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    Don Giovanni Opens April 13th for Six Performances

    Photo by Todd Rosenberg

    FOR IMMEDIATE RELEASE:
    Tuesday, March 20, 2018
    Contact: Suzanne Calvin 214.443.1014
    suzanne.calvin@dallasopera.org

    THE DALLAS OPERA IS PROUD TO PRESENT
    ROBERT FALLS’ ACCLAIMED PRODUCTION OF
    DON GIOVANNI
    by Wolfgang Amadeus Mozart
    Conducted by Music Director Emmanuel Villaume
    ~~~~
    MARIUSZ KWIECIEŃ HEADS AN ALL-STAR CAST:
    LAURA CLAYCOMB, DAVID PORTILLO, KATIE VAN KOOTEN,

    KYLE KETELSEN, VIRGINIE VERREZ, CRAIG VERM AND MORRIS ROBINSON
    ~~~~
    APRIL 13, 15(m), 18, 21, 27 and 29(m), 2018
    The Margot and Bill Winspear Opera House
    At the AT&T Performing Arts Center, Dallas, TX

    DALLAS, TX. MARCH 20, 2018 – The Dallas Opera is proud to present one of the most talked about Mozart productions of the decade: DON GIOVANNI in a critically acclaimed production created by Goodman Theatre Artistic Director Robert Falls for Lyric Opera of Chicago and conducted by Dallas Opera Music Director Emmanuel Villaume.
    Don Giovanni will open Friday, April 13th at 7:30 p.m. (The Enrico Foundation Performance) in the Margot and Bill Winspear Opera House, AT&T Performing Arts Center, Dallas, TX for the first of six performances. Tickets start at just $19 and can be purchased online at www.dallasopera.org or by contacting The Dallas Opera Ticket Office at 214.443.1000.
    Additional performances are scheduled for April 15 (2:00 matinee), 18, 21, 27 and 29 (a second 2:00 matinee), 2018. All evening performances begin promptly at 7:30 p.m.

    Based on the legendary Spanish lothario, Don Juan, librettist Lorenzo Da Ponte conjures up a character who is attractive-yet-deeply disturbing in both behavior and attitude. George Bernard Shaw, who regarded Don Giovanni as the greatest of all operas, singled it out for “its uncommon share of wisdom, beauty, and humor.”
    Director Robert Falls (the James R. Seitz Stage Director in Honor of John Gage), speaking to Lawrence B. Johnson for “Chicago on the Aisle,” noted: “In Mozart, we’re dealing with a supreme genius, like Shakespeare, who understood the human condition profoundly. Don Giovanni is comic but it’s also deeply personal and painful, an intense examination into humanity in all its desires, darkness and cruelty.”

    “Robert Falls’ brilliant production of Don Giovanni is the most admired in recent memory,” explains Dallas Opera Interim General Director and CEO Kern Wildenthal. “Mariusz Kwiecień is THE Don Giovanni of our day,” he continues, “The stellar principal cast is simply unbeatable—the best of the best singing each and every role. Under the inspired leadership of Maestro Emmanuel Villaume, this ‘must see’ production promises to be one of the high points in The Dallas Opera’s history.”

    The late Andrew Patner of Classical Voice North America observed: “Falls’ Giovanni production solves several problems off the bat, including the most important one — how can the music, story, and characters be communicated to a living audience? That’s the only “concept” that matters. A big man who works in a big theater, Falls is a master at using large spaces and stages…a gifted theater artist can show us that the Don, and Mozart of course, are ever our contemporaries.”
    The outstanding ensemble cast will be led by one of the world’s leading baritones and the reigning Don Giovanni of our day: Mariusz Kwiecień, also praised as “one of opera’s most intelligent actors.” Mr. Kwiecień’s engagements this season have included the roles of Marcello in La Bohème at London’s Royal Opera House, Zurga in The Pearl Fishers for Chicago Lyric, Count Almaviva in the Metropolitan Opera’s Le nozze di Figaro, the title role in Eugene Onegin at Vienna State Opera, and Malatesta in Opera Kracow’s Don Pasquale.
    William Burnett of Opera Warhorses notes “The sex-obsessed Don is a favorite character of the Polish baritone Mariusz Kwiecień, who played him memorably in the production of Sir David McVicar. (Robert) Falls gave Kwiecień license to further explore Don Giovanni’s nature, and the resulting portrait was extraordinary: an utterly charming but lethally sociopathic bad boy who, except for some bad luck and an error in judgment in the final few hours of his life on earth, might have added another thousand or so names to Leporello’s catalogue….Kwiecień’s Giovanni is a masterpiece…an engaging anti-hero, in a performance that is wonderfully sung and impressively acted.”
    The starry ensemble also includes local favorite and Grammy Award-winning soprano Laura Claycomb in her role debut as Donna Anna. This Texas native won the 2011 Maria Callas Debut Artist of the Year Award for her unforgettable company debut as Gilda in Rigoletto.
    “Claycomb’s voice is pliant and rich” writes Opera News. She frequently performs with Paris Opera, San Francisco Opera, Houston Grand Opera, Los Angeles Opera, and at additional opera companies, major festivals, and symphony orchestras, worldwide, where Ms. Claycomb has earned consistent accolades for her amazing coloratura soprano, impeccable musicianship, ethereal high notes, and dramatic stage presence.
    The role of Don Ottavio will be sung by tenor David Portillo, a native of San Antonio, who appeared in two Metropolitan Opera productions earlier this season, including one of the most critically acclaimed works of the current season: The Exterminating Angel. Although Mr. Portillo attracted favorable notices in the world premiere of Breaking the Waves, he is making a name for himself in classic operatic repertoire, from Beethoven to Wagner, prompting a Sydney, Australia publication to write, “His voice is well suited to Mozart: clear, well-projected and with a comfortable top register that showed no (sign) of strain.”
    Soprano Katie Van Kooten will make her Dallas Opera debut as the unstoppable Donna Elvira. In demand on both the opera and concert stage, performances of Beethoven’s Ninth and Verdi’s Requiem bookend her appearances in Dallas. The Daily Telegraph described her as “a major operatic talent. Her singing has something of the same glow radiated by a Te Kanawa or a Freni…a winning stage personality.”
    Bass-baritone Kyle Ketelsen will take his first bow on the Winspear stage in what has become a signature, scene-stealing role: Giovanni’s man servant, Leporello. No stranger to bad boys himself, last season Mr. Ketelsen earned rave reviews for his portrayal of Méphistophélès in Gounod’s Faust in Zurich and Escamillo in the Metropolitan Opera’s production of Carmen, not to mention his earlier turn at Covent Garden as Nick Shadow in Stravinsky’s The Rake’s Progress. Opera-Brittania was prompted to write that Mr. Ketelsen was “a joy to hear from the moment he first opened his mouth, with smooth chocolate tones ringing out effortlessly.”
    Although French mezzo-soprano Virginie Verrez won First Prize at the 2016 Dallas Opera Guild Vocal Competition, her appearance in this production as the coquettish Zerlina marks her official company debut. Other highlights of her 2017-18 Season include Dorabella in Così fan tutte for Opéra de Lille, Flora in La traviata for Paris National Opera, and Erika in Barber’s Vanessa – a new Keith Warner production opening at the Glyndebourne Festival next August.
    Baritone Craig Verm made an indelible mark on Dallas audiences as the doomed Doug Hansen in the 2015 world premiere of Joby Talbot and Gene Scheer’s Everest and returns as the not-willing-to-be-duped Masetto. Mr. Verm’s performance is made possible with support from the Charron and Peter Denker Rising Stars Endowment Fund. And bass Morris Robinson returns to TDO to reprise the role of The Commendatore – with verve, dignity, and power.

    ~~~~
    Critically acclaimed Dallas Opera Music Director Emmanuel Villaume (The Mrs. Eugene McDermott Music Director) will conduct all six performances. Opera Wire praised Villaume for his conducting of Thaïs at the Metropolitan Opera: “From the opening chords to the final ones, the polish of one of Massenet’s finest scores was felt.” The New York Times also touted his conducting prowess in the much-discussed new production of Tosca: “He brings shape, nuance and pliancy to the score.” Maestro Villaume’s most recent triumph was his conducting of Faust for Lyric Opera of Chicago. Seen and Heard International observed “Villaume’s expert hand was evident in the carefully-voiced sonorities, blending of the brass and percussion. Villaume supported the solo voices with fine attention to the stage, as well as care with the details, such as his tasteful stretching of measures and passages to accentuate lyricism.”
    Currently in his fifth season as music director of The Dallas Opera, Maestro Villaume guided our successful Samson & Dalila before turning his attention to engagements in Prague and at the Met, and also conducted the rarely performed Korngold one-act, The Ring of Polykrates earlier this year. Last summer, he also presided over a new Paul Curran production of Rimsky-Korsakov’s The Golden Cockerel at Santa Fe Opera (a co-production with The Dallas Opera designed by Gary McCann).

    Don Giovanni stage director Robert Falls recently staged the world premiere of Rogelio Martinez’s Blind Date and adapted and directed a new production of Henrik Ibsen’s An Enemy of the People in the Albert Theatre. This summer, he will direct the return engagement of Jim McGrath’s Pamplona in the Goodman’s Owen Theatre.
    Recent productions for the Chicago-based director include The Iceman Cometh for the Brooklyn Academy of Music, Rebecca Gilman’s Luna Gale for the Center Theatre Group in Los Angeles, Measure for Measure and the world and off-Broadway premieres of Beth Henley’s The Jacksonian.
    Among his other credits are The Seagull, King Lear, Desire Under the Elms, John Logan’s Red, Jon Robin Baitz’s Three Hotels, Eric Bogosian’s Talk Radio and Conor McPherson’s Shining City; the world premieres of Richard Nelson’s Frank’s Home, Arthur Miller’s Finishing the Picture, Eric Bogosian’s Griller, Steve Tesich’s The Speed of Darkness and On the Open Road, John Logan’s Riverview: A Melodrama with Music and Rebecca Gilman’s A True History of the Johnstown Flood, Blue Surge and Dollhouse; the American premiere of Alan Ayckbourn’s House and Garden; and the Broadway premiere of Elton John and Tim Rice’s Aida.
    The Associate Director on this revival is Jodi Gage in her Dallas Opera debut.

    ~~~~
    Other members of the experienced production team for Don Giovanni include set designer Walt Spangler, costume designer Ana Kuzmanic, choreographer August Tye Pauley, and fight director Nick Sandys Pullin – all in their Dallas Opera debuts. The associate fight director is Katherine Coyl.
    The original lighting designer for this production was Duane Schuler; lighting for this revival will be designed by Chris Maravich. Wig and make up design is by Dawn Rivard.
    Expert Chorus preparation is by Dallas Opera Chorus Master Alexander Rom.
    The assistant conductor is Paolo Bressan. The assistant director is Mo Zhou.

    ~~~~
    The season finale will last approximately three-and-a-half hours, including a 25-minute intermission. The Joy and Ronald Mankoff Pre-Opera Talk can be enjoyed in nearby Hamon Hall (adjacent to the audience chamber) one hour prior to curtain.
    Performed in Italian with English translations projected above the stage, ticket prices for this eighteenth-century masterpiece range from $19-$289. Discounted group rates and Student Rush Tickets are also available.
    For more information, call The Dallas Opera Ticket Office at 214-443-1000 or obtain more information online (including a full synopsis and complete cast and production team biographies) at www.dallasopera.org/season/don-giovanni.
    The Winspear Opera House is located in the Dallas Arts District at 2403 Flora Street, Dallas, Texas, 75201.
    ~~~~

    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.

    ~~~~
    2017-2018 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 2017-2018 DALLAS OPERA SEASON
    All performances are in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center unless otherwise indicated. Single Tickets range from $19 to $289. Family performance tickets are just $5. For more information or to make your purchase, contact The Dallas Opera Ticket Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.

    THE DALLAS OPERA 2017-2018 SPRING SEASON MAINSTAGE INFORMATION
    The Dallas Opera celebrates its Sixty-First International Season in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in the Dallas Arts District. Evening performances will begin at 7:30 p.m. and Sunday matinees begin at 2:00 p.m. unless otherwise stated. English translations will be projected above the stage at every performance and assistance is available for the hearing impaired. With the exception of FIRST NIGHT, The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain, at most performances.

    THE RING OF POLYKRATES & VIOLIN CONCERTO IN D MAJOR
    A sweeping Viennese concerto paired with a charming domestic comedy!
    By Erich Wolfgang Korngold
    February 9, 11 (m), 14 and 17, 2018

    Violin Soloist (KORNGOLD CONCERTO): Augustin Dumay*
    The Dallas Opera Orchestra conducted by Emmanuel Villaume

    THE RING OF POLYKRATES
    Sumptuous Viennese music laced with orchestral color and wit!
    Libretto by Leo Feld
    Time: Early 20th century
    Place: Vienna, Austria
    Conductor: Emmanuel Villaume
    Director: Peter Kazaras
    Set Designer: Donald Eastman*
    Costume Designer: Tommy Bourgeois
    Lighting Designer: Krista Billings
    Wig & Make-up Designer: Dawn Rivard
    Starring: Paul Groves* (Wilhelm Arndt), Laura Wilde* (Laura), Brenton Ryan (Florian Döbllinger), Susannah Biller* (Lieschen), and Craig Colclough* (Peter Vogel).
    One of the most rarely performed opera gems! In its third professional U.S. production!

    SUNKEN GARDEN by Michel van der Aa
    March 9, 11 (m), 14 and 17, 2018
    A phenomenal visual, musical and emotional adventure – live and in 3-D!
    Libretto by David Mitchell
    Time: Present Day
    Place: Unknown
    Conductor: Nicole Paiement
    Director: Michel van der Aa*
    Set Designer: Theun Mosk**
    Costume Designer: Astrid Schulz**
    Lighting Designer: Theun Mosk**
    Sound Designer: Tom Gelissen*
    Starring: Roderick Williams* (Toby Kramer), Katherine Manley* (Zenna Briggs), and Miah Persson* (Iris Marinus).
    Combining live actors and 2-D and 3-D film, to take you where opera has never gone before!

    DON GIOVANNI by W.A. Mozart
    April 13, 15 (m), 18, 21, 27 and 29 (m), 2018
    Mozart’s operatic masterpiece brought vividly to life under the baton of Music Director Emmanuel Villaume!
    Time: 20th century
    Place: Seville, Spain and the surrounding countryside
    Conductor: Emmanuel Villaume
    Director: Robert Falls*
    Set Designer: Walt Spangler*
    Costume Designer: Ana Kuzmanic*
    Original Lighting Designer: Duane Schuler
    Lighting Designer: Chris Maravich
    Wig & Make-up Designer: Dawn Rivard
    Chorus Master: Alexander Rom
    Starring: Mariusz Kwiecień (Don Giovanni), Laura Claycomb (Donna Anna), David Portillo* (Don Ottavio), Katie Van Kooten* (Donna Elvira), Kyle Ketelsen* (Leporello), Virginie Verrez* (Zerlina), Craig Verm (Masetto), and Morris Robinson (The Commendatore).
    An evocative and thrilling production from Lyric Opera of Chicago!

    * Dallas Opera Debut
    ** American Debut

    ______________________________________________________________________________________

    ###

    Presenting the Delightful Comedy The Ring of Polykrates

    THE RING OF POLYKRATES By Erich Wolfgang Korngold

    The Third U.S. Production in a Century

     

    Tenor Paul Groves, Soprano Laura Wilde, and Bass-Baritone Craig Colclough Star!

    Conducted by Dallas Opera Music Director Emmanuel Villaume

    ~~~~

    Programmed with Korngold’s Iconic Violin Concerto in D major, Op. 35 (1945)

    Featuring Renowned Violinist Augustin Dumay

    OPENING NIGHT: FRIDAY, FEBRUARY 9, 2018, 7:30 PM

    The Margot and Bill Winspear Opera House,

    AT&T Performing Arts Center, Dallas TX

    ADDITIONAL PERFORMANCES: February 11 (m), 14, 17

    With Support from the National Endowment for the Arts

     

    DALLAS, TX, JANUARY 11, 2018 – A sizzling blend of domestic comedy and romance, symphonic music and opera, thrilling virtuosity and extraordinary artistry, will melt the icy grip of winter this February as The Dallas Opera presents a once-in-a-lifetime pairing: Erich Wolfgang Korngold’s rarely performed 1916 opera, The Ring of Polykrates, preceded by the composer’s famous Violin Concerto in D major, Op. 35 that premiered nearly three decades later in 1945.

    The unique program opens on Friday, February 9, 2018 at 7:30 p.m. for the first of four performances in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in Dallas, Texas. Additional performances are scheduled to take place in the Winspear on:

    Sunday, February 11, 2018 at 2:00 pm

    Wednesday, February 14, 2018 at 7:30 pm

    Saturday, February 17, 2018 at 7:30 pm

    This Dallas Opera production is made possible by a generous grant from the National Endowment for the Arts (NEA).

    Revered French violinist Augustin Dumay (with more than 40 recordings in his discography) will be the featured guest soloist with The Dallas Opera Orchestra for the concerto. Mr. Dumay is considered “an absolute master of using changes in tone color as an expressive device” (Fanfare) and many of his recordings are considered the “gold standard” in their repertoire.  Heather Kurzbauer of The Strad put it simply: “This is the stuff that dreams are made of.”  As for his live concert hall performances, Geoffrey Norris of The Daily Telegraph writes: “Mr. Dumay is a violinist of remarkable individuality…excitingly musical, stimulatingly original, a marvelously fresh but idiomatic interpretation with a strength of personality that made it so powerfully communicative and memorable.”

    The concerto will be paired with Korngold’s very first opera, The Ring of Polykrates, a one-act domestic comedy composed in 1913-14 when he was just sixteen years old. The opera premiered in Munich in 1916 on another double bill.

    Korngold is known today as one of the great proponents of early twentieth-century “neo-romanticism” and one of the fathers of the modern movie score, whose masterful work during Hollywood’s “Golden Age” (The Adventures of Robin Hood, The Sea Hawk, Anthony Adverse, Deception, Between Two Worlds, Juarez, Kings Row) has influenced generations of composers, studios, and film-makers.

    Polykrates_Final (640x427)

    The plot revolves around a happily married professional musician, Wilhelm Arndt, whose career is on the upswing, along with his finances.  His joy, he tells his wife Laura, would be complete if only he could once again see his long-lost friend Peter Vogel. Without giving too much away, we will refer you to the old adage, “Be careful what you wish for!”

    The name of the opera is taken from a late eighteenth-century poem by Friedrich Schiller, which is based on the ancient tale of the Greek ruler, Polycrates, who was deemed much too successful for the Fates to ignore–and advised to throw away his most valuable possession, a bejeweled ring, in a superstitious bid to avoid future disaster.

    Critically acclaimed Dallas Opera Music Director Emmanuel Villaume (The Mrs. Eugene McDermott Music Director) will conduct all four performances. Opera Wire praised Villaume for his conducting of Thaïs at the Metropolitan Opera: “From the opening chords to the final ones, the polish of one of Massenet’s finest scores was felt.” The New York Times also touted his conducting prowess in the much-discussed new production of Tosca: “He brings shape, nuance and pliancy to the score.”

    Currently in his fifth season as music director, Maestro Villaume guided our successful Samson & Dalila before turning to engagements in Prague and at the Met.  Last summer, he presided over a critically acclaimed new production of Rimsky-Korsakov’s The Golden Cockerel at Santa Fe Opera (a Dallas Opera co-production).

    Directed by Peter Kazaras (La Bohème), The Ring of Polykrates stars tenor Paul Groves, soprano Laura Wilde (Phyllis A. McCasland and Thomas H. McCasland, Jr. Young Artist) and bass-baritone Craig Colclough in their eagerly-anticipated TDO debuts.

    “It is a great privilege to be able to give Dallas Opera patrons the opportunity to experience this opera live,” says Interim General Director and CEO Kern Wildenthal.  “Even recordings of Polykrates are rare, but that could change quickly with the growing appreciation for Korngold’s early works.

    “This brilliant young cast, guided by Emmanuel Villaume and Peter Kazaras, will not only charm us, they will heighten our awareness of Korngold’s distinctive musical voice, which was already exceptional at the age of sixteen.”

    Director Peter Kazaras currently serves as the Director of Opera and Music Theater at UCLA.  Previously, he was Seattle Opera’s Artistic Advisor and Artistic Director of the company’s young artist program.  This season, Mr. Kazaras will also be directing La Gazza Ladra at Glimmerglass and Le Nozze di Figaro for Washington National Opera.

    American tenor Paul Groves (Wilhelm Arndt) is a frequent guest of the world’s leading opera houses and concert halls.  He returns to his native New Orleans later this season to sing the title role of Faust.  He can also be heard singing Mahler’s Das Lied von der Erde with the Cleveland Orchestra and the Indianapolis Symphony, Berlioz’ Requiem with the San Francisco Symphony conducted by Charles Dutoit, and Stravinsky’s Perséphone with the Oregon Symphony.

    American soprano Laura Wilde (Laura), winner of a 2016 Sara Tucker Study Grant from the Richard Tucker Foundation and the Luminarts Women’s Voice Fellowship, recently made her role debut as Freia in Lyric Opera of Chicago’s new production of Das Rheingold. Other engagements include the role of Jane Withersteen in the world premiere of Riders of the Purple Sage, Micaëla for Nashville Opera, and Vitellia in La Clemenza di Tito for Opera Theatre of Saint Louis.

    American bass-baritone Craig Colclough (Peter Vogel) returned to London as Scarpia for English National Opera, the role that also served as his debut at Canadian Opera Company.  His most recent appearances include the title role of Falstaff for Opera Saratoga and Arizona Opera; Timur in Turandot under the baton of Gustavo Dudamel; Jack Rance in La Fanciulla del West and Kurwenal in Tristan und Isolde at English National Opera; and Simone in Gianni Schicchi for LA Opera.

    Rounding out the cast are tenor Brenton Ryan (Florian Döblinger) now appearing as Spoletta in the Metropolitan Opera’s new production of Tosca, conducted by Maestro Villaume (both will be seen in the Met’s “Live in HD” simulcast of Tosca on January 27, 2018); and soprano Susannah Biller (Lieschen) who earned rave reviews in the title role of Madame White Snake for Beth Morrison Projects, as well as numerous other roles.

    ~~~~

    Set Designer Donald Eastman, who designs for opera companies and theaters here and overseas, will make his TDO debut. His work has been seen at Canadian Opera Company, Lincoln Center Festival, New York City Opera, Glimmerglass Festival, Opéra de Montréal and the San Francisco Opera Center.

    This Dallas Opera production will also feature period costumes by TDO’s Costume Design Consultant Tommy Bourgeois, with lighting by Dallas Opera Lighting Director and Associate Technical Director Krista Billings, and wig and make-up design by Emmy Award-winning designer Dawn Rivard.

    Performed in German with English translations projected above the stage, the Korngold program will have three additional performances: February 11(m), 14 (a romantic Valentine’s Day evening) and February 17, 2018.  Ticket prices range from $19-$289. Discounted group rates and Student Rush Tickets are available. For more information, call the ticket office at 214-443-1000 or visit https://dallasopera.org/season/the-ring-of-polykrates.

    The Winspear Opera House is located in the Dallas Arts District at 2403 Flora Street, Dallas, Texas, 75201.

    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.

    ~~~~

    2017-2018 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

    Or Celeste Hart, Communications Manager at celeste.hart@dallasopera.org

     

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

    American Airlines is the official airline of The Dallas Opera. Lexus is the official vehicle of The Dallas Opera. Advertising support from The Dallas Morning News.

     

    The Dallas Opera Family Performances are generously supported by

    Texas Instruments, Lockheed Martin, and the Betty and Steve Suellentrop

    Educational Outreach Fund.

    TDO Family Performances are a part of the

    Perot Foundation Education and Community Outreach Programs

     

    TICKET INFORMATION FOR THE 2017-2018 DALLAS OPERA SEASON

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

    The Epic Tale of Lust and Betrayal – SAMSON & DALILA

    THE DALLAS OPERA OPENS THE 2017-18 SEASON WITH

     CAMILLE SAINT-SAËNS’ 

    SAMSON & DALILA

    LIBRETTO BY FERDINAND LEMAIRE

    (BASED ON THE BOOK OF JUDGES)

    ~~~~

    STARRING TENOR CLIFTON FORBIS AS SAMSON

    MEZZO-SOPRANO OLGA BORODINA AS DALILA

    IN HER DALLAS OPERA DEBUT

    ~~~~

    ALSO STARRING BARITONE RICHARD PAUL FINK, BARITONE MICHAEL CHIOLDI AND BASS-BARITONE RYAN KUSTER

    ~~~~

    CONDUCTED BY DALLAS OPERA MUSIC DIRECTOR

    EMMANUEL VILLAUME

    AND PIERRE VALLET (WED., OCT. 25TH PERFORMANCE)

    ~~~~

    STAGED BY DIRECTOR BRUNO BERGER-GORSKI

    ~~~~

    THE LINDA AND MITCH HART SEASON OPENING NIGHT PERFORMANCE: FRIDAY, OCTOBER 20, 2017 at 8:00 PM

    The Margot and Bill Winspear Opera House at the

    AT&T Performing Arts Center, Dallas TX

     

    ADDITIONAL PERFORMANCES

    October 22 (m), 25, 28, and November 5(m)

    DALLAS, OCTOBER 5, 2017 – The Dallas Opera is proud to present the initial mainstage offering of the 2017-2018 “Motives Unmasked!” Season: Camille Saint-Saëns’ glorious nineteenth-century grand opera, SAMSON & DALILA, opening with The Linda and Mitch Hart Season Opening Night Performance on Friday, October 20, 2017 at 8:00 p.m. (note special curtain time), the first of five performances in the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center in Downtown Dallas.  Saint-Saëns’ 1877 masterpiece features a tremendous ensemble cast that includes Russian superstar Olga Borodina, Clifton Forbis, Richard Paul Fink, Michael Chioldi and Ryan Kuster.

    Performances continue on October 22(m), 25, 28 and November 5(m), 2017 in the Margot and Bill Winspear Opera House.  Evening performances begin at 7:30 p.m., (except for the opening night performance mentioned above) and the curtain rises on our Sunday matinees at 2:00 p.m.  There is absolutely no late seating.

    SAMSON & DALILA will be performed in its original language, French, with English-language translations projected above the stage at every performance.

    Tickets may be purchased by phone (214.443.1000), online (www.dallasopera.org) or at the door—starting at the low price of just $19.

    ~~~~

    Samson is the only hope of his people, the Hebrews, in the oppressive grip of the Philistines.
    Enter Dalila, the calculating seductress capable of capturing men’s hearts with ease.  Her temptation of Samson continues until she gets what she wants: the secret of his strength.  Camille Saint-Saëns’ opera builds to the familiar, spectacular climax, taken straight from the Book of Judges in this libretto by Ferdinand Lemaire.

    Dramatic tenor Clifton Forbis has sung some of the most challenging roles in the operatic repertoire.  He has mesmerized Dallas Opera audiences as Siegmund in Die Walküre, as well as a “forceful and manly” Tristan.  Samson is a signature role for Mr. Forbis, who has performed this part at Bilbao, San Francisco Opera and New York’s Metropolitan Opera.  He was last seen on The Dallas Opera stage in 2012’s groundbreaking production of Richard Wagner’s Tristan und Isolde, directed by Christian Räth, after inaugurating Dallas Opera productions in the Winspear Opera House in October of 2009 in the title role of Otello.

    He will star opposite the legendary Russian mezzo-soprano, Olga Borodina, who came to prominence in the West in 1992 when she starred opposite Plácido Domingo in Samson at London’s Covent Garden.  This Grammy Award-winner is considered the ultimate Dalila of her generation, according to London-based critic Rupert Christiansen of The Telegraph.

    Adam Wasserman of Opera News observed “…to watch Borodina is to see the masterful emergence of a truly human, fully formed character…buttressed by some of the most luxurious, thrilling vocalism that one can hope to encounter in an opera house.” The artist is closely associated with the historic Mariinsky Theatre in her birthplace, Saint Petersburg, Russia, but performs and records throughout the Western world, as well. Ms. Borodina’s recording of the Verdi Requiem with Riccardo Muti conducting the Chicago Symphony Orchestra, won two 2011 Grammy Awards, including Best Classical Album.

    Music Director Emmanuel Villaume (The Mrs. Eugene McDermott Music Director) will conduct the renowned Dallas Opera Orchestra in “one of the brightest jewels of French opera.”  Maestro Villaume triumphed in a revival of Jonathan Kent’s production of Tosca at the Royal Opera House, Covent Garden; prompting Hannah Nepil of The Financial Times to praise Villaume for “teasing out sultry, sumptuous playing from his orchestra.”  He also earned uniformly outstanding notices for his superb conducting of The Dallas Opera’s 2016 revival of Jake Heggie and Gene Scheer’s Moby-Dick, prompting Gregory Sullivan Isaacs of Theater Jones to write, “…with Villaume on the podium, Heggie’s score comes across as much more neo-tonal, lush, magnificently constructed and neo-romantic opera than what I perceived in the score back then. Vocal lines soar, giving singers some great bel-canto phrases that are grateful for the voice.”

    Over the past summer, Villaume conducted a critically acclaimed Dallas Opera-Santa Fe Opera co-production of Rimsky-Korsakov’s The Golden Cockerel in its debut as part of the Santa Fe Opera 2017 Season.  Directed by Paul Curran and designed by Gary McCann, this new production will take centerstage in Dallas in an upcoming season.

    The Samson & Dalila performance on Wednesday, October 25th will be conducted by special guest Pierre Vallet, in his Dallas Opera debut. Praised for the elegance and intensity of his performances, Maestro Vallet is a long-serving member of the Metropolitan Opera Conductors Staff.  He also conducts at Paris National Opera; the Bolshoi Theater in Moscow; Sweden’s Göteborg Opera; Barcelona’s Gran Teatro del Liceu; the Saito Kinen Festival and in many other prestigious houses and venues throughout Europe and Asia.  The New York Times even cited Vallet for conducting one of the “Ten Best Classical Performances in New York City” in 2016. Maestro Vallet’s symphonic work includes several appearances at the Royal Philharmonic Orchestra in London; the Royal Camerata in Bucharest; the Spoleto Festival USA; and the Greenwich Village Orchestra in New York. With the Royal Philharmonic Orchestra and Elizabeth Sombart, Vallet has recorded the Chopin piano concertos, as well as a CD of adagios from piano concertos.

    SAMSON & DALILA will be staged by internationally acclaimed German director Bruno Berger-Gorski in his TDO debut.  He has been described as “the only active German opera director who has staged operas on four continents”—including more than a hundred from the standard repertoire.  Mr. Berger-Gorski is also considered a champion of rarely performed, unusual, or contemporary works, such as Dirk d’Ase’s Einstein, Gomes’ Condor for the Festival, Wolf-Ferrari’s Sly, and Offenbach’s Rheinnixon hailed as “the discovery of the year” by Opernwelt magazine.

    Keith Cerny, the Kern Wildenthal General Director and CEO noted: “We’ve assembled a superb cast and off-stage team for our season opening production, to breathe life into an exciting and accessible grand opera that hasn’t been seen on our stage in nearly half a century!

    We are especially pleased to be giving Dallas audiences the chance to personally experience the world-class artistry of Olga Borodina and Clifton Forbis; however, I’m certain patrons will be just as swept away by the power and beauty of this terrific ensemble of principal singers and the amazing Dallas Opera Chorus.

    If any show is guaranteed to bring the house down on opening night—it’s this one!”

    Other members of this cast include Grammy-winning baritone Richard Paul Fink as the High Priest of Dagon, baritone Michael Chioldi in his TDO debut as Abimélech (the Philistine provincial governor), and bass-baritone Ryan Kuster as the Old Hebrew.

    The sets were designed by Peter Dean Beck for Pittsburgh Opera.  Carrie Robbins designed the costumes for San Francisco Opera.  Both will be making their house debuts.  Lighting design is by Allen Burrett and choreography by Nycole Ray, artistic director of Dallas Black Dance Theatre: Encore!, in her Dallas Opera debut.

    As always, chorus preparation is by Dallas Opera Chorus Master Alexander Rom.

    ~~~~

    Student Rush Tickets are available at the door 90 minutes prior to curtain – a valid student ID is required for each ticket purchased.  Contact The Dallas Opera Ticket Office at 214.443.1000.  For additional information about the cast, artistic/production team, and synopsis, or to purchase this “hot ticket”—visit www.dallasopera.org today.

    SAMSON & DALILA: SYNOPSIS

    ACT I

    Palestine, 1150 B.C. In a square in Gaza, a group of Hebrews beg Jehovah for relief from their bondage to the Philistines; Samson, their leader, rebukes them for their lack of faith. When the Philistine commander, Abimélech, denounces the Hebrews and their God, Samson kills him and leads the Hebrews away. The High Priest of Dagon comes from the Philistine temple and curses Samson’s prodigious strength, leaving with the slain man’s bier. An Old Hebrew praises the returning Samson. The outer walls of the temple disappear to reveal Samson’s former lover, the Philistine woman Dalila, who invites him to come that night to her nearby dwelling. She and her maidens dance seductively for Samson, who becomes deaf to the Old Hebrew’s dour prophecies.

    ACT II

    In the Valley of Sorek, Dalila calls on her gods to help her ensnare and disarm Samson, promising the High Priest to find a way to render the hero powerless. Samson appears, passionate in spite of himself; when Dalila has him in her power, she feigns disbelief in his constancy and demands that he show his love by confiding in her the secret of his strength, weeping when he refuses. Samson hears rolling thunder as a warning from God but cannot resist following Dalila inside. Not long afterward, having finally learned that the secret of Samson’s strength is his long hair, she calls to hidden Philistine soldiers, who rush in to capture and blind Samson.

    ACT III

    In a dungeon at Gaza, the sightless Samson pushes a grist mill in a circle, praying for his people, who will suffer for his sin. He hears their voices castigating him.  During a bacchanal in the Temple of Dagon, Dalila and the High Priest taunt Samson. When they force him to kneel to Dagon, he asks a boy to lead him to the two main pillars of the temple. Samson prays to Jehovah to restore his strength, and with a mighty effort he pulls down the pillars and the temple, crushing himself and his foes.

    By John W. Freeman – courtesy of Opera News

    ABOUT THE DALLAS OPERA

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

    2017-2018 SEASON SPONSOR

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

    EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

    ADDITIONAL INFORMATION ABOUT THE DALLAS OPERA

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

    FOR HIGH-RESOLUTION PHOTOGRAPHS

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

    Or Celeste Hart, Communications Manager at celeste.hart@dallasopera.org

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

    Advertising support from The Dallas Morning News.

    The Dallas Opera Family Performances are generously supported by

    Texas Instruments, Lockheed Martin, and

    The Betty and Steve Suellentrop Educational Outreach Fund

    TDO Family Performances are a part of the

    Perot Foundation Education and Community Outreach Programs

    TICKET INFORMATION FOR THE 2017-2018 DALLAS OPERA SEASON

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

     

    THE DALLAS OPERA 2017-2018 SEASON MAINSTAGE INFORMATION

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

     

    Dallas Opera Presents the Everest Trio, May 1 and 5

    KA3_6348 (512x640)FOR IMMEDIATE RELEASE:
    Thursday, April 27, 2017
    Contact: Suzanne Calvin 214.443.1014 Or Celeste Hart 214-443-1071
    suzanne.calvin@dallasopera.org celeste.hart@dallasopera.org

    THE DALLAS OPERA IS PROUD TO PRESENT
    THE EVEREST TRIO:
    “Dallas Opera Perspectives” with Dr. Beck Weathers
    The World Premiere of Joby Talbot’s
    Everest Prelude
    With Visuals from the British Film Institute
    And a Semi-Staged Everest Returns to Dallas!
    ~~~~
    “Perspectives” Moderated by Keith Cerny
    Monday, May 1 at 6:30 p.m. (Free with RSVP)
    Montgomery Arts Theater, Booker T. Washington
    High School for the Performing and Visual Arts
    RSVP at dallasopera.org/events
    ~~~~
    Everest Prelude and Everest (Semi-Staged Performance)
    Friday, May 5 at 7:30 p.m. ($15 to $75)
    The Margot and Bill Winspear Opera House
    AT&T Performing Arts Center
    ~~~~
    Visit dallasopera.org/events for Tickets and Information

    DALLAS, APRIL 27, 2017 – The Dallas Opera is proud to present The Everest Trio, culminating in a semi-staged performance of Joby Talbot and Gene Scheer’s critically acclaimed 2015 masterpiece, Everest, on the stage of the Margot and Bill Winspear Opera House at the AT&T Performing Arts Center. This one-time-only performance on Friday, May 5 at 7:30 p.m. will be conducted by Dallas Opera Music Director Emmanuel Villaume and directed by Leonard Foglia, who staged the earlier world premiere.

    THE EVEREST TRIO
    “Dallas Opera Perspectives,” Monday, May 1 at 6:30 p.m.
    One of the survivors of the now-infamous 1996 Everest disaster, Dr. Beck Weathers, a Dallas forensic pathologist, will sit for a public conversation about the experience and aftermath with The Kern Wildenthal Dallas Opera General Director and CEO, Keith Cerny.
    Eight people died near the summit of the world’s highest peak on one of the deadliest days in modern mountaineering history. Dr. Weathers managed to survive some of the harshest weather conditions on the planet and make his own way back to camp, having been twice left for dead. Lauren Smart of Dallas Observer noted: “This story of men willing to risk their lives just to say they’ve accomplished something is wrapped up so closely in contemporary discontents…Everest is a musically stunning, cinematically thrilling opera updated here for a new generation, and updated brilliantly.”
    This conversation, in preparation for the semi-staged performance of Joby Talbot and Gene Scheer’s Everest, will take place at the Montgomery Arts Theater (next door to the Winspear Opera House) in Booker T. Washington High School for the Performing and Visual Arts, starting at 6:30 p.m. The nearest paid parking ($17) is located in the Lexus Red parking garage beneath the Winspear. Admission for this unforgettable conversation is FREE with an RSVP. Details can be found online at dallasopera.org/events.

    Everest Prelude / Everest on Friday, May 1 at 7:30 p.m.
    At the top of the world, dreams die, even for the most valiant of men. The Dallas Opera is exceedingly proud to present, for one night only, a semi-staged encore presentation of Joby Talbot and Gene Scheer’s critically acclaimed Everest, starring tenor Andrew Bidlack, bass Kevin Burdette, and John Boehr from the original cast, with soprano Sarah Jane McMahon as Jan Arnold and baritone Michael Mayes as the doomed Doug Hansen. Julia Rose Arduino returns as Beck’s daughter, Meg.

    The concert performance, with projections by Elaine J. McCarthy, will be preceded by the world premiere of Talbot’s Everest Prelude, dedicated to the late Dick Bass—legendary mountaineer, entrepreneur and philanthropist. The prelude will be set to projections by Elizabeth Seymour, using British Film Institute footage from George Mallory’s attempts to summit Mt. Everest in the 1920s.

    Catherine Womack of D Magazine described Everest in its 2015 Dallas Opera premiere as having “all the ingredients of a blockbuster. Gripping, edge-of-your-seat storytelling, stunning, innovative design and poignant lyricism…instantly appealing.” Heidi Waleson of The Wall Street Journal praised the opera as “remarkable” and Olin Chism of the Star-Telegram raved, “This is one opera performance that rivals great legitimate theater in its impact.”

    The 7:30 p.m. performance will be conducted by the Mrs. Eugene McDermott Music Director Emmanuel Villaume and staged by director Leonard Foglia. Tickets are $15 to $75 and may be purchased through dallasopera.org/events or by calling 214.443.1000.

    ~~~~
    The Everest Trio is part of The Dallas Opera’s weeklong Celebrate 60, (April 30-May 7) sponsored by Holly and Tom Mayer, Betty and Steve Suellentrop, the Ben E. Keith Company, The Texas Commission on the Arts, and The Dallas Arts District Foundation Endowment Fund of Communities Foundation of Texas.
    “It’s an absolute thrill to invite our entire community to celebrate The Dallas Opera’s legendary past and even more exciting future,” explains Dallas Opera General Director and CEO Keith Cerny.
    ~~~~
    2016-2017 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
    Or Celeste Hart, Communications Manager at celeste.hart@dallasopera.org

    The Dallas Opera Family Performances are generously supported by
    Texas Instruments 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 2016-2017 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 $275. Family performance tickets are just $5. For more information or to make your purchase, contact The Dallas Opera Ticket Services Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.

    THE DALLAS OPERA 2016-2017 SPRING SEASON MAINSTAGE INFORMATION
    The Dallas Opera celebrates its Sixtieth 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. The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain, at most performances.

    Please note: There will be no Pre-Opera Talk for EVEREST, ARJUNA’S DILEMMA, or THE MAGIC PIANO.

    NORMA by Vincenzo Bellini
    April 21, 23(m), 26, 29, May 7(m), 2017
    A thrilling and suspenseful masterpiece!
    Libretto by Felice Romani
    Time: 50 B.C.
    Place: Roman-occupied Gaul
    Conductor: Emmanuel Villaume
    Stage Director: Nic Muni
    Set Designer: John Conklin
    Costume Designer: John Conklin
    Lighting Designer: Thomas Hase
    Wig & Make-up Designer: Stephanie Williams
    Chorus Master: Alexander Rom
    Starring: Elza van den Heever (Norma), Marina Costa Jackson* (Adalgisa), Yonghoon Lee* (Pollione), Christian Van Horn (Oroveso), Mithra Mastropierro* (Clotilde), Charles Karanja (Flavio)

    ARJUNA’S DILEMMA by Douglas J. Cuomo
    Thursday, May 4, 2017 at 7:30 p.m.
    An exotic and appealing soundscape!
    Based on text from the Bhagavad Gita
    Time: Thousands of years ago
    Place: India
    Conductor: Nicole Paiement
    Projection Designer: William Cusick
    Sound Designer: Mark Grey
    Lighting Designer: Krista Billings
    Wig & Make-up Designer: Lexi O’Reilly
    Starring: Humayun Khan* (Krishna), Tony Boutté* (Arjuna), Katrina Galka* (Quartet), Audra Methvin (Quartet), Alyssa Martin* (Quartet), Lindsay Ammann* (Quartet)

    EVEREST by Joby Talbot (a semi-staged performance with projections)
    Friday, May 5, 2017 at 7:30 p.m.
    A powerful and poignant masterpiece!
    Libretto by Gene Scheer
    Time: 1990’s
    Place: Mt. Everest
    Conductor: Emmanuel Villaume
    Stage Director: Leonard Foglia
    Lighting Designer: Krista Billings
    Projections Designer: Elaine J. McCarthy
    Recording Engineer: Mark Grey
    Wig & Make-up Designer: Lexi O’Reilly
    Chorus Master: Alexander Rom
    Starring: Kevin Burdette (Beck Weathers), Andrew Bidlack (Rob Hall), Michael Mayes (Doug Hansen), Sarah Jane McMahon (Jan Arnold), Julia Rose Arduino (Meg Weathers), John Boehr (Guy Cotter, Mike Groom)
    With a special world premiere prelude!

    EVEREST PRELUDE with music by Joby Talbot
    Film Realization: Elizabeth Seymour
    Film Credit: The British Film Institute

    THE MAGIC PIANO & The Chopin Shorts by BreakThru Films
    Music by Frédéric Chopin
    Saturday, May 6, 2017 at 2:00 p.m.
    The “Passport Zone” in the Winspear Lobby starts at 12:30 p.m.
    A charming adventure for all ages!
    Pianist: Derek Wang*

    * Dallas Opera Debut
    ** American Debut
    _____________________________________________________________________________________________
    The Dallas Opera is supported, in part, by funds from: Texas Instruments Foundation, TACA, 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. A special thanks to the Elsa von Seggern Foundation for its continuing support.

    ###

    EMERGING ARTISTS – APPLY NOW TO THE GUILD VOCAL COMPETITION!

    THE DALLAS OPERA GUILD VOCAL COMPETITION IS NOW ACCEPTING APPLICATIONS FROM ACCOMPLISHED, YOUNG AMERICAN SINGERS!

    ~~~~

    Chaired by Dr. Brian Zeger

    TDO Orchestra and Finalists Conducted by

    Mrs. Eugene McDermott Music Director

    Emmanuel Villaume

    ~~~~

    Finals Round Scheduled for Sunday, April 30, 2017 at 7:30 p.m.

    Margot and Bill Winspear Opera House

    The AT&T Performing Arts Center, Dallas, Texas

     

    DALLAS, TX – The Dallas Opera is pleased to announce that applications for the expanded and updated Dallas Opera Guild Vocal Competition, scheduled to take place on Saturday, April 29, 2017 at 11:00 a.m. (the free Semi-Finals Round, open to the public) and Sunday, April 30, 2017 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 20, 2016.

    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 mid-January 2017, with a public announcement to follow in early February.

    Competitors in the 2016 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 may apply and will be considered on a case-by-case basis.

    April 2016 Finalists: (L-R) Virginie Verrez, Alexandra Loutsion, Sol Jin, Kang Wang, Adam Lau, Daniel Miroslaw

    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, and most recently, Kang Wang and Virginie Verrez.

    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.”  This year, the evolution continues:

    • 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.
    • The Finals Round, taking place on Sunday, April 30, 2017 at 7:30 pm in the Winspear Opera House as part of The Dallas Opera’s annual Spring Gala, will be accompanied by The Dallas Opera Orchestra, conducted by TDO’s internationally acclaimed Music Director, Emmanuel Villaume. 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 29th Annual Dallas Opera Guild Vocal Competition will be drawn from distinguished performers and opera administrators including Keith Cerny, The Dallas Opera’s Kern Wildenthal General Director & CEO and the Mrs. Eugene McDermott Music Director Emmanuel 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 2017 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.

    Commented General Director & CEO Keith Cerny: “The Guild Competition took a bold step forward in recent years and the result has been tremendously gratifying!  Emmanuel Villaume and The Dallas Opera Orchestra have brought a significant level of excitement to these performances and clearly inspired last year’s finalists to rise to the occasion.

    “However, each competition brings an entirely new set of challenges and gives us additional opportunities to build upon our previous successes. 

    “Working closely with Dr. Brian Zeger, our esteemed adjudicators, and the Guild, we continually seek new ways to attract the very finest young singers of this generation.  Their presence on the Winspear stage also promises to make our annual Spring Gala one of the most sought-after tickets in town.”

     

    Judges for the 2017 Dallas Opera Guild Vocal Competition:

    Brian Zeger, Chair

    Artistic Director of Juilliard’s Marcus Institute for Vocal Arts

    Keith Cerny

    General Director and CEO, The Dallas Opera

    Emmanuel Villaume

    Music Director, The Dallas Opera

    Andreas Melinat

    Director of Artistic Planning, Lyric Opera of Chicago

    Pal Moe

    Casting Director Bavarian State Opera,

    Casting Consultant to Glyndebourne Festival and Opera d’Lille

    Joshua Winograde

    Senior Director of Artistic Planning, Los Angeles Opera

    Diane Zola

    Director of Artistic Administration, Houston Grand Opera

    Dallas Opera Guild Co-President Jana Irwin explained that “The Dallas Opera Guild views this annual competition as the capstone of our philanthropic and supportive endeavors.  The need to support the future of opera is so profound, particularly as it relates to young and somewhat unknown singers.  As singers are selected, their professional stature automatically increases due to press and media exposure.  However, the competition itself provides additional benefits for these singers, as well as the local opera community.  It is truly a win-win situation for all concerned.”

    Dallas Opera Guild 2017 Vocal Competition Chairs Bob and Patsy Brooks write: “The Dallas Opera Guild Vocal Competition gives singers pursuing a professional opera career the opportunity to showcase their talents and compete with other singers for financial rewards.  Best of all is the chance to perform before a panel of distinguished judges celebrated throughout the opera world.”

    ABOUT THE 2017 DALLAS OPERA GUILD VOCAL COMPETITION

    Potential applicants are encouraged to check TDO’s website for more information about the application process: www.dallasopera.org/vocal.  The entry fee is $35.  Applications must be submitted exclusively through YAP Tracker — no later than 11:59 p.m. (Central Time) on Sunday, November 20, 2016.  Semi-Finalists will be notified by January 10, 2017.  Additional info can be obtained by contacting The Dallas Opera at vocalcompetition@dallasopera.org.

    The Margot and Bill Winspear Opera House is conveniently located in the heart of the Arts District at 2403 Flora Street, Dallas, TX 75201.

    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, under the leadership of 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 American Opera administration and classical music.

    The competition was expanded to take place over a two-day period. 2017 participants will be heard during Saturday’s semi-finals and the selected finalists will perform again Sunday 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 and, this year, for the very first time, the Finals Round will be incorporated into the company’s glamorous, annual Spring Gala.

    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.

    ~~~~

     
    EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE

    ADDITIONAL INFORMATION ABOUT THE DALLAS OPERA

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

    Joyce DiDonato Honored with 2016 Maria Callas Award

    Mezzo-soprano Joyce DiDonato as Arden Scott in The Dallas Opera's 2015 world premiere production of "Great Scott" by Jake Heggie and Terrence McNally
    Mezzo-soprano Joyce DiDonato as opera star Arden Scott in The Dallas Opera’s October 2015 world premiere production of “Great Scott” by Jake Heggie and Terrence McNally. Photo by Karen Almond for The Dallas Opera

     

     

    FOR IMMEDIATE RELEASE:
    Thursday, June 16, 2016
    Contact: Suzanne Calvin 214.443.1014 Or Celeste Hart at 214.443.1071
    suzanne.calvin@dallasopera.org celeste.hart@dallasopera.org

    THE DALLAS OPERA IS PROUD TO ANNOUNCE
    MEZZO-SOPRANO
    JOYCE DIDONATO

    HONORED AS THE 2016
    “MARIA CALLAS DEBUT ARTIST OF THE YEAR”
    ~~~~
    SUPERSTAR ENCHANTED NORTH TEXAS AUDIENCES
    IN THE 2015 WORLD PREMIERE PRODUCTION OF
    JAKE HEGGIE AND TERRENCE MCNALLY’S GREAT SCOTT

    DALLAS, JUNE 16, 2016 – The Dallas Opera is delighted to announce the winner of the 2016 “Maria Callas Debut Artist of the Year” Award: transcendent American mezzo-soprano Joyce DiDonato.
    This prestigious award, named after one of the most renowned opera artists of the 20th century, is given to a single performer each season in recognition of a particularly memorable and outstanding company debut. The winner was announced earlier this evening at the annual Dallas Opera Board and Trustee Appreciation Dinner held in the Crescent Ballroom of the Rosewood Crescent Hotel.
    One of the world’s reigning mezzo-sopranos, Ms. DiDonato has traveled far from her native Prairie Village, Kansas, to becoming a Grammy Award-winning international artist treasured for her incandescent stage presence and acting skills, as well as her one-of-a-kind lyric coloratura described as “perfect for bel canto” (renowned musicologist Philip Gossett, quoted in The New Yorker, October, 2013).
    The role of American opera singer Arden Scott, the central character in Jake Heggie and Terrence McNally’s Great Scott which premiered in Dallas in October of 2015, was created by Joyce DiDonato. The critics responded with unrestrained enthusiasm:
    “DiDonato was a wonder,” wrote Jason Victor Serinus for Classical Voice North America. “With every technical effect perfectly executed, she proved herself once again a star.”
    Dallas Morning News critic Scott Cantrell noted that “DiDonato, displaying her renowned virtuosity in coloratura excerpts, is deeply engaging” while Ian MacKenzie of Opera Today praised the mezzo for singing “like an angel.”
    Senior critic Gregory Sullivan Isaacs of Theater Jones had particular praise for Ms. DiDonato’s approach to her character: “She plays her with a very un-diva-like simplicity; the local girl who made good, who feels the pressure of impending time and voracious young replacements.”

    “It’s a tremendous thrill to learn that our patrons have decided to honor Joyce for her starring role in one of the most important North American premieres of the 2015-16 Season,” notes Dallas Opera General Director and CEO Keith Cerny. “Great Scott was designed to showcase her extraordinary artistry—and indeed it does—yet audiences were just as touched by Joyce’s incredible humanity. She imbued her character Arden Scott with life, breath, and a true and generous heart. When Arden ultimately found the courage to accept new professional challenges and a second chance at love, audiences wanted to stand up and cheer!
    “We are deeply indebted to Joyce for her brilliant work throughout the world premiere production of Great Scott. Nothing would please me more than to have the opportunity to bring her back to the Winspear for more extraordinary performances.”

    ~~~~

    The voting for the Callas Award was conducted entirely online by electronic ballot and was open to season subscribers only. The results were verified by the independent accounting firm of Travis, Wolff & Company, L.L.P.
    The winner will receive a beautiful etched-crystal plaque created by award-winning designers from Tiffany & Co. for The Dallas Opera. The plaque bears the likeness of The Dallas Opera’s unofficial Godmother, Greek soprano Maria Callas. “La Divina” launched The Dallas Opera with a 1957 recital at the Music Hall in Fair Park and continued to grace TDO’s stage in those early years with a series of now-legendary performances.

    The 2016 recipient responded to the news, by email, with a statement read to the dinner guests this evening by The Dallas Opera’s Kern Wildenthal General Director and CEO Keith Cerny:

    “I am sincerely and deeply honored to receive the Maria Callas Debut Artist of the Year Award from The Dallas Opera, for my role as Arden Scott in Jake Heggie’s world premiere, GREAT SCOTT.
    Of course it is the dream of any singer to be mentioned in the same breath as Maria Callas, so I will very proudly carry this mantle associated with so many of my dear colleagues from years past! But perhaps the most sublime part of this, is that the award comes from this incredible journey of a world premiere, which The Dallas Opera championed so beautifully, and one that celebrates our art form so victoriously.
    We created a glorious “GREAT SCOTT Family” within the beautiful “Dallas Opera Family,” and for this, I feel so very grateful. I’d like to imagine that Maria is smiling down on us all, proud for carrying on her philosophy of singing from a place of truth—for without any doubt, we all know how much she continues to matter!
    A million thanks for this most special award!”
    Joyce DiDonato
    ~~~~

    “I am overjoyed that The Dallas Opera has decided to honor my dear friend and colleague Joyce DiDonato with the Maria Callas Award,” writes composer Jake Heggie. “Joyce is not only one of the world’s great opera stars with a talent that dazzles, inspires, moves and changes people forever—she is one of the brightest lights on the planet: a humanitarian driven by generosity, social justice, and an innate passion to connect. Like Callas, Joyce is definitive in every role she sings—allowing us to hear old and new works with fresh ears. She combines a flawless technique and sparkling vocal beauty with intelligence, integrity, authenticity, beauty and truth.
    “What an honor it was to create Great Scott for her at The Dallas Opera,” Heggie adds, “and, oh, how I look forward to how she will continue to awaken our hearts, minds and ears in the years to come as she blazes forward with bold choices and relentless curiosity.
    “Brava, dear Joyce!”

    There were twenty-two additional 2015-2016 Season nominees for the Callas Award (artists making outstanding company debuts in a principal role)—listed below in alphabetical order:

    ADDITIONAL NOMINEES FOR 2016 MARIA CALLAS AWARD

    Audrey Babcock – “Rosette” – Manon
    Jonathan Blalock – “Prince Claus” – Becoming Santa Claus
    Matt Boehler – “Donkey/Messenger” – Becoming Santa Claus
    Alyson Cambridge – “Julie LaVerne” – Show Boat
    Andriana Chuchman – “Magnolia Hawks” – Show Boat
    Troy Cook – “De Bretigny” – Manon
    Anthony Roth Costanzo – “Roane Heckle” – Great Scott
    Edwin Crossley-Mercer – “Lescaut” – Manon
    Jeffry Denman – “Frank” – Show Boat
    Mary-Pat Green – “Parthy Ann Hawks” – Show Boat
    Kathryn Leemhuis – “Javotte” – Manon
    Kate Loprest – “Ellie Mae Chipley” – Show Boat
    Michael Mayes – “Wendell Swann” – Great Scott
    Giancarlo Monsalve – “Mario Cavaradossi” – Tosca
    David Pittsinger – “Count Des Grieux” – Manon
    Hila Plitmann – “Yan” – Becoming Santa Claus
    Jennifer Rivera – “Queen Sophine” – Becoming Santa Claus
    Rodell Rosel – “Anthony Candolino” – Great Scott
    Lara Teeter – “Cap’n Andy Hawks” – Show Boat
    Dale Travis – “Sacristan” – Tosca
    Lucy Schaufer – “Ib” – Becoming Santa Claus
    Katherine Whyte – “Pousette” – Manon

    ~~~~

    The “Maria Callas Debut Artist of the Year Award” was launched during the 1991-1992 Dallas Opera Season.
    The first recipient was Sharon Sweet for her impressive performance in the title role of Aida. The list of subsequent winners reads like an opera’s “Who’s Who” from Susan Graham, Cecilia Bartoli, Mary Dunleavy, Elizabeth Futral, Hei-Kyung Hong, Denyce Graves, Indira Mahajan, Mary Mills, Patricia Racette, Latonia Moore, Christopher Ventris, Catherine Naglestad, James Valenti, and Ben Heppner, to Laura Claycomb, Myrtò Papatanasiu (Violetta in Verdi’s La traviata), mezzo-soprano Isabel Leonard (Rosina in The Barber of Seville) and last year’s winner, Russian soprano Ekaterina Scherbachenko for the title role in Tchaikovsky’s Iolanta.

    ~~~~

    EVENTS, GUESTS AND ARTISTS SUBJECT TO CHANGE
    ADDITIONAL INFORMATION ABOUT THE DALLAS OPERA
    IS AVAILABLE ONLINE, 24/7. VISIT WWW.DALLASOPERA.ORG

    FOR HIGH-RESOLUTION PHOTOGRAPHS
    Contact Suzanne Calvin, Director of Media and PR at suzanne.calvin@dallasopera.org
    Or Celeste Hart, Communications Manager at celeste.hart@dallasopera.org

    ~~~~
    The Dallas Opera Family Performances are generously supported by
    Texas Instruments 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 2016-2017 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 $275. Full Subscriptions start at $95, Flex Subscriptions (three-performances of your choice) begin at $75. Family performance tickets are just $5. For more information or to make your purchase, contact The Dallas Opera Ticket Services Office at 214.443.1000 or visit us online, 24/7, at www.dallasopera.org.

    THE DALLAS OPERA 2016-2017 FALL SEASON INFORMATION
    The Dallas Opera celebrates its Sixtieth Year 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 language translations will be projected above the stage at every performance and assistance is available for the hearing impaired. The Joy and Ronald Mankoff Pre-Opera Talk will begin one hour prior to curtain at most performances, excluding FIRST NIGHT of the season.

    EUGENE ONEGIN by Pyotr Ilyich Tchaikovsky
    October 28, 30(m), November 2, 5, 2016
    A tumultuous and lush romantic opera!
    Libretto by K.S. Shilovsky, after Pushkin
    Time: Late Nineteenth Century
    Place: Czarist Russia
    Conductor: Emmanuel Villaume
    Stage Director: Jean-Claude Auvray*
    Costume Designer: Maria Chiara Donato
    Lighting Designer: Laurent Castaingt
    Choreographer: Cooky Chiapalone
    Wig & Make-up Designer:
    Chorus Master: Alexander Rom
    Starring: Andrei Bondarenko (Eugene Onegin), Svetlana Aksenova* (Tatyana) Stephen Costello (Lensky), Kai Rüütel** (Olga), Mikhail Kazakov (Prince Gremin), Elizabeth Batton (Larina), Meredith Arwady (Filipievna), Greg Fedderly (Triquet), Musa Ngqungwana* (Zaretski)
    A classic, period production originally created for the Israeli Opera Tel-Aviv-Jaffa!

    MOBY-DICK by Jake Heggie
    November 4, 6(m), 9, 12, 18, & 20(m), 2016
    Back by Popular Demand!
    Libretto by Gene Scheer
    Time: Nineteenth Century
    Place: Whaling Ship on the High Seas
    Conductor: Emmanuel Villaume
    Stage Director: Leonard Foglia
    Set Designer: Robert Brill
    Costume Designer: Jane Greenwood
    Lighting Designer: Gavan Swift
    Projections Designer: Elaine J. McCarthy
    Wig and Make-up Designer:
    Chorus Master: Alexander Rom
    Starring: Jay Hunter Morris (Captain Ahab), Stephen Costello (Greenhorn), Morgan Smith (Starbuck), Musa Ngqungwana* (Queequeg), David Cangelosi (Flask), Jacqueline Echols* (Pip), Peter McGillivray* (Stubb)
    Our internationally acclaimed production!

    * Dallas Opera Debut
    ** American Debut
    ______________________________________________________________________________________________________________________________________
    The Dallas Opera is supported, in part, by funds from: Texas Instruments Foundation, TACA, 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. A special thanks to the Elsa von Seggern Foundation for its continuing support.

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