Dallas — A Thursday press conference by the Dallas Opera offered up two big announcements we've been waiting for, plus a few surprises. Oh, and some tasty Onegin Moscow mules.
The big news is the 2016-17 season—the Dallas Opera's 60th.
The season features five works from the canon, including one of opera's newest staples, Jake Heggie and Gene Scheer's Moby-Dick, which the Dallas Opera premiered in 2010. The other shows on the season are Tchaikovsky's Eugene Onegin (which TDO hasn't performed since 1992), Puccini's staple Madame Butterfly, and the Dallas Opera premieres of Britten's The Turn of the Screw and Bellini's Norma.
In the Family Performance Series, the 16-17 season has The Three Little Pigs (using music from various Mozart works), Verdi and Company, and the continuation of Mozart's Bastien and Bastienne, which TDO is also performing in the current season. Bastien was written when Mozart was 12.
The other big piece of news is about the annual free simulcast at AT&T Stadium in Arlington. For the current season, it will be Jerome Kern and Oscar Hammerstein II's Show Boat on Saturday, April 23. This should be especially exciting for musical theater fans; Show Boat is the Dallas Opera's first venture into musical theater. In 2017, the opera simulcast will be Madame Butterfly (date to be announced).
Another great piece of news: The contracts for General Director and CEO Keith Cerny and Music Director Emmanuel Villaume have been extended through 2022.
Considering that the Dallas Opera made history in 2015 with three world premieres, you might have been wondering when the next brand new opera will happen in Dallas. Don't worry, it will happen. Details are to come, but Cerny confirmed to us that he is currently working on three commissions.
Can't wait to see what they are.
Click on the slideshow icon in the floating menu below to see more photos from the press conference.
Here is the official release about the 60th season from the Dallas Opera, which includes dates, descriptions, directors, performers and other names attached to the five shows:
The Dallas Opera is proud to announce its spectacular 2016-2017 Season, consisting of five brilliant mainstage productions, including two repertoire classics never before performed by this company.
The Dallas Opera’s Keith Cerny, the Kern Wildenthal General Director and CEO, announced the 2016-2017 Season Schedule this afternoon in Hamon Hall, with additional comments from Dallas Opera Board Chairman Steve Suellentrop, the Martha R. and Preston A. Peak Principal Guest Conductor Nicole Paiement, Director of Marketing and Ticket Sales Carrie Ellen Adamian and Mary M. Jalonick, the President and CEO of The Dallas Foundation.
The 60th Season of The Dallas Opera features three extraordinary classics by some of the greatest composers in the Western Canon, and two mesmerizing psychological dramas from the 20th and 21st centuries—offering a superb range of works certain to inspire and entertain.
Considered by many to be the ultimate art form, each opera will feature the powerful singing and acting of acclaimed international artists; outstanding conductors, directors and designers; The Dallas Opera Orchestra and The Dallas Opera Chorus; superb sets and costumes; imaginative technological enhancements and more.
Every production will be presented in the magnificent Margot and Bill Winspear Opera House at the AT&T Performing Arts Center, located at 2403 Flora Street in the heart of the Dallas Arts District.
Back by popular demand, this season also marks the return of at 21st century phenomenon: Moby-Dick, The Dallas Opera’s 2010 world premiere that has continued to earn both critical and popular acclaim in revivals across the U.S. and abroad.
“It is my very great pleasure to bring the beauty of opera to all the people of North Texas,” explains The Dallas Opera’s Kern Wildenthal General Director and CEO Keith Cerny. “To that end, The Dallas Opera has scoured the globe for the best productions and the finest artists the world has to offer. We have enlisted the talents of singularly gifted conductors, directors and designers; enabling us to create emotionally truthful, visionary productions for patrons of every age and background; reflecting every personal taste.
“Great opera is timeless, whether composed in the 18th century or in the new millennium. It is my aim to give our audiences the opportunity to better understand their world through the powerful mediums of music and drama,” adds Mr. Cerny. “Our 60th International Season, filled with remarkable storytelling and unforgettable performances, undoubtedly, will have lasting and profound impact.”
The Dallas Opera continues to expand and increase its reputation for producing world class opera with each successful season. The 2016-2017 season will be no exception as each production will feature artists expertly interpreting their roles, supported by the top skills of The Dallas Opera Orchestra and Chorus, and production teams.
The season will also present internationally renowned conductors: Music Director Emmanuel Villaume at the podium for three operas, Principal Guest Conductor Nicole Paiement and Donato Renzetti. Staged by prominent international directors, including Leonard Foglia, with debuts by Jean-Claude Auvray and Francesca Gilpin.
In an effort to present each work in its truest form as written by the composer and librettist, The Dallas Opera will continue to produce each opera in its original language with English supertitles projected above the stage for maximum enjoyment.
2016-2017 Dallas Opera Season
Season subscriptions go on sale April 1, 2016 and prices start at $95 for all five opera productions. The benefits of becoming a Dallas Opera subscriber include substantial savings off single ticket prices, priority seating, lost ticket replacement, ticket exchanges and invitations to special events. For more information, please contact the friendly staff in The Dallas Opera Ticket Services Office at 214-443-1000 or visit us online at www.dallasopera.org.
By Pyotr I. Tchaikovsky
October 28, 30(m), November 2, 5, 2016
The Dallas Opera’s 2016-2017 Season, begins with The Linda and Mitch Hart Season Opening Night Performance on Friday, October 28, 2016 at 8:00 p.m. (note the special time). Pyotr Ilyich Tchaikovsky’s powerful and passionate EUGENE ONEGIN will kick off the season with a dynamic cast headed by baritone Andrei Bondarenko in the title role.
This classic period production from Tel Aviv also features a fabulous creative team including Stage Director Jean-Claude Auvray in his Dallas Opera debut.
Set in late 19th century Russia, innocence and passion collide as a country girl, Tatyana, becomes smitten by the aristocratic Eugene Onegin. She naively confesses her love in a letter, but is swiftly rejected by the arrogant nobleman. Years later, Onegin, attending a prominent ball alone, reflects on the emptiness of his life and his many regrets. He is captivated when a regal beauty enters the ball—it is Tatyana! Now it is Onegin who is obsessed with the woman whose love he had scorned.
How will his love letter be received?
Ukranian baritone Andrei Bondarenko, who made his exciting American debut as Robert in Dallas Opera’s 2015 production of Iolanta, returns in the title role.
“Andrei Bondarenko, is perfect for the role of Onegin…with such allure as to make clear why such a ripe and ready girl as Tatyana would fall so helplessly in love,” wrote Melanie Eskenazi, of musicOMH.
Ailyn Pérez, returns to grace The Dallas Opera stage after recently appearing as another “Tatyana” in the world premiere of Great Scott. “Soprano Ailyn Pérez nearly steals the show… Her voice is everything you’d want…powerful, clear and capable of landing all the high notes,” raved Catherine Womack of D Magazine. Scott Cantrell of the Dallas Morning News labeled the same performance “brilliant and glorious.” She also portrays the title role in TDO’s Manon, Jules Massenet’s timeless tale of thwarted romance, in March 2016.
Mezzo-soprano Kai Rüütel of Estonia makes her Dallas Opera and American debut as Olga, Tatyana’s sister. “...Kai Rüütel is evidently a highly musical and truly dramatic mature artist,” observed Musical Criticism. Of her performance for the University of London Symphony Orchestra in Gustav Mahler’s “Rückert-Leider,” according to Seen and Heard International, the statuesque Rüütel performed with “warmth, dramatic conviction and a pleasing hint of sensuality.”
Tenor Stephen Costello, an audience favorite, will portray the role of Onegin’s friend, Lenksy, in his seventh mainstage appearance with The Dallas Opera. Opera News sums up his many gifts saying, “A first-class talent…an intelligent, well-trained singer whose enormous talent and natural musical instincts mark him for potential greatness.” He also stars in Manon this spring as the smitten des Grieux.
This production also marks the long-awaited return of Russian bass Mikhail Kazakov, who made a stunning 2011 company debut in the title role of Boris Godunov. Dallas Morning News Classical Music Critic Scott Cantrell enthused that Kazakov’s Boris produced “thrilling sounds to paste you against the seatback, but also every nuance of expressivity.” In Onegin,
Mr. Kazakov will sing the role of Prince Gremin.
Mrs. Eugene McDermott Music Director Emmanuel Villaume will conduct Tchaikovsky’s most lushly romantic opera in this classic production from Tel Aviv. He conducted Manon for the Metropolitan Opera to rave reviews sparking Zachary Woolfe of The New York Times to write: “Emmanuel Villaume, paces it with vigor and a sense of movement in the most delicate, reflective passages. (He) makes the score feel lean and agile.”
Most recently, 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.”
Performances continue on October 30(m), November 2, and 5, 2016 at the Margot and Bill Winspear Opera House. Evening performances are at 7:30 p.m., (other than opening night), and the matinee begins at 2:00 p.m. EUGENE ONEGIN will be performed in its original language, Russian, with English translations projected above the stage.
Tickets may be purchased by phone (214.443.1000), online (www.dallasopera.org) or at the door. Student Rush Tickets are available 90 minutes prior to curtain – a valid student ID is required.
By Jake Heggie and Gene Scheer
November 4, 6(m), 9, 12, 18, 20(m), 2016
Back by popular demand, the second production of The Dallas Opera’s 2016-2017 Season is Jake Heggie and Gene Scheer’s riveting MOBY-DICK opening on Friday, November 4, 2016 at 7:30 p.m.
Performed in English with English supertitles projected above the stage, the excitement continues with additional performances November 6(m), 9, 12, 18 and 20(m), 2016 with evening performances beginning promptly at 7:30 p.m. and matinees at 2:00 p.m.
MOBY-DICK, which “opened in a blaze of glory” in 2010, has been met with thunderous applause and critical acclaim in ports of call around the world since its maiden voyage at The Dallas Opera. Composer Jake Heggie, and librettist Gene Scheer based their work on Herman Melville’s epic tale of Captain Ahab’s obsession with the great white whale, Moby-Dick. The opera splendidly illustrates the danger, tensions, and exhilaration of life aboard a 19th century whaling ship, as crew members battle the forces of nature in addition to Ahab’s brewing madness. George Loomis of the Financial Times raved that audiences “…can warm to Heggie’s musically lush, aptly proportioned and forthrightly tonal score (which) also boasts striking melodies, vivid atmospheric scenes and vocal lines capable of showing off voices.”
Starring is tenor Jay Hunter Morris in the role of Captain Ahab, which has become a signature role for the Dallas Opera favorite, and a native of Paris, Texas. Hailed as a force of nature “…he sang with pressurized fury that practically shook the seats of the…Opera House,” exclaimed Richard Scheinin of the San Jose Mercury News of Morris’ portrayal. “Enduring three hours strapped into a peg leg, Morris sang the heldentenor role with the dramatic intensity of a man possessed, tempered by the character of a stoic New Englander. It was an admirable interpretation.” Wrote Jane Rosenberg of Seen and Heard International.
Stephen Costello, “bright-toned, sympathetic” returns to The Dallas Opera to reprise his role as Greenhorn. David Patrick Stearns of Grammophone reviewed the tenor’s poignant performance on the San Francisco Opera DVD; “Singing with more ease and richness of tone than anytime previously, Stephen Costello (Greenhorn) projects a sense of profound personal revelation in the final moments when, rescued at sea, he owns his own name (‘Call me Ishmael’).
Baritone Morgan Smith also reprises his role as Starbuck for which he earned significant critical acclaim. Joshua Kosman of the San Francisco Chronicle touted his performance; “whose Starbuck joined vocal splendor, moral authority and deep empathy in a phenomenal combination.” Scott Cantrell of the Dallas Morning News also singled out his portrayal for special praise: “Morgan Smith's strong, dense baritone perfectly suits the sturdy Quaker Starbuck.”
Making his Dallas Opera debut is up-and-coming South African bass-baritone, Musa Ngqungwana. Maria Nockin of Opera Today wrote Mr. Ngqungwana portrayed “an intense, commanding Queequeg whose musings showed the spiritual side of the voyage.”
Music Director Emmanuel Villaume, who conducts this revival, recently inspired Scott Cantrell of the Dallas Morning News to write that “Villaume does an impressive job of coordinating both singers and orchestra in some very complicated music,” regarding another contemporary work, the world premiere of Mark Adamo’s Becoming Santa Claus.
MOBY-DICK is directed by Leonard Foglia who returns to The Dallas Opera after his recent success directing the critically acclaimed 2015 world premiere of Joby Talbot and Gene Scheer’s Everest. According to Heidi Waleson of The Wall Street Journal, Mr. Foglia’s “staging brilliantly captured the immediacy and peril of the piece.”
By Giacomo Puccini
March 10, 12(m), 15, 18, 24, 26(m), 2017
The third production of The Dallas Opera’s 60th Season is Giacomo Puccini’s unforgettable MADAME BUTTERFLY with a libretto by Giuseppe Giacosa & Luigi Illica. BUTTERFLY opens on Friday, March 10, 2017 at 7:30 p.m. at the Winspear Opera House.
With poignant melodies, memorable characters and a heart-wrenching storyline in what was then a “contemporary” new opera, MADAME BUTTERFLY has captivated audiences and dampened handkerchiefs for more than a hundred years. Loosely based on true events in Nagasaki, Japan; MADAME BUTTERFLY tells the tale of a naïve Japanese girl, Cio-Cio-San (portrayed by Hui He), blinded by her love for a callous American naval officer.
Lt. B.F. Pinkerton (Gianluca Terranova) rents a wife, as well as a house, in a false marriage of convenience. Although he abandons her not long after their wedding, Pinkerton has promised to return. Despite interest from worthy suitors and numerous pleas from her devoted maid Suzuki to give up her vigil, the woman nicknamed “Butterfly” remains steadfast (“One Beautiful Day”) during his three-year absence.
This lovely, period production designed by Michael Yeargan (sets) and Anita Yavich (costumes) for San Francisco Opera, will be led by renowned Italian conductor Donato Renzetti.
Regarded as one of the most famous new interpreters of the role, exciting Chinese soprano Hui He makes her Dallas Opera debut as Cio-Cio-San. "The debut of Hui He in the role of Butterfly was sensational: she has convinced not only with her big voice, her wonderful technique and her marvelous timbre, but also she touched with a deep and emotional interpretation. The best Butterfly that you can wish," (Wiener Zeitung, Austria).
The role of “love ‘em and leave ‘em” Pinkerton will be performed by Italian lyric tenor Gianluca Terranova in his eagerly anticipated company debut. Andrew Alexander of the Atlanta Journal Constitution, recently described the charismatic Italian in another role saying his “youthful, heroic and clear voice perfectly suggests the poetic, dreamy nature of the character…but it can also just as beautifully convey the later anguish and troubled self-awareness that come to the character...”
Internationally acclaimed Italian mezzo-soprano Manuela Custer stars as Suzuki, Butterfly’s confidant and devoted maid. “Vocally, she displayed an impeccable line of signing, with a pleasing and refreshing timbre that contains an ample range of rich colors,” raved Ramon Jacques, Opera Click, of her role as Isabella in our 2009 production of Rossini’s The Italian Girl in Algiers.
American baritone Lucas Meachem stars as Sharpless, the American consul in Nagasaki. “A natural on stage, he…dazzled the audience with the power and beauty of his voice,” (Broadway World).
Winner of multiple international awards, conductor Donato Renzetti has achieved much critical acclaim from around the globe. Robert J. Farr of MusicWeb International “The singers do not have to force, particularly when accompanied by a maestro of such experience and sympathy as Donato Renzetti.” George Loomis of The New York Times wrote that the Maestro “conducted a warm, expansive performance,” of a recent production of Tosca (Puccini) for Rome Opera.
Performed in Italian with English translations projected above the stage, this classic period production will receive five additional performances on March 12(m), 15, 18, 24 and 26(m), 2017. Tickets are likely to go quickly; renew your subscription today!
THE TURN OF THE SCREW
By Benjamin Britten
March 17, 19(m), 22, 25, 2017
The fourth production of The Dallas Opera’s 60th year is THE TURN OF THE SCREW by Benjamin Britten with libretto by Myfanwy Piper. This production opens on Friday, March 17, 2017, at 7:30 p.m. at the Winspear Opera House.
Based on the novella by Henry James, this Jonathan Kent production from Glyndebourne will be performed in English with English supertitles projected above the stage.
This dark and gripping 19th century tale (updated to the 1950’s in this acclaimed production from Glyndebourne) is based on the atmospheric novel by Henry James.
A governess is hired to care for two children at Bly, an English country house. The position, which initially seemed promising, soon turns puzzling when the governess sees what she believes to be a ghost. The housekeeper reveals a sordid series of events involving two former employees, now dead, who may have had inappropriate relationships with the children. The children themselves, Miles and Flora, display bizarre and often troubling behavior. The ghosts torment the children and the governess to such an extreme that she must decide whether to leave Bly House or stay in order to protect the children. Principal Guest Conductor Nicole Paiement conducts Britten’s enthralling twentieth-century score, mixing tonality and dissonance with the recurrent use of a twelve-note theme.
Making her Dallas Opera debut, British soprano Emma Bell stars as the tormented Governess. “… Emma Bell deserves pride of place for her overwhelming performance as the Governess, an assumption that by vocal and dramatic means brought the character to frightening life,” (Carlos Maria Solare, Opera). “As the governess, Emma Bell is superbly equivocal, neurotic but never hysterical,” (Shirley Apthorp, Financial Times).
American tenor William Burden, who sings the dual roles of the Prologue and Peter Quint, recently won a Grammy for best opera recording for his part in the Metropolitan Opera’s production of The Tempest. His “virile passion and consummate lyricism” inspired The New York Times to rave that his “subdued emotional intensity permeates every line of Mr. Burden’s elegant singing.” He charmed Dallas audiences as Lindoro in The Italian Girl in Algiers (2009).
Known as a “mezzo in a class by herself,” Dolora Zajick makes her long-awaited Dallas Opera debut as Mrs. Grose, the housekeeper. “Zajick’s voice, acting, and sheer presence carry the audience to a higher level of emotional truth than anything in the show,” raved DC Theatre Scene. “Zajick’s voice, with a hint of metal at the back of the upper notes and cavernous expansion in the lower ones, is still a couple of sizes bigger than most people’s, and as an actress, too, she delivered the goods” (Washington Post).
THE TURN OF THE SCREW will be conducted by Dallas Opera Principal Guest Conductor Nicole Paiement, who has developed an international reputation as a conductor of contemporary music and opera.
Wayne Lee Gay of D Magazine’s Front Row wrote of The Dallas Opera’s 2015 world premiere of Everest: “(Paiement) combined old-fashioned precision and discipline with up-to-the-minute insight into the complex modernity of the score.”
Gregory Sullivan Isaacs, Theater Jones, also acknowledged Maestra Paiement’s skill with contemporary works. "...balancing these three musical elements so that each one comes forward at its assigned time and then retreats, allowing another to take over, is a superhuman endeavor. This charge falls to conductor Nicole Paiement, who brilliantly weaves Talbot’s warp and woof into what can only be called a soundscape of Everest."
Three additional performances of Benjamin Britten’s THE TURN OF THE SCREW will take place on March 19(m), 22, and 25, 2017. Seating is limited. Season subscriptions will go on sale April 1, 2016. Season subscribers may renew at any time by contacting the friendly professionals in The Dallas Opera Ticket Services Office, at 214.443.1000.
By Vincenzo Bellini
April 21, 23(m), 26, 29, May 7(m), 2017
The final production of the 60th International Season is Vincenzo Bellini’s thrilling and suspenseful 1831 masterpiece, NORMA, with a libretto by Felice Romani, which opens Friday, April 21, 2017 at 7:30 p.m. at the Margot and Bill Winspear Opera House.
Performed in Italian with English translations projected above the stage, this towering period production continues with four additional performances, April 23(m), 26, 29 and May 7(m), 2017.
In this outstanding John Conklin production from Cincinnati Opera, set during the Roman occupation of Gaul in 50 B.C., a passionate love triangle in the midst of a deepening culture clash leads to dangerous consequences. A Druid high priestess, Norma, is in the throes of despair after discovering that her lover, a Roman proconsul with whom she has two children, may have been unfaithful. Pollione confesses to a friend that he no longer loves Norma. His amorous attentions are now focused on Adalgisa, a young novice priestess, who returns his love—and he brushes aside a warning about Norma’s capacity for rage. Amidst the turmoil of the occupation and impending revolution, Norma is driven to the brink of insanity, convinced of her betrayal and fearing disgrace for her fatherless children.
The dazzling South African soprano Elza van den Heever stars as Norma, her first appearance on The Dallas Opera stage since her acclaimed 2003 Dallas debut in Mozart’s Così fan tutte. This versatile artist describes her vocal style as a ‘voyage of discovery.” Christophe Rizoud, of Forum Opéra recently described her virtuosity: “Elza van den Heever moves us deeply, enthralls and captivates…she delighted us with her powerful and controlled voice, with a splendid midrange that does not exclude high notes. But those extreme notes are never sung without purpose; they are used to convey meaning the same way as volume or colour offer expression.”
Superb South Korean tenor, Yonghoon Lee—one of opera’s busiest performers according to Bachtrack—stars as Norma’s lover, the Roman proconsul Pollione. According to Anthony Tommasini of The New York Times, “He is an outstanding tenor. Handsome and youthful, he is a natural onstage and a sensitive listener during duets and ensembles.”
Nicole Car, the lovely Australian soprano who thrilled audiences and critics alike with her recent appearances in The Dallas Opera’s The Marriage of Figaro, stars as “the other woman,” Adalgisa.
“The vocal standout is Australian soprano Nicole Car, in her U.S. debut, as Countess Almaviva. With a lustrous shine on a warm core of sound, and generous amplitude and expressivity, she could be a wonderful Straussian, although she never overdoes anything here. She also has a strikingly expressive face, registering the painful emotional ambiguities of her relationship with the Count,” wrote Scott Cantrell of The Dallas Morning News.
American bass Christian Van Horn, acclaimed for his “sturdy voice and commanding presence…” (Anthony Tommasini, The New York Times) will portray the role of Oroveso.
Critically acclaimed Mrs. Eugene McDermott Music Director Emmanuel Villaume leads The Dallas Opera Orchestra in one of Bellini’s greatest contributions to the bel canto repertoire.
“Keith Cerny and I are excited to program works that patrons have longed to experience just as much as we do. My energies are devoted to sharing this most relevant and revealing of art forms with North Texas and all the world,” says Music Director Emmanuel Villaume.
“We invite everyone to join us in the Winspear Opera House next season, to thrill to the world-class productions, as well as the unique musicianship and incomparable artistry that can only be fully appreciated in a live performance.
“I certainly hope I will see you there!”
Evening performances during the 2016-2017 Season will begin at 7:30 p.m., unless otherwise stated (including an 8:00 p.m. curtain for the Linda and Mitch Hart Season Opening Night Performance). All Sunday matinees are slated to begin at 2:00 p.m.
The “Joy and Ronald Mankoff Pre-Opera Talks,” a free background lecture for the opera being performed, takes place in Nancy B. Hamon Hall located just off the Winspear Opera House lobby one hour prior to each performance, except for Opening Night of the Season.
Dallas Opera performs works in their original languages. Easy-to-read English translations are projected above the stage during every Dallas Opera performance—even those sung in English—and special headsets are available for the hearing impaired.
No late seating is permitted at Dallas Opera performances once the house doors are closed. Latecomers will be seated at the first available opportunity, usually, intermission.
Flex subscriptions begin at $75 for the 2016-2017 Season. Full Subscriptions begin at $95. Single Tickets range from $19 to $275.
For additional information about the coming season, call The Dallas Opera Ticket Services Office at 214-443-1000 or visit us online at www.dallasopera.org.
The Family Performance Series
Put aside those computers, tablets, and smart phones—and grab the kiddoes—in order to take advantage of budget-minded, kid-friendly performances offered by The Dallas Opera in the 2016-2017 Season!
In addition to presenting world-class opera, and to providing support for outstanding young artists, established stars, and up-and-coming female conductors; The Dallas Opera is also committed to introducing the joys of opera to as many people as possible, and to provide budget-minded, kid-friendly performances that can be enjoyed by North Texans of every age, educational level and background.
The always popular Dallas Opera Family Performance Series is proudly presented by Texas Instruments, and made possible with additional generous support from the Betty and Steve Suellentrop Educational Outreach Fund and Lockheed Martin.
TDO Family Performances are a part of the Perot Foundation Education and Community Outreach Programs.
Five dollar single tickets are available now through The Dallas Opera Ticket Services Office at 214.443.1000 or 24/7 at dallasopera.org/family.
2016-2017 Family Performance Series
Presenting Sponsor, Texas Instruments
THE THREE LITTLE PIGS
Sunday, October 23, 2016
Sunday, February 26, 2017
Based on scenes and music from operas by W.A. Mozart, this production is an operatic version of the beloved children’s fairy tale, with adaptations by John Davies. The story reinforces the virtues of reading as one of the little pigs, Despina, successfully reads up on building a “huff-proof, puff-proof” house at the library. As constructive as it is instructive!
VERDI AND COMPANY
Sunday, November 13, 2016
Sunday, March 5, 2017
A delightful production that introduces families to the most popular hits of Italian composer Giuseppe Verdi. Audiences will recognize magnificent pieces from the Italian composer’s brilliant operas: La traviata, Rigoletto and Aida. This captivating presentation also features the acclaimed Dallas Opera Orchestra and a charismatic narrator who highlights fascinating facts about Verdi!
BASTIEN AND BASTIENNE
Saturday, November 19, 2016
Saturday, April 22, 2017
One of Mozart’s earliest works, written at age twelve, Bastien and Bastienne is a one-act comic opera that tells the tale of a pretty young shepherdess, Bastienne, and her boyfriend, Bastien. Bastienne believes her beau has fallen in love with a wealthy girl from the big city. The heart-broken girl encounters Colas, the town “magician,” who has a few ideas of his own on how to reunite the young couple.
Single tickets are just $5 each and may be purchased at the door
Or online at www.dallasopera.org/family