When it comes to programming, The Dallas Opera seems to have settled on a strategy that seeks to please two types of audience members: those that crave something innovative and fresh, and those that long for standard takes on the familiar. Wisely, they are throwing the bulk of their energy and money at enticing the former group with innovative contemporary works and interesting productions, and then rounding out their seasons with budget-friendly versions of standard classics that will appeal to more conservative opera lovers. La Bohème, which opened over the weekend, belongs to the latter category. The production, costumes, and staging feel tired and dull to me, but strong singing and beautiful playing from the orchestra redeem the experience.Full Story
Picture a classical conductor in front of an orchestra. What image comes to mind? A tuxedo? A baton? A confident bow? Maybe some wild, unruly hair, bouncing with rhythmic jerks of the head? Regardless of the details, more than likely the image you’ve conjured in your mind’s eye is that of a man. And for good reason, because more than likely, the vast majority of the conductors you’ve seen either in person or depicted in popular culture are men. Statistics back up your experience. Which is why, last week, The Dallas Opera announced a new initiative: The Institute for Women Conductors, or IWC, is a unique residential program that will bring six women conductors under the age of 40 to Dallas for an intensive nine days of master classes, seminars, and, of course, conducting.
In some ways, TDO is an unlikely leader in this area. Before Nicole Paiement conducted Tod Machover’s Death and the Powers in 2014, it had been 40 years since a woman last conducted a TDO mainstage production. With the appointment last summer of Nicole Paiement as principal guest conductor and the IWC set to bring six of the world’s best up-and-coming female conductors to Dallas every year, The Dallas Opera is setting up to not only move out of the Dark Ages, but to lead its field in encouraging equal opportunity at the podium.Full Story
The Dallas Opera announced Monday it will launch a new program to help boost talented women conductors. The institute, which will be inaugurated on Nov. 28, is intended to address a “long-standing” issue of women conductors being underrepresented in the field, according to a statement from the opera.Full Story
The Dallas Opera’s world premiere production of Everest, a new opera by composer Joby Talbot and librettist Gene Scheer, has all the ingredients of a blockbuster. Gripping, edge-of-your-seat story-telling, stunning, innovative design, and poignant lyricism combine to create one of the more instantly appealing contemporary operas I’ve seen. If you want to see where opera is headed in the 21st-century, don’t miss this production.Full Story
The British composer talks about writing his first opera and the importance of telling big stories with big emotions.Full Story
The Dallas Opera announced the details of its 2015-2016 season today at a press event at the Winspear Opera House. In attendance were composer Jake Heggie and superstar mezzo-soprano Joyce DiDonato, who will team up to start the fall with a world premiere of Great Scott, a new American opera by Heggie and Terrence McNally (original story and libretto) starring DiDonato in the title role.
Great Scott is Heggie’s first opera since Moby-Dick, which had its premiere with the Dallas Opera in 2010 during the company’s inaugural season in the Winspear Opera House. Sung in English and set in an unspecified modern American city, Great Scott tells the story of Arden Scott (DiDonato), a fictional star soprano with a major international operatic career. Scott is returning to her hometown, where she plans to help revitalize its struggling company by starring in a world premiere production of a newly discovered bel canto opera. Scott’s plans face a major hitch when the city’s NFL team earns its first Super Bowl appearance, threatening to completely overshadow her big performance. In short, this is an opera about opera, featuring one of America’s greatest living divas playing a great American diva, with a side-plot that involves pro football. It’s hard to imagine a more appropriate city for this world premiere than Dallas.Full Story
A source familiar with the production reports that Ms. Lindstrom insisted on foregoing a body suit for the dance scene, opting instead to end the opera’s famous strip tease more authentically (read: topless).Full Story
I found it completely ridiculous that so many people in the audience were surprised or disturbed by what they saw on stage. When you buy a ticket to see Salome, you have to know what you’re going to see.Full Story
In its new production of Figaro, which opened over the weekend and runs through November 9, The Dallas Opera rises above this work’s inherent challenges.Full Story
The composer has impressively created a work of art that avoids being sectarian propaganda but instead presents a realization of the struggle of humanity to relate to forces beyond our understanding or control.Full Story