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Feature
by Suzanne Calvin
A scene from The Dallas Opera’s production of La bohème in February 2009. Photo by Karen Almond.
One of the best-loved opening scenes in opera, the beginning of Act One of Giacomo Puccini’s La bohème, revolves almost entirely around two things: hunger and extreme cold. As we enter the season of feasting that extends from Thanksgiving Day through Chinese New Year’s and beyond, it’s a good time to push ourselves back from the table and settle in for a closer look at the leading role food has played in opera, both as a prop and as a plot device.
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This holiday season,
give the gift of opera!
For a limited time, we’re offering 20% off our regular FLEX subscription prices. So, for as little as $20 per opera, you can send someone special (or yourself!) to all of our 2012 spring season operas — Tristan & Isolde, La traviata, and The Magic Flute! Plus, TDO offers an interest-free payment plan!
Buy a subscription online today or call our ticket office at 214.443.1000! (To take advantage of our flexible payment plan, please call us.)
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Megan’s Musings
moderated by Megan Meister
This month I sat down with conductor Anthony Barrese who was in town conducting our Family Concert which was on Saturday, November 12th. Mr. Barrese was last with the Dallas Opera in 2008 when he conducted Puccini’s Tosca with soprano Catherine Naglestad singing the title role. Ms. Naglestad went on to win the Dallas Opera’s Maria Callas Debut award that season.
To listen, click here >
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From the Desk of
This is one of Mr. Pell's entries from his visit to the Lyric Opera of Chicago last month.
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The auditions yesterday were slightly disappointing. The singer I was most looking forward to hearing cancelled because he was to sing last night in Lucia. His name is Rene Barbera, and he is from San Antonio. He recently won the Operalia vocal competition sponsored by Placido Domingo, and I was very impressed by him last June when I saw him in Saint Louis as “Tonio” in Daughter of the Regiment. I really wanted to hear him again in some different repertory, but it was not destined to be.
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Photo credit Karen Almond.
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Guest Review
 The cast of Doctor Miracle sign autographs after the October 30 performance at the Winspear Opera House. Photo by Luke McKenzie
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Just as a generous adult would share her opera glasses, the two-year-old opera patron to my left kindly offered to share her pacifier. Surely, she presumed opera could be intimidating and wanted to spare me distress. She needn’t have worried. The Dallas Opera’s production of Dr. Miracle was intended to be accessible to audiences of all ages.
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Gone are the intimidating, large sets and full orchestra. A pint-sized, yet meticulous set gave just enough color and sense of place. Julian Reed elegantly played the entire accompaniment on a single piano. Only four singers performed an English-translated libretto. There was nothing childish about the construction of the costumes. Tommy Bourgeois’ finely crafted costumes had the bright colors — chartreuse, peach, and maroon — which capture a child’s short attention. The house hummed with the well-behaved, excited murmurs of children eager to experience opera.
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Quote of the Week
“I approached opera from the theater side … I used to rail against the clichés of the form, all those sopranos in nightgowns dying in Act 2. So what do I have in my first opera? A soprano in a nightgown dying in Act 2.” – Mark Adamo
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The World of Opera
The opera-izing of the American musical
Anne Midgette of the Washington Post tells how musicals are toying with unamplification and questions whether it works.
Digital media
John von Rhein of the Chicago Tribune examines the challenge of drawing younger, wired audiences to traditional theatrical performances.
Talk the Talk
On NPR Music, Tom Huizenga demos some examples of operatic vocal vernacular.
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Our Friends Make Opera Happen!
Become a Friend of the Dallas Opera to help us keep moving in the right direction. Learn more at dallasopera.org/give
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