It’s all about the picture quality, isn’t it?
[ No Comments ] Posted on 06.29.09 under General Opera
(Image courtesy of Music and Vision Daily)
Pamela Rosenberg, whom many of you remember from her memorable tenure heading San Francisco Opera, announced last year that she would not be staying with the Berlin Philharmonic beyond the expiration of her current contract next year. Bloomberg reports that she is being replaced by Martin Hoffmann, a 49-year-old German television producer (and attorney), described by conductor Simon Rattle as “the right person to support us on our creative journey.”
Hmmmmmm. Let’s hope this isn’t an artistic “Funeral in Berlin.”
Suzanne Calvin, Assoc. Dir. of Marketing, The Dallas Opera
Cosi and Koozies Italian Wine Tasting at Dali Wine Bar and Restaurant
[ No Comments ] Posted on 06.26.09 under Cosi & Koozies, General Opera, Videos
That Was the Week That Was…TDO Edition
[ 2 Comments ] Posted on 06.19.09 under Cosi & Koozies, Dallas Opera News
(Mario Lanza as the Moor in “Otello.” Photo courtesy of freeradical.co.nz)
You missed a good one. Yesterday evening, The Dallas Opera hosted the first installment of the “Cosi and Koozies Lecture Series,” an outstanding panel discussion on Verdi’s “Otello” and the problem of domestic violence. It did NOT disappoint. Led by moderator Chris Shull (”Opera Now,” “Star-Telegram,” “Opera) with popular UNT professor and frequent Dallas Opera lecturer Dr. Stephen Dubberly and Jan Langbein, Executive Director of Genesis Women’s Shelter, the discussion focused on the familiar patterns and “cycles of violence” traceable in Verdi’s moving masterpiece (the building of tensions, the explosion of violence, the reconciliation phase) and how it remains applicable in domestic situations today.
While some in the audience questioned Desdemona’s seeming resignation to her fate, others found more fight in the lady as she attempted to defend herself against Iago’s lies and the fatal jealousy of her husband. In any event, as Ms. Langbein pointed out, women far from home in centuries past had nowhere to turn, no “women’s shelter” to rescue them in the event of family violence.
Dr. Dubberly, on the other hand, delved into the mature musicianship of Verdi revealed in this masterful retelling of Shakespeare. All three panelists agreed that, in her own way, the character of Emilia (Iago’s wife and Desdemona’s servant) is the most interesting in the opera, because of the tightrope she’s forced to walk in her personal life and the courage she shows, in the end.
All this, on the heels of a terrific and fabulously well-attended kick-off to “Cosi Fan Tuesday at The Capital Grille” (we’re still hearing how jazzed people were at this event) and the first of our free movie screenings connecting to the productions of the upcoming season. In this case, it was Shirley MacLaine and Yves Montand in “My Geisha,” about art, artifice, and self-sacrifice. A few of the themes that parallel “Madame Butterfly,” the focal point of this early 1960’s lost classic.
We have an exciting slate of events for July that includes the movie “Closer” with Julia Roberts, Gwyneth Paltrow, Clive Owen and Jude Law; a wedding cake and Champagne tasting and lots, lots more. Check out the calendar for details and do let us know what you thought about this opening round of casual summer events.
We’re all ears!
Suzanne Calvin, Assoc. Dir. of Marketing, The Dallas Opera
Linguistics Problem
[ No Comments ] Posted on 06.17.09 under General Opera
Is there any way you can refer to yourself, or anybody else (for that matter) as “Singer of the World” without sounding pretentious to the point of silliness? I mean, people climb on our backs for perceived overuse of the term “world-class.” Well, perhaps the best way to avoid being accused of singing with your nose in the air is to have a down-to-earth, real world name like “Shcherbachenko.” For the first time since a fellow with an equally impressive last name won the Cardiff Singer of the World title 20 years ago, a Russian has taken the prize: soprano Ekaterina Shcherbachenko.
Praised for her “silvery gleam at the top, golden bloom to the middle,” (and, for non-aficionados, it’s her VOICE we’re refering to, not her physique), it was Shcherbachenko’s evening–until Dame Joan Sutherland (who made her American debut right here at The Dallas Opera) prompted a standing ovation.
(Image from livejournal.com)
Suzanne Calvin, Assoc. Dir. of Marketing, The Dallas Opera
The “P” Word
[ No Comments ] Posted on 06.16.09 under Dallas Opera News, General Opera
You know, when it comes to any discussion of the new Margot and Bill Winspear Opera House at the Dallas Center for the Performing Arts, one of the first questions we get after “Where can I find my seat?” is the inevitable expression of concern about parking. We’re going to undergo a period of adjustment–no doubt about it–when patrons accustomed to parking for performances free of charge have to decide where and how much to spend…or, conversely, whether and how much they’re willing to walk.
Well, I’m relieved to report that this isn’t merely a local phenomenum. The Windy City’s parking prices and problems have had a chilling affect on the arts. I particularly enjoyed the Chicago Tribune’s musings about whether arts patrons are willing to walk several blocks at 10:30 at night–in a town where virtually everyone relies (to a greater or lesser extent) on mass transit! Sound familiar?
Nevertheless, there’s an important point to be made: As a city, we can’t afford to make it difficult, irritating, wearing or exceedingly expensive for patrons to get to and from an event or performance without risking both present–and future–audiences. That’s the sort of thing that could have a chilling affect on the local economy even in summer’s triple-digit temperatures. I keep thinking that Norman Foster, who contributed the winning design for London’s new signature double-decker busses, should construct a few extras to move patrons throughout the Dallas Arts District, day or night.
In Winspear Red, of course.
(Photo courtesy of oddpicz.com)
Suzanne Calvin, Assoc. Dir. of Marketing, The Dallas Opera
Can we give till it hurts, when it hurts already?
[ 1 Comment ] Posted on 06.11.09 under General Opera
(Courtesy of Time, Inc.)
One of the most notable and laudable characteristics Americans bring to the global table is our unusual willingness to give to charity. Americans of all income levels give more to various charitable and non-profit organizations than their counterparts overseas but, when times get tough, we can’t all be as generous as we would like.
Here’s a new report on charitable giving in 2008 that indicates while such giving was only down overall by about 2 percent, the arts and culture took a hit closer to 6-and-a-half-percent! We know there are lots of worthy causes out there and more people in need than ever. However, we’d appreciate it greatly if you remembered the arts and music and the contributions they make to the quality of your life and our culture.
And if you would like additional copies of this sermonette….
Suzanne Calvin, Assoc. Dir. of Marketing, The Dallas Opera
“The Onion” and the Whale
[ No Comments ] Posted on 06.05.09 under Dallas Opera News
This was forwarded to me, after passing through several interesting hands. “The Onion” has envisioned a warm and fuzzy Captain Ahab, but I’ll be surprised if he turns up in this guise on The Dallas Opera stage when Jake Heggie’s Moby-Dick opens next year.
It would make for some amusing arias, though, wouldn’t it?
Here’s Gregory Peck as Ahab sharing some intimate quality time with the White Whale.
Suzanne Calvin, Assoc. Dir. of Marketing, The Dallas Opera
Okay…So it’s not Swedish National Opera
[ No Comments ] Posted on 06.05.09 under General Opera
“Advertising Age” is reporting that the Swedish furniture-to-go firm of IKEA is staging opera at one of its London stores. According to the report, “in addition to traditional instruments, cheese graters, wine glasses and saucepans add an extra dimension.” While I was hoping for something closer to the cutting-edge use of metallic mixing pans and rams horns that put Jerry Goldsmith’s mid-sixties score for “Planet of the Apes” on the list of most influential film scores ever….Instead, we have to settle for this.
I love the idea of surprise public opera but - hey! - come on! If we’re going to do it, let’s do it for REAL.
Suzanne Calvin, Assoc. Dir. of Marketing, The Dallas Opera
What’s on your IPod? - Ava Pine
[ No Comments ] Posted on 05.29.09 under General Opera
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| Ava Pine |
For our audiences, Ava Pine almost needs no introduction. Last season, she received rave reviews for her performances as Adele in our fall 2008 production of Die Fledermaus. Other engagements include Adina in L’Elisir d’amore with Arizona Opera, Romilda in Xerxes with Boston Baroque and the Angel in the Southwestern premiere of Angels in America with Fort Worth Opera. As The Dallas Opera’s first Young Artist in Residence, Ava appeared in numerous roles during the 2006-2007 and 2007-2008 Seasons. We recently asked her to tell us what’s on her iPod:
I recently took the plunge and got myself an iPhone. Since it’s always with me, it’s replaced my iPod for most of my on-the-go listening. But, since it has a lot less memory than my old iPod, I have to be pretty choosy about what’s on there. I have three categories: work, geekery, and play.
Work: includes the operas and oratorios that I have coming up - some Mozart, Handel, Mendelssohn, Monteverdi and Puccini.
Geekery: includes all my favorite NPR podcasts — from All Songs Considered to This American Life, and sometimes even Will Shortz’s Puzzlemaster segment from Weekend Edition Sunday.
Play: is what takes up the most room on my iPhone. If I’m listening to music, it’s usually to relax and clear my head of opera and classical music (ssh! don’t tell anyone I said that!). I like to keep a lot of variety on there.
Bob Dylan for road trips — of any length. He is the best driving companion.
Tom Petty for when I run out of Bob Dylan.
Paul Simon for those times when the task at hand really needs a soundtrack.
Radiohead for just about any mood I could possibly be feeling.
Edith Piaf when I want to really hear a singer speak to me.
Neko Case when I want to roll the windows down.
Ella Fitzgerald and Louis Armstrong when I want to tap my toes.
The Killers when I want to turn the volume up and rock out.
Iron & Wine when I’m cooking.
Norah Jones when I want to breathe deeply.
Bon Jovi when I want to remember what it was like to be a teenager.
New bands like Elbow, Fleet Foxes, Vampire Weekend and Blitzen Trapper, when I want to feel ahead of the curve.
John Prine when I want to feel nostalgic.
James Taylor when I want to feel really nostalgic.
And of course, my iPod wouldn’t be complete without music recorded by family and friends, many of whom are talented singers and songwriters (including my dad!). Those tracks are for the times I want to feel extra blessed to have grown up around music.
James Hampton, Artistic Administration Coordinator
No off-season for opera
[ No Comments ] Posted on 05.29.09 under General Opera
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| Santa Fe’s open air opera house |
On the heels of a critically acclaimed Fort Worth Opera Festival, North Texas Opera lovers may be looking for their next big musical “fix.” Fortunately, there’s plenty to choose from, from coast to coast and overseas. Here are a few of the best known options:
Salzburg Festival
There’s more to the Salzburg Festival than “The Sound of Music” (much more). International audiences descend on Mozart’s hometown each summer to enjoy a tremendous variety of classical music and opera performances from late July through the end of August. And the setting? Well, what can we say about the Austrian Alps in the summertime that hasn’t been better expressed by travel writers and poets?
Santa Fe Opera
The grand-daddy of American Opera festivals, Santa Fe Opera was founded in 1956 and has been performing outdoor opera in a stunning natural setting north of town since July of 1957 (the same inaugural year as The Dallas Opera). In the past half-century, SFO has commissioned nine new operas and staged more than forty American premieres. The 2009 Season, which opens July 3rd, will draw audiences from around the world to see productions of La traviata, Don Giovanni, The Elixir of Love, Alceste and the world premiere of The Letter.
Opera Theate of St. Louis
If “imitation is the sincerest form of flattery,” look no further than Opera Theatre of St. Louis. Directly modeled after the Santa Fe Opera summer season and founded by Richard Gaddes (a Santa Fe veteran) to bring world-class opera to the St. Louis area, this summer festival has been engaging audiences since 1976 with a dozen world premieres and English-language productions of classic works. This season, Opera Theatre of St. Louis is producing La bohème, Salome, Il re pastore and The Ghosts of Versailles in a season that runs from now through June 28th.
Bayreuth Festival
For the passionate aficionados of the music of Germany’s Richard Wagner, there is only one summer festival: Bayreuth. Founded in the late 19th century by the composer as a way to bring his vision—intact—to a waiting world, Bayreuth is still the heavyweight champion of opera festivals, this year featuring revivals of Parsifal, Tristan und Isolde, Die Meistersinger and the iconic Ring Cycle. The next generation of the Wagner family has assumed the leadership of the 2009 festival, so, major changes may be on the horizon.
Glimmerglass
Under the guiding hand of General Director Michael MacLeod, Glimmerglass Opera (located in Cooperstown in Upstate New York) has attracted renewed interest in recent years with innovative and theme-oriented programming. This summer’s schedule consists of productions of Dido and Aeneas, La Cenerentola, La traviata and The Consul. Glimmerglass runs from July 18th through August 25th. You can make it your final salute to the summer as your turn your thoughts to the opening of the Margot and Bill Winspear Opera House at the Dallas Center for the Performing Arts in late October.
Suzanne Calvin, Assoc. Dir. of Marketing, The Dallas Opera