company as a member of The Dallas Opera Board Executive Committee.

    Dallas Opera Guild Co-Presidents James and Jan Clay remarked, “Our exciting annual competition is the most high-profile facet of The Dallas Opera Guild’s yearlong commitment to support exceptionally talented young opera artists.  The future of opera, not only in Texas—but throughout the world—is dependent on the discovery and development of bright new talent.  The Guild takes that part of our mission very seriously and we encourage everyone in the community to turn out next spring to show their support for these fine young singers, as well.”

    Linda McKown, one of the 2019 Co-Chairs for the annual competition, writes: “I’m excited to be getting more involved with the Dallas Opera Guild Vocal Competition and doing what I can to help Susan Fleming carry out the Guild’s responsibilities.  I feel it is so important to give these young opera singers the opportunity to perform before a live audience with Maestro Frizza conducting the outstanding Dallas Opera Orchestra.”

    Adds Co-Chair Susan Fleming, “The Dallas Opera Guild is extremely proud of the many professional voices in development that we have fostered for more than three decades. We are eager to hear those who will be selected this year—twenty from over 300 applicants—and look forward to hosting a large audience on May 2 and 3, 2019.

    “We encourage YOU to be part of the crowd that comes to the Winspear Opera House to cheer them on!”

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    Lexus Red Parking beneath the Winspear Opera House is free for the Semi-Finals Round, from 11:00 a.m. until 4:30 p.m. on Thursday, May 2.  Parking is $6 for the Finals Round of the competition the following evening, Friday, May 3, 2019 at 7:30 p.m.

    The list of esteemed judges for the 2019 Vocal Competition reads like a music industry “Who’s Who.”

    Judges for the 2019 Dallas Opera Guild Vocal Competition:

     

    Peter Czornyj

    Vice President of Artistic Operations, The Dallas Symphony Orchestra

     

    Ian Derrer

    The Kern Wildenthal General Director & CEO, The Dallas Opera

     

    Dominic Domingo

    Director of Artistic Administration, San Diego Opera

     

    Riccardo Frizza

    Music Director of the Donizetti Opera Festival in Bergamo, Italy

     

    David Lomeli

    Director of Artistic Administration, The Dallas Opera

     

    Andreas Melinat

    Vice President, Artistic Planning, Lyric Opera of Chicago

     

    Evamaria Wieser

    Casting Director, Salzburg Festival

     

    Brian Zeger, Chair

    Artistic Director of the Ellen and James S. Marcus Institute for Vocal Arts

    The Juilliard School

     

    However, the judging isn’t left entirely to the professionals; “amateur” music lovers will have the opportunity to express their views, too. Audience participation is part of the fun at each year’s Dallas Opera Guild Vocal Competition. For the nineteenth consecutive year, attendees will be given the chance to vote on their personal favorites to receive the coveted “People’s Choice Award.”

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    RICCARDO FRIZZA CONDUCTOR

     

    Award-winning Italian maestro Riccardo Frizza is a galvanizing presence on the podium, inspiring performances as exhilarating as they are expressive. Championed by Alberto Zedda, Bruno Cagli, and Gian Carlo Menotti, he is a leading exponent of the bel canto repertoire, collaborating with a who’s who of today’s most iconic singers at opera houses from Milan’s Teatro alla Scala to the Metropolitan Opera in New York. In the concert hall, he graces the podiums of such world-class ensembles as the Leipzig Gewandhaus, Rome’s Orchestra dell’Accademia Nazionale di Santa Cecilia, London’s Philharmonia Orchestra, and the Tokyo Symphony, while his extensive discography includes Decca’s Una furtiva lagrima, winner of the 2004 Cannes Classical Award.

    Highlights of Riccardo Frizza’s last season included Falstaff at Festival Verdi di Parma, La Traviata at New National Theatre in Tokyo, Il barbiere di Siviglia at the Opéra National de Paris, Norma in Tokyo, Luisa Miller at Zürich Opera, L’elisir d’amore and Norma at Teatro La Fenice in Venice, Semiramide at the Bavarian State Opera and Il pirata at Teatro alla Scala in Milan.  In September 2017, Maestro Frizza was named Music Director of the Donizetti Opera Festival in Bergamo, Italy.  Having already conducted Roberto Devereux at San Francisco Opera, in other season highlights, he will appear at the podium of La Fenice three times (for three different productions), will return to Bilbao in order to conduct his debut performance of Verdi’s I Lombardi, and will conduct Falstaff in The Dallas Opera’s spring season finale in 2019.

     

    NIA IMANI FRANKLIN (MISS AMERICA 2019)

    Classically trained opera singer and advocate for the arts

     

    Nia Franklin was born in Winston-Salem, North Carolina and lived in the state through graduate school. She earned an undergraduate degree in composition from East Carolina University, and a master’s in fine arts from The University of North Carolina’s School of the Arts. Shortly thereafter, Nia was awarded a Kenan Fellowship at New York’s Lincoln Center Education and made the move to New York City. She currently resides in Brooklyn.

    During Nia Franklin’s college freshman year, her father was diagnosed with non-Hodgkin’s lymphoma, and she became his stem cell donor. This turn of events led Nia to the Miss America Organization. “I had to find a way to pay for myself to go to school and so I entered this competition and this organization and it became much more than just the scholarship money for me, it was also about the mentorship, leadership and sisterhood you find in this program.”

    Nia was crowned Miss Five Boroughs at the age of 23, and then went on to win Miss New York 2018. And was awarded the job of Miss America 2019 on September 9, 2018.

    Ms. Franklin has been a teacher and music mentor, and has written over 100 songs, including one she began performing at age five. (The lyrics begin: “Love, love, love, love, love is the only thing that matters to me…”).  For the Miss America 2019 competition, Franklin sang “Quando m’en Vo’” from Puccini’s La bohème and wowed audiences and judges alike.

     

    ~~~~

    HISTORY OF THE DALLAS OPERA GUILD VOCAL COMPETITION:

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

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

    However, for any program to remain dynamic, it must grow and evolve. During these past three decades there have been many changes, including the additions of a “People’s Choice Award,” and a significant name change to “The Dallas Opera Guild Vocal Competition” in 2004.

    From the initial grants program, the concept evolved into an annual competition that, until 2014, focused on vocalists with a Texas connection, both home-grown and temporary residents. Through this event, the Guild continues to recognize and honor members of The Dallas Opera community who have demonstrated a special interest in promoting the careers of talented young singers, or, have given exceptional support to The Dallas Opera and the Guild. Jonathan Pell, former Artistic Director of The Dallas Opera, led the Judge’s panel for the first 26 years.

    The vocal competition was significantly reimagined and expanded in its 27th year, under the leadership of former Dallas Opera General Director and CEO Keith Cerny, to allow applicants from all 50 states and U.S. Territories. Dr. Brian Zeger, Artistic Director of Juilliard’s Marcus Institute for Vocal Arts and former Executive Director for the Lindemann Young Artist Development Program of the Metropolitan Opera now chairs a judge’s panel that includes leading figures in music administration and classical music.

    The competition was expanded to take place over a two-day period.  Participants in 2019 will be heard during Thursday’s semi-finals and the selected finalists will perform again Friday evening, accompanied by The Dallas Opera Orchestra under the direction of Riccardo Frizza.

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

    ~~~~

    SPECIAL THANKS

    TO THE AT&T PERFORMING ARTS CENTER AND STAFF

    FOR THEIR SUPPORT OF THE

    2019 DALLAS OPERA GUILD VOCAL COMPETITION

    ~~~~

    2018-2019 SEASON SPONSOR

    The Nancy A. Nasher and David J. Haemisegger Family

    ~~~~

    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.

    ~~~~

    EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

    ADDITIONAL INFORMATION ABOUT THE DALLAS OPERA

    IS AVAILABLE ONLINE, 24/7.  VISIT WWW.DALLASOPERA.ORG

    FOR HIGH-RESOLUTION PHOTOGRAPHS

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

     

    The Dallas Opera is supported, in part, by funds from: Elsa von Seggern Foundation, Texas Instruments Foundation, the City of Dallas Office of Cultural Affairs; the Texas Commission on the Arts and the National Endowment for the Arts (NEA).  American Airlines is the official airline of The Dallas Opera.  Lexus is the official vehicle of The Dallas Opera.

    Advertising support from The Dallas Morning News.

    The Dallas Opera Family Performances are generously supported by

    Texas Instruments, Lockheed Martin, and

    The Betty and Steve Suellentrop Educational Outreach Fund

    TDO Family Performances are a part of the

    Perot Foundation Education and Community Outreach Programs

     

    TICKET INFORMATION FOR THE 2018-2019 DALLAS OPERA SEASON

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

     

    THE DALLAS OPERA 2018-2019 MAINSTAGE SEASON: SPRING

    The Dallas Opera celebrates its 62nd International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District. Evening performances will begin at 7:30 p.m. and Sunday matinees begin at 2:00 p.m. unless otherwise stated.  English translations will be projected above the stage at every performance and assistance is available for the hearing impaired. With the exception of FIRST NIGHT, The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain, at most performances.

     

    MANON LESCAUT by Giacomo Puccini

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

    Featuring images of select art works from the collections of The Dallas Museum of Art!

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

    Libretto by Domenico Oliva and Luigi Illica

    Time: Late 18th century

    Place: France and America

    Conductor: Emmanuel Villaume

    Director: Ed Berkeley

    Costume Designer: Tommy Bourgeois

    Lighting Designer: Krista Billings

    Wig & Make-up Designer: Dawn Rivard

    Chorus Master: Alexander Rom

    Starring: Kristin Lewis* (Manon Lescaut), Musa Ngqungwana (Lescaut), Gregory Kunde (Chevalier des Grieux), Andrea Silvestrelli (Geronte de Ravoir), Jonas Hacker* (Edmondo), Mark S. Doss (Innkeeper), Alyssa Martin (Singer), Matthew Grills* (Dance Master), Clay Hilley* (Lamplighter), Mark McCrory (Sergeant of the Royal Archers) and David Leigh* (Naval Captain).

     

    LA BOHÈME by Giacomo Puccini

    March 15, 17 (m), 20, 23, 29, 31 (m), 2019

    The most timeless love story in all of opera returns to break your heart!

    Libretto by Giuseppe Giacosa and Luigi Illica

    Time: 19th century

    Place: The Latin Quarter of Paris, France

    Conductor: Giuliano Carella

    Director: Tomer Zvulun

    Set Designer: Erhard Rom

    Costume Designer: Peter J. Hall

    Lighting Designer: Robert Wierzel

    Wig & Make-up Designer: Dawn Rivard

    Chorus Master: Alexander Rom

    Starring: Jean-François Borras* (Rodolfo), Pumeza Matshikiza** (Mimi), Anthony Clark Evans* (Marcello), Sara Gartland (Musetta), Will Liverman* (Schaunard), Nicholas Brownlee* (Colline), and Samuel Ramey (Benoit/Alcindoro).

     

    FALSTAFF by Giuseppe Verdi

    April 26, 28 (m), May 1, 4, 2019

    Shakespeare’s uproarious comedy brought to musical life!

    Libretto by Arrigo Boito

    Time: During the reign of Henry IV of England

    Place: Windsor

    Conductor: Riccardo Frizza

    Original Director: Lee Blakeley

    Revival Director: Shawna Lucey*

    Set and Costume Designer: Adrian Linford*

    Lighting Designer: Rick Fisher*

    Wig & Make-up Designer: Dawn Rivard

    Chorus Master: Alexander Rom

    Starring: Mark Delavan* (Sir John Falstaff), Angela Meade (Alice Ford), Quinn Kelsey* (Ford), Mojca Erdmann* (Nanetta), Airam Hernández* (Fenton), Stephanie Blythe* (Dame Quickly), Megan Marino* (Meg Page), Alex Mansoori* (Bardolfo), Andrea Silvestrelli (Pistola), and Robert Brubaker (Dr. Caius).

     

    * Dallas Opera Debut

    ** American Debut

    ______________________________________________________________________________

     

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    Featured Artist – Kristin Lewis

    Soprano
    Role: Manon Lescaut in Manon Lescaut

    1. Originally from Arkansas and now you call Vienna home. How did that come about for an opera singer with an international career?
    I am very proud of being both a native Arkansan and an Austrian resident. The latter came about as an opportunity for me to study privately with my current voice teacher who also lives in Vienna, after receiving my Master’s degree from the University of Tennessee at Knoxville. Since being based in this city, my hard work and dedication has led to my receiving many opportunities to perform in many wonderful theaters all over the world.

    2. What inspired you to become an opera singer?
    Since childhood I’ve always been drawn to the performing arts. While in undergraduate school, I began formal lessons with my voice teacher at that time, Dr. Martha Antolik. We discovered that my voice is best suited for operatic repertoire. During those early years of study, l listened to the recordings of many fantastic singers, while also being surrounded by my family, many of whom also studied classical music and also had careers in music or enjoyed their passion for it as a hobby. All of these factors served as a great source of inspiration for me in pursuing my goal of having a sustained career in opera performance.

    3. Do you have a favorite role? Perhaps a character to whom you particularly relate, or a part that perfectly suits your soprano voice?
    This question always makes me smile because my long standing and initial honest response to this question is whatever role is next on my performance calendar! However, my overall favorite role/opera to listen to and sing is Elisabetta/Don Carlo by Verdi. Every measure of this piece is sublime. The story, (traditional) setting and costumes are all splendid. The contrasts between the characters enhance the strengths and weaknesses of the others. Everything in this opera “works.” I’ve sung both the Italian four and five act versions, and I love them both.

    4. This year’s production of Manon Lescaut is billed as a semi-staged production, have you performed this type of production before?
    Yes. Even though billed as semi-staged versions, many productions that have been presented in this way are still highly effective. What remains more important is that the voices are not limited; therefore, the audience is still given the opportunity to experience the music in all its depth and beauty.

    5. What do you hope audiences will take away from your performance?
    I hope that the audience will leave each performance feeling as if they have experienced the profundity of each character’s emotions. This is one of the challenges each artist faces while onstage. While focusing on vocal technique, we must also aim to present the nuances and emotional complexity of the characters we portray.

    6. What are you most looking forward to during your time here in Dallas?
    I am really looking forward to my performances with Dallas Opera! I am so very excited about this. In addition it will be a joy to be amongst my friends and family. I always love returning to my country. It has not been very often that I’ve had the opportunity to perform in front of so many of the people I’ve known all or most of my life. My most recent experience of returning home was for my debut performances of Verdi’s Aida at the Metropolitan Opera. I feel rather lucky to have another opportunity to return to America so quickly and this time experience the culture, the culinary and scenic delights of Dallas.

    7. Who was or still is your mentor?
    I have many mentors, including my voice teacher for all of my opera career, Carol Byers; my mother, Rev. Bettye Lewis; Dr. Martha Antolik; opera living legends Dr. Grace Bumbry and Martina Arroyo and many other strong and dynamic women in my life who have always led by example.

    8. What is the Kristin Lewis Foundation and how can Dallas Opera patrons get involved.
    In 2014 and in 2018, I established the Kristin Lewis Foundation Inc, based in America, and the Kristin Lewis International Association for the Encouragement and Development of Young Artists, based in Vienna, Austria. Both organizations are independent, nonprofit corporations designed to connect young artists with developmental and professional experiences. The competitive scholarships offered by the Foundation and other invaluable resources provided by the International Association serve as a means for those involved to further refine their talents toward careers in performance. Patrons are so very welcome in joining me in supporting the next generation of vocal and artistic excellence by visiting the Foundation’s website at www.kristinlewisfoundation.com and making a donation and/or volunteering in one of our exciting activities.

    9. Lastly, if you met someone who never listened to music before which song would you have them listen to and why?
    If asked to recommend an opera to someone who has never seen or heard one, I would offer Aida or The Magic Flute or La bohème. The story lines of these operas are easy to follow without understanding the languages. In addition there are many memorable and captivating moments within the music that new performance goers are very likely to leave the experience remembering at least one the more memorable melodic lines.

    2019-2020 “Standing Ovation” Season Announced

    Thursday, January 24, 2019

    Contact: suzanne.calvin@dallasopera.org

     

    THE DALLAS OPERA PROUDLY PRESENTS ITS

    63rd INTERNATIONAL SEASON

    ~~~~

    “STANDING OVATION”

    Celebrating Ten Years in the Margot and Bill

    Winspear Opera House, AT&T Performing Arts Center

     

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

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

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

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

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

     

    And TDO’s Acclaimed Family Performance Series

    ~~~~

    SEASON SPONSOR

    The Nancy A. Nasher and David J. Haemisegger Family

    ~~~~

    Linda and Mitch Hart Season Opening Night Performance: 

    FRIDAY, OCTOBER 18, 2019 AT 8:00 PM

    The Margot and Bill Winspear Opera House

    At the AT&T Performing Arts Center, Dallas TX

     

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

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

     

    2019-2020 DALLAS OPERA SEASON

     

    THE MAGIC FLUTE

    By Wolfgang Amadeus Mozart

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

     

    THE GOLDEN COCKEREL

    By Nikolai Rimsky-Korsakov

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

     

    DON CARLO

    By Giuseppe Verdi

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

     

    A Dallas Opera Double Bill:

    PULCINELLA & LA VOIX HUMAINE

    PULCINELLA: Ballet with Song by Igor Stravinsky

    LA VOIX HUMAINE (The Human Voice):

    By Francis Poulenc with a libretto by Jean Cocteau

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

     

    THE BARBER OF SEVILLE

    By Gioachino Rossini

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

     

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

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

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

     

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

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

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

     

    ~~~~

    Notable Company Debuts in the 2019-2020 Season Include:

     

    • Spanish tenor Xabier Anduaga (Count Almaviva in The Barber of Seville)
    • Russian tenor Viktor Antipenko (Prince Guidon in The Golden Cockerel)
    • English tenor Barry Banks (Astrologer in The Golden Cockerel)
    • American mezzo-soprano Jamie Barton (Princess Eboli in Don Carlo)
    • American tenor Lawrence Brownlee (Count Almaviva in The Barber of Seville)
    • American soprano Andrea Carroll (Pamina in The Magic Flute)
    • American soprano Leah Crocetto (Elizabeth de Valois in Don Carlo)
    • Russian bass Nikolay Didenko (King Dodon in The Golden Cockerel)
    • Italian tenor Paolo Fanale (Tamino in The Magic Flute)
    • American tenor Brian Frutiger (Monastatos in The Magic Flute)
    • American mezzo-soprano Margaret Gawrysiak (Berta in The Barber of Seville)
    • Russian soprano Venera Gimadieva (Queen of Shemakha in The Golden Cockerel)
    • Italian baritone Renato Girolami (Doctor Bartolo in The Barber of Seville)
    • American mezzo-soprano Samantha Hankey (Second Lady in The Magic Flute)
    • American soprano Jeni Houser (Papagena in The Magic Flute)
    • American director Kyle Lang (The Magic Flute)
    • American mezzo-soprano Hannah Ludwig (Third Lady in The Magic Flute)
    • American director Christopher Mattaliano (directing The Barber of Seville)
    • American soprano Diana Newman (First Lady in The Magic Flute)
    • American bass-baritone Richard Ollarsaba, soloist (Pulcinella)
    • Polish mezzo-soprano Ewa Plonka (Tebaldo in Don Carlo)
    • Russian soprano Olga Pudova (Queen of the Night in The Magic Flute)
    • English set and costume designer Gerald Scarfe (The Magic Flute)
    • American costume designer Jamie Scott, deceased (The Barber of Seville)
    • American soprano Elizabeth Sutphen as A Celestial Voice (Don Carlo)
    • American tenor Robert Watson (title role in Don Carlo)
    • Austrian baritone Markus Werba (Papageno in The Magic Flute)
    • American tenor Matthew White, soloist (Pulcinella)
    • South African soprano Pretty Yende (Rosina in The Barber of Seville

     

     

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

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

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

     

    Returning International Artists in the 2019-2020 Season:

     

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

     

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

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

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

    ~~~~

     

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

     

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

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

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

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

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

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

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

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

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

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

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

    ~~~~

     

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

     

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

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

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

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

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

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

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

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

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

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

    ~~~~

     

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

     

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

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

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

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

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

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

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

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

    ~~~~            

     

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

     

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

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

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

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

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

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

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

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

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

     

    ~~~~

     

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

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

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

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

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

     

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

    ~~~~

     

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

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

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

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

     

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

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

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

     

    ~~~~

     

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

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

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

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

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

     

    2019-2020 FAMILY PERFORMANCE SERIES

     

    DOCTOR MIRACLE

    By Georges Bizet

    Sunday, October 6, 2019

    Saturday, March 21, 2020

     

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

     

    THE BREMEN TOWN MUSICIANS

    By John Davies

    Sunday, October 13, 2019

    Saturday, April 4, 2020

     

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

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

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

     

     

    MARK YOUR CALENDARS FOR THIS SPECIAL EVENT!

     

    THE 5th HART INSTITUTE FOR WOMEN CONDUCTORS SHOWCASE

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

    THE MARGOT AND BILL WINSPEAR OPERA HOUSE

    AT&T PERFORMING ARTS CENTER

     

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

     

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

     

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    ABOUT THE DALLAS OPERA

     

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

    ~~~~

     

    2018-2019 SEASON SPONSOR

    The Nancy A. Nasher and David J. Haemisegger Family

    ~~~~

     

    EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

    ADDITIONAL INFORMATION ABOUT THE DALLAS OPERA

    IS AVAILABLE ONLINE AT www.dallasopera.org

     

    FOR HIGH-RESOLUTION PHOTOGRAPHS

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

    The Dallas Opera is supported, in part, by funds from: Elsa von Seggern Foundation, Texas Instruments Foundation, the City of Dallas Office of Cultural Affairs; the Texas Commission on the Arts and the National Endowment for the Arts (NEA).  American Airlines is the official airline of The Dallas Opera.  Lexus is the official vehicle of The Dallas Opera.

    Advertising support from The Dallas Morning News.

     

    The Dallas Opera Family Performances are generously supported by

    Texas Instruments, Lockheed Martin, and

    The Betty and Steve Suellentrop Educational Outreach Fund

    TDO Family Performances are a part of the

    Perot Foundation Education and Community Outreach Programs

     

    TICKET INFORMATION FOR THE 2018-2019 DALLAS OPERA SEASON

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

     

    THE DALLAS OPERA 2018-2019 MAINSTAGE SEASON: SPRING

    The Dallas Opera celebrates its 62nd International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District. Evening performances will begin at 7:30 p.m. and Sunday matinees begin at 2:00 p.m. unless otherwise stated.  English translations will be projected above the stage at every performance and assistance is available for the hearing impaired. With the exception of FIRST NIGHT, The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain, at most performances.

     

    MANON LESCAUT by Giacomo Puccini

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

    Featuring images of select art works from the collections of The Dallas Museum of Art!

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

    Libretto by Domenico Oliva and Luigi Illica

    Time: Late 18th century

    Place: France and America

    Conductor: Emmanuel Villaume

    Director: Ed Berkeley

    Costume Designer: Tommy Bourgeois

    Lighting Designer: Krista Billings

    Wig & Make-up Designer: Dawn Rivard

    Chorus Master: Alexander Rom

    Starring: Kristin Lewis* (Manon Lescaut), Musa Ngqungwana (Lescaut), Gregory Kunde (Chevalier des Grieux), Andrea Silvestrelli (Geronte de Ravoir), Jonas Hacker* (Edmondo), Mark S. Doss (Innkeeper), Alyssa Martin (Singer), Matthew Grills* (Dance Master), Clay Hilley* (Lamplighter), Mark McCrory (Sergeant of the Royal Archers) and David Leigh* (Naval Captain).

     

    LA BOHÈME by Giacomo Puccini

    March 15, 17 (m), 20, 23, 29, 31 (m), 2019

    The most timeless love story in all of opera returns to break your heart!

    Libretto by Giuseppe Giacosa and Luigi Illica

    Time: 19th century

    Place: The Latin Quarter of Paris, France

    Conductor: Giuliano Carella

    Director: Tomer Zvulun

    Set Designer: Erhard Rom

    Costume Designer: Peter J. Hall

    Lighting Designer: Robert Wierzel

    Wig & Make-up Designer: Dawn Rivard

    Chorus Master: Alexander Rom

    Starring: Jean-Francois Borras* (Rodolfo), Pumeza Matshikiza** (Mimi), Anthony Clark Evans* (Marcello), Sara Gartland (Musetta), Will Liverman* (Schaunard), Nicholas Brownlee* (Colline), and Samuel Ramey (Benoit/Alcindoro).

     

    FALSTAFF by Giuseppe Verdi

    April 26, 28 (m), May 1, 4, 2019

    Shakespeare’s uproarious comedy brought to musical life!

    Libretto by Arrigo Boito

    Time: During the reign of Henry IV of England

    Place: Windsor

    Conductor: Riccardo Frizza

    Original Director: Lee Blakeley

    Revival Director: Shawna Lucey*

    Set and Costume Designer: Adrian Linford*

    Lighting Designer: Rick Fisher*

    Wig & Make-up Designer: Dawn Rivard

    Chorus Master: Alexander Rom

    Starring: Mark Delavan* (Sir John Falstaff), Angela Meade (Alice Ford), Quinn Kelsey* (Ford), Mojca Erdmann* (Nanetta), Airam Hernández* (Fenton), Stephanie Blythe* (Dame Quickly), Megan Marino* (Meg Page), Alex Mansoori* (Bardolfo), Andrea Silvestrelli (Pistola), and Robert Brubaker (Dr. Caius).

     

    * Dallas Opera Debut

    ** American Debut

    ______________________________________________________________________________

     

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

    Media Release

    FOR IMMEDIATE RELEASE:

    Wednesday, October 17, 2018

    Contact: Suzanne Calvin 214.443.1014

    suzanne.calvin@dallasopera.org

     

    THE DALLAS OPERA IS PROUD TO PRESENT

    THE COMPANY’S SPECTACULAR SECOND PRODUCTION

    OF THE 2018-2019 “SWEPT AWAY” SEASON!

    GEORGES BIZET’S COLORFUL, SENSUAL 1875 MASTERPIECE

    CARMEN

    LIBRETTO BY HENRI MEILHAC AND LUDOVIC HALÉVY

    BASED ON THE NOVELLA BY PROSPER MÉRIMÉE

    ~~~~

    STARRING FRENCH MEZZO-SOPRANO STÉPHANIE D’OUSTRAC

    IN HER DALLAS OPERA DEBUT

    TENOR STEPHEN COSTELLO IN HIS ROLE DEBUT AS DON JOSÉ

    SOPRANO SARA GARTLAND IN HER TDO DEBUT AS MICAËLA

    AND BASS-BARITONE ALEXANDER VINOGRADOV AS ESCAMILLO

    ~~~~

    CONDUCTED BY MUSIC DIRECTOR EMMANUEL VILLAUME

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

    PRODUCTION CREATED BY SIR DAVID McVICAR

    Directed by Jack Furness in his American Debut

    ~~~~

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

    WITH ADDITIONAL PERFORMANCES

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

    The Margot and Bill Winspear Opera House

    AT&T Performing Arts Center

    ~~~~

    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.

     

    ~~~~

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

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

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

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

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

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

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

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

    Other principal roles in this outstanding cast are filled by:

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

    ~~~~

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

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

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

     

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

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

     

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

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

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

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

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

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

    ~~~~

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

    ~~~~

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

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

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

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

    ~~~~

    ABOUT THE DALLAS OPERA

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

     

    2018-2019 SEASON SPONSOR

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

    EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

     

    ADDITIONAL INFORMATION ABOUT THE DALLAS OPERA

    IS AVAILABLE ONLINE, 24/7.  VISIT WWW.DALLASOPERA.ORG

     

    FOR HIGH-RESOLUTION PHOTOGRAPHS

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

     

    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

    _____________________________________________________________________________________

     

    ###

     

     

    Applications Now Being Accepted for 2019 TDO Guild Vocal Competition

    2018 First Prize Winner – Countertenor Aryeh Nussbaum Cohen (Photo by Karen Almond, Dallas Opera)

    DALLAS OPERA MEDIA RELEASE

    FOR IMMEDIATE RELEASE:
    Wednesday, September 12, 2018

    Contact: Suzanne Calvin 214.443.1014 or suzanne.calvin@dallasopera.org

    Still Bigger Than the Lone Star State!

    ~~~~

    THE DALLAS OPERA GUILD VOCAL COMPETITION IS NOW ACCEPTING APPLICATIONS

    FROM ACCOMPLISHED, EMERGING ARTISTS ACROSS THE U.S.

    ~~~~

    2019 Co-Chairs Dr. Susan Fleming & Linda McKown

    Honorary Chairs, Holly and Tom Mayer

    ~~~~

    TDO Orchestra and Finalists Will Be Conducted By

    Mrs. Eugene McDermott Music Director

    Emmanuel Villaume

    ~~~~

    Semi-Finals on Thursday, May 2, 2019 – Beginning at 11 a.m.

    Finals Round Scheduled for Friday, May 3, 2019 at 7:30 p.m.

    General Admission Tickets Just $5

    Margot and Bill Winspear Opera House

    The AT&T Performing Arts Center, Dallas, Texas

     

    DALLAS, TX, SEPTEMBER 12, 2018 – The Dallas Opera is pleased to announce that applications for the Dallas Opera Guild Vocal Competition, scheduled to take place on Thursday, May 2, 2019 at 11:00 a.m. (the free Semi-Finals Round, open to the public) and Friday, May 3, 2019 at 7:30 p.m. (Finals Round) are now being accepted.

    Applications MUST be submitted via YAP Tracker, along with a $35 entry fee. Go to www.dallasopera.org/vocal for the link.  The deadline for applications is 11:59 p.m. (Central Time) on Sunday, November 18, 2018.

    Those chosen by preliminary round judges to advance to the competition semifinals in the acoustically acclaimed Margot and Bill Winspear Opera House at the AT&T Performing Arts Center will be personally notified in January 2019, with a public announcement of the semi-finalists to follow in early February.

    Competitors in the 2018 Competition took home prize monies totaling $18,500.  The 2019 Competition—Co-Chairs Dr. Susan Fleming and Linda McKown—will offer similar rewards along with the chance to perform with a major orchestra and a world-class conductor.

    Although this competition has as its primary focus artists in the 18 to 34 age range, singers of any age may apply and will be considered on a case-by-case basis.

    The Dallas Opera Guild Vocal Competition originally focused on young artists with Texas roots or Lone Star academic connections, and its many distinguished alumni include luminaries from throughout the opera world: Latonia Moore, Clifton Forbis, Marjorie Owens, Weston Hurt, Steven LaBrie, Amanda Woodbury, Jesus Garcia, Anthony Clark Evans, Kang Wang, Virginie Verrez, Samantha Hankey, Laura Wilde, Kihun Yoon, and—most recently—Mario Rojas, Josh Lovell and Aryeh Nussbaum Cohen.

    As the competition sought to gain even greater prominence and significance, The Dallas Opera and The Dallas Opera Guild made significant changes three years ago, prompting Dallas Morning News Classical Music Critic Scott Cantrell to write that the competition had “considerably upped its ante.”  The evolution has continued:

    • In order to attract the most talented applicant pool with the greatest potential, the eligibility criteria for applicants changed. Today, it is open to residents of all 50 states and U.S. Territories, including international students attending American colleges, universities, and music conservatories.  Also eligible are active members of any young artist program associated with an American opera company.
    • During the Finals Round, taking place on Friday, May 3, 2019 at 7:30 pm in the Winspear Opera House, singers will be accompanied by The Dallas Opera Orchestra and conducted by the internationally acclaimed Emmanuel Villaume, The Mrs. Eugene McDermott Music Director. Up to six finalists will participate, singing two arias each.

    The impact of these changes was immediately perceived.  Senior Classical Music Critic Gregory Sullivan Isaacs of theaterjones.com wrote: “The results surely exceeded expectations for this newly re-envisioned competition…It won’t take long to situate itself at the top of such events and become an important gold star on any young artist’s résumé.”

    Judges for the expanded 31st Annual Dallas Opera Guild Vocal Competition will be drawn from distinguished performers and opera administrators including Ian Derrer, The Dallas Opera’s Kern Wildenthal General Director & CEO and Maestro Villaume.

    The Dallas Opera is very pleased to announce the return of renowned arts administrator, educator and adjudicator Dr. Brian Zeger as Chair of the Judges Panel for the 2019 Vocal Competition.  On the faculty of The Juilliard School since 1993 and Artistic Director of Vocal Arts at Juilliard since 2004, Dr. Zeger is also the former Executive Director of the Metropolitan Opera Lindemann Young Artist Development Program.

    A prominent broadcast professional and frequent guest on the Metropolitan Opera radio broadcasts, Dr. Zeger has also contributed critical essays for publications such as Opera News, Chamber Music Magazine and The Yale Review.  He has participated in countless summer festivals: Ravinia, Santa Fe, Caramoor, Aldeburgh and Aspen, as well as the Cape Cod Chamber Music Festival where he served as artistic director from 1993-2000.  This native New Yorker has also adjudicated the Metropolitan Opera National Council Auditions, the Concert Artists Guild Auditions and the Walter W. Naumberg Vocal Competition.

    This year’s honorees are Holly and Dr. Tom Mayer for their tremendous dedication and support of The Dallas Opera and its commitment to young artists.  Most recently, Holly served as Chairman of The Dallas Opera (2016-2018) and continues to guide the company as a member of The Dallas Opera Board Executive Committee.

    “I am delighted that Dr. Brian Zeger will once again be working with The Dallas Opera to enable the 2019 Guild Vocal Competition to fulfill its mission of heightening awareness, creating career opportunities, and rewarding the most exceptional talents of this generation,” explains Maestro Emmanuel Villaume.

    I look forward to working with the Guild, these remarkable young people, and The Dallas Opera Orchestra to give patrons an unforgettable evening of world-class entertainment.”

    Dallas Opera Guild Co-Presidents James and Jan Clay remarked, “Our exciting annual competition is the most high-profile facet of The Dallas Opera Guild’s yearlong commitment to support exceptionally talented young opera artists.  The future of opera, not only in Texas—but throughout the world—is dependent on the discovery and development of bright new talent.  The Guild takes that part of our mission very seriously and we encourage everyone in the community to turn out next spring to show their support for these fine young singers, as well.

    Linda McKown, one of the 2019 Co-Chairs for the annual competition, writes: “I’m excited to be getting more involved with the Dallas Opera Guild Vocal Competition and doing what I can to help Susan Fleming carry out the Guild’s responsibilities.  I feel it is so important to give these young opera singers the opportunity to perform with our superb maestro, Emmanuel Villaume, conducting The Dallas Opera Orchestra!”

    Adds Co-Chair Dr. Susan Fleming, “The Dallas Opera Guild is extremely proud of the many professional voices in development that we have fostered for more than three decades. We are eager to hear those who will be selected this year—twenty from over 300 applicants—and look forward to hosting a large audience on May 2 and 3, 2019.

    “We encourage YOU to be part of the crowd that comes to the Winspear Opera House to cheer them on!”

    General admission tickets are just $5 apiece and may be purchased at 214.443.1000 or online at www.dallasopera.org.

    ~~~~

    HISTORY OF THE DALLAS OPERA GUILD VOCAL COMPETITION:

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

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

    However, for any program to remain dynamic, 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, former Artistic Director of The Dallas Opera, led the Judge’s panel for the first 26 years.

    The vocal competition was significantly reimagined and expanded in its 27th year to allow applicants from all 50 states and U.S. Territories. Dr. Brian Zeger, Artistic Director of Juilliard’s Marcus Institute for Vocal Arts and former Executive Director for the Lindemann Young Artist Development Program of the Metropolitan Opera now chairs a judge’s panel that includes leading figures in American Opera administration and classical music.

    The competition was expanded to take place over a two-day period.  Participants in 2019 will be heard during Thursday’s semi-finals and the selected finalists will perform again Friday evening, accompanied by The Dallas Opera Orchestra under the direction of the Mrs. Eugene McDermott Music Director Emmanuel Villaume. Both events are held in the Margot and Bill Winspear Opera House in the AT&T Performing Arts Center.

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

    ~~~~

    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. and Sunday matinees begin at 2:00 p.m. unless otherwise stated.  English translations will be projected above the stage at every performance and assistance is available for the hearing impaired. With the exception of FIRST NIGHT, The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain, at most performances.

     

    THE FLYING DUTCHMAN by Richard Wagner

    October 12, 14 (m), 17 & 20, 2018

    The season sets sail with Wagner’s sweeping, romantic masterpiece – not seen in Dallas since 1994!

    Time: the German Expressionist 1920s

    Place: the coast of Norway

    Conductor: Emmanuel Villaume

    Original Director: Christopher Alden

    Set Designer: Allen Moyer

    Costume Designer: Allen Moyer

    Lighting Designer: Anne Militello

    Wig & Make-up Designer: Dawn Rivard

    Chorus Master: Alexander Rom

    Starring: Greer Grimsley (The Dutchman), Anja Kampe* (Senta), Jay Hunter Morris (Erik), Mark S. Doss (Daland), Luretta Bybee (Mary) and Andrew Stenson (Steersman).

     

    CARMEN by Georges Bizet

    October 19, 21 (m), 24, 27, November 2 & 4 (m), 2018

    The woman who won’t be owned returns to The Dallas Opera stage!

    Libretto by Henri Meilhac and Ludovic Halévy

    Time: 19th century

    Place: Seville, Spain and the surrounding countryside

    Conductor: Emmanuel Villaume and Pierre Vallet (10/24 and 11/2)

    Original Director: Sir David McVicar

    Revival Director: Jack Furness**

    Set Designer: Michael Vale*

    Costume Designer: Sue Blane*

    Lighting Designer: Clare O’Donoghue*

    Chorus Master: Alexander Rom

    Original Choreographer: Andrew George

    Revival Choreographer: Andrzej Glosniak**

    Starring: Stephanie D’Oustrac* (Carmen), Stephen Costello (Don José), Vanessa Vasquez* (Micaëla), Alexander Vinogradov (Escamillo), Sarah Tucker* (Frasquita), Lindsay Metzger* (Mercédès), Rafael Moras (El Remendado), Corey Crider (El Dancairo), Ben Wager (Zuniga), Gideon Dabi* (Morales).

     

    MANON LESCAUT by Giacomo Puccini

    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: Ed Berkeley

    Set Designer: TBA

    Costume Designer: TBA

    Lighting Designer: Krista Billings

    Wig & Make-up Designer: Dawn Rivard

    Chorus Master: Alexander Rom

    Starring: Kristin Lewis* (Manon Lescaut), Musa Ngqungwana (Lescaut), Gregory Kunde (Chevalier des Grieux), Geronte de Ravoir (Andrea Silvestrelli), Jonas Hacker* (Edmondo), Mark S. Doss (Innkeeper), Alyssa Martin (Singer), Matthew Grills (Dance Master), Clay Hilley* (Lamplighter), Mark McCrory (Sergeant of the Royal Archers) and David Leigh* (Naval Captain).

     

    LA BOHÈME by Giacomo Puccini

    March 15, 17 (m), 20, 23, 29, 31 (m), 2019

    The most timeless love story in all of opera returns to break your heart!

    Libretto by Giuseppe Giacosa and Luigi Illica

    Time: 19th century

    Place: The Latin Quarter of Paris, France

    Conductor: Giuliano Carella

    Director: Tomer Zvulun

    Set Designer: Erhard Rom

    Costume Designer: Peter J. Hall

    Lighting Designer: Robert Wierzel

    Wig & Make-up Designer: Dawn Rivard

    Chorus Master: Alexander Rom

    Starring: Jean-Francois Borras* (Rodolfo), Pumeza Matshikiza* (Mimi), Anthony Clark Evans* (Marcello), Sara Gartland (Musetta), Will Liverman* (Schaunard), Nicholas Brownlee* (Colline), and Samuel Ramey (Benoit/Alcindoro).

     

    FALSTAFF by Giuseppe Verdi

    April 26, 28 (m), May 1, 4, 2019

    Shakespeare’s uproarious comedy brought to musical life!

    Libretto by Arrigo Boito

    Time: During the reign of Henry IV of England

    Place: Windsor

    Conductor: Riccardo Frizza

    Original Director: Lee Blakeley

    Revival Director: Shawna Lucey

    Set 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 Hernandez* (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

    _____________________________________________________________________________________

     

    ###