View email as webpage

backstage@theopera - The TDO Newsletter
November 17, 2011 Home | Tickets | Donate | 214.443.1000    

In This Issue

Edible Opera

Megan’s Musings: Conductor Anthony Barrese

From the Desk of Artistic Director Jonathan Pell

Guest Review of Dr. Miracle

The Muppets: Elmo and Bocelli

The World of Opera: The opera-izing of the American musical, digital media, and how to talk the talk

Upcoming Events

December 5th
General Director Roundtable — “Commissioning New Works”
6:30 PM

December 10th
Inside the Dallas Opera on WRR 101.1 FM
12:00 PM

February 16th, 2012
Wagner’s Tristan & Isolde opens
7:00 PM

For more information, see our Events Calendar!

Aria of the Week

Leontyne Price singing “Vissi d’arte” from the Met’s 1962 production of Puccini’s Tosca.

You Write the Caption!

From our production of La traviata in 2004. Join the fun on our Facebook page!
Photo credit Karen Almond.

Kids Quote

“Dear Board & Trustees, Madame Butterfly blew me away. It was a magnificent performance that made me want to shout ‘encore’ over and over. The orchestra was delightful and the actors and actresses were so wonderful, amazing, and marvelous opera I had ever experienced. I would recommend it to the president of the United States. Thank you for the delightful experience of a lifetime. Sincerely Anne”


Edible Opera

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.

Read more >

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.)

Megan’s Musings

Vol. 3: Conductor Anthony Barrese

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 >

From the Desk of

Artistic Director Jonathan Pell

This is one of Mr. Pell's entries from his visit to the Lyric Opera of Chicago last month.

Jonathan Pell

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.

Read more >

Photo credit Karen Almond.

Guest Review

Doctor Miracle

by Sally-Page Stuck

The cast of Doctor Miracle sign autographs after the October 30 performance at the Winspear Opera House. Photo by Luke McKenzie

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.

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.

Read more >

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

Muppet Corner

The Muppets: Elmo and Bocelli
Andrea Bocelli sings Elmo to sleep.

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.

Our Friends Make Opera Happen!

Become a Friend of the Dallas Opera to help us keep moving in the right direction. Learn more at

We respect your privacy. If you wish to no longer receive mailings from the Dallas Opera, please click here to unsubscribe.

Sent by:
The Dallas Opera
Margot and Bill Winspear Opera House
2403 Flora Street, Suite 500, Dallas, TX 75201

© 2011 Dallas Opera