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David W. Spiro Conductor
David W. Spiro Conductor Critics have called the conducting of David W. Spiro thrilling, vibrant, extraordinary, dramatic, noble, incisive, and energetic. Maestro Spiro recently led performances of La Traviata and Tosca during his enthusiastically received return to Bulgaria. He also made a significant departure from his core repertoire with his first Wagner opera, Der Fliegende Holländer. This season also saw several other firsts. He conducted his first French opera, Bizet's Carmen, in Saint Petersburg, Russia. Prior to that, Ruse saw Spiro lead Tchaikovsky’s Eugene Onegin, as well as a return to Mozart with Don Giovanni. Previously, his Aida and Rigoletto at the Ruse State Opera were hugely successful. He celebrated the Verdi Bicentennial with Un Ballo in Maschera and La Traviata at the Teatro Mancinelli in Orvieto. Opera di Verona hosted Spiro leading the Mozart/da Ponte operas Don Giovanni, Cosi fan Tutte and Le Nozze di Figaro in three consecutive seasons. Earlier in the decade saw his La Boheme at the North Czech Opera and also his Romanian debut in Bucharest with his signature piece, La Traviata. The Albanian-American conductor made his mark by leading members of the Boston Symphony Orchestra in a tribute to his mentor, Leonard Bernstein. Rossini‘s Stabat Mater featured Edda Moser, D’anna Fortunato, Gregory Kunde and Jerome Hines and was hailed as “a tribute worthy of Bernstein”. Specifically, Maestro Spiro’s interpretation was hailed as “the closest thing to heaven.” (The Boston Globe) An electric performance of Cherubini‘s Medea for the Boston Festival Opera featured Sylvia Sass, Rita Gorr, Franco Bonanome and John Macurdy. -
Media Release
Media Release FOR IMMEDIATE RELEASE: Tuesday, September 29, 2020 Contact: Suzanne Calvin (cell) 817.995.1687 [email protected] The Dallas Opera will stream Carmen simulcast recorded live in 2018; RSVP now for free, limited engagement beginning on Friday, October 9, 2020 at 7:30 p.m. DALLAS, TX, SEPTEMBER 29, 2020 – The Dallas Opera will be making the company’s 2018 hit production of Georges Bizet’s Carmen—originally simulcast live in high definition to an audience in Klyde Warren Park—available free for home viewing for a limited time. The video stream will premiere online on the evening of October 9, 2020 (the originally scheduled date for the opening of the 2020/2021 Season) at 7:30 p.m. Those interested in viewing this TDO Encore Performance must register online at dallasopera.org/performance/carmenstream in order to access the program. Following the October 9th stream, the program can be viewed by registrants for 30 days until November 8, 2020. “In this time of pandemic, it is crucial that The Dallas Opera continue to explore new ways to deliver outstanding performances to patrons in North Texas and around the globe,” explains Ian Derrer, the Kern Wildenthal General Director and CEO. “We are grateful for the support of our 1 unions which has enabled us to present a truly remarkable performance that would be a highlight in any season.” This much-acclaimed production of Bizet’s thrilling masterpiece, created by Sir David McVicar for Glyndebourne Opera in 2002, received its American debut at The Dallas Opera. It was conducted at TDO by esteemed French conductor Pierre Vallet, with director Jack Furness staging the revival in his American opera debut. -
David W. Spiro Conductor
David W. Spiro Conductor Critics have called the conducting of David W. Spiro thrilling, exciting, vibrant, extraordinary, dramatic, noble, incisive, and energetic. This past season, Maestro Spiro was honored to return to Italy to celebrate the Verdi Bicentennial with Un Ballo in Maschera. During the previous season, Maestro Spiro conducted La Traviata at the Teatro Mancinelli in Orvieto and Le Nozze di Figaro at Opera di Verona. This marked his third consecutive year in Verona - previously he led Cosi fan Tutte and Don Giovanni to critical acclaim. The decade began with La Boheme at the North Czech Opera and also saw his Romanian debut in the Teatrul Masca conducting his signature piece, La Traviata. The Albanian-American conductor first made his mark by leading members of the Boston Symphony Orchestra in a tribute to his mentor, Leonard Bernstein. This gala performance of Rossini‘s Stabat Mater featured Edda Moser, D’anna Fortunato, Gregory Kunde and Jerome Hines and was hailed as “a tribute worthy of Bernstein”. Specifically, Maestro Spiro’s interpretation was hailed as “the closest thing to heaven.” (The Boston Globe) An electric performance of Cherubini‘s Medea for the Boston Festival Opera featured Sylvia Sass, Rita Gorr, Franco Bonanome and John Macurdy. Calling Spiro “a talent which seems to be seasoned well beyond his years”, critics noted that “it would also appear that the era of great interpreters of Italian opera did not die with Serafin or de Sabata - it simply skipped a generation.” (Review/Preview) A native of Boston, Spiro began piano studies at age four. His prodigious skills helped him gain admittance to the famed Longy School of Music where he refined his technique and strengthened his musical background. -
Media Release
Media Release FOR IMMEDIATE RELEASE: Wednesday, March 10, 2021 Contact: Suzanne Calvin (cell) 817.995.1687 [email protected] The Dallas Opera returns to Winspear with new “Welcome Back” Song Series starting March 31, 2021, featuring four major stars in three unique events: bass Morris Robinson on March 31; soprano Leah Crocetto and mezzo-soprano Jamie Barton on April 3; and countertenor John Holiday on April 9. Socially distanced seating and other COVID precautions in place for all events. TDO 2020/2021 season subscribers are offered one recital free—no strings attached! DALLAS, TX, MARCH 10, 2021 – The Dallas Opera announced today that it will be launching a new, three- event “Welcome Back” Song Series in the Winspear Opera House commencing March 31, 2021. The company’s first event in the Winspear since it was forced to cease live performances in February, 2020, because of COVID-19, the new series will feature four celebrated opera stars in three unique events: bass Morris Robinson on Wednesday, March 31; soprano Leah Crocetto and mezzo-soprano Jamie Barton on Saturday, April 3; and countertenor John Holiday on Friday, April 9. 1 Sponsor for the “Welcome Back” Song Series is Ann Stuart, PhD, who is chairman of The Dallas Opera’s board of directors, and former chancellor and president of Texas Woman’s University. Tickets, priced at $15, $25, and $50 for each event, are available now for members of TDO’s subscriber and donor family, with general public sale commencing March 17. Ian Derrer, The Dallas Opera’s Kern Wildenthal General Director and CEO, also announced that all current subscribers (2020/2021 season) are being offered the opportunity to enjoy one of the recitals free. -
YSL 0990 T Raymond Lewenthal Vol. 2
YSL 0990 T Raymond Lewenthal Vol. 2 “Two different Raymond Lewenthal concerts are captured here, and the Dallas one needs some explanation. In the late 1960s Lewenthal teamed up with mezzo-soprano Shirley Verrett, and they offered a unique program together. On the first half Verrett sang operatic arias with the orchestra. Singer and pianist then joined for one piece, Mozart’s concert aria ‘Ch’io mi scordi di te’, scored for soprano, piano, and orchestra. On the second half Lewenthal played solo piano music. The present example, shorn of Verrett’s arias without Lewenthal, derives from a 1969 concert presented by the Dallas Opera, which at the time had the Dallas Symphony Orchestra playing in the pit. The conductor was the Dallas Opera’s co-founder, Nicola Rescigno. I don’t believe that Mozart was a particular strength of Verrett, and she does not sound comfortable here. Lewenthal and the orchestra are a bit more sensitive to the nuances of the music than Verrett, who is also not served well by somewhat distant recorded sound that fails to capture much of the color of her voice. The sound improves for the rest of the program; the piano might have been placed in a more favorable position once the orchestra cleared out. Lewenthal’s playing of the two Rossini fantasies by Sigismund Thalberg is all you could want. His technique is up to the demands of these showpieces, but more importantly the music sings under his fingers. Lewenthal was a serious opera lover, and in just about everything he played he turned the piano into a vocal instrument. -
Dubberly Curriculum Vitae
STEPHEN DUBBERLY Opera Conductor Division of Conducting and Ensembles College of Music University of North Texas Denton, TX 76203-1367 940-367-8770 EDUCATION 1992 Doctor of Musical Arts Yale University, New Haven, Connecticut 1986-87 Graduate Fellowship Piano Performance The University of Texas at Austin 1986 Master of Musical Arts Yale University 1985 Master of Music Yale University 1979 Diploma with honors College Preparatory Uruguayan-American School, Montevideo, Uruguay 1974-78 5 Performance Certificates Piano, Solfège Conservatorio Juan Sebastián Bach, Montevideo conducting studies with Harold Evans, Otto-Werner Mueller, and Kirk Trevor piano studies with Santiago Baranda Reyes, Boris Berman, Claude Frank, and Seymour Lipkin vocal literature studies with Nico Castel, David Garvey, Thomas Grubb, and Gérard Souzay PROFESSIONAL EXPERIENCE 2016- Conductor Red River Lyric Opera Wichita Falls, Texas 2016- Music Director Opera in Concert in Italy Urbino, Texas 2015 Chorus Master OPERA San Antonio San Antonio, Texas 2013-2015 Conductor Opera Breve Wichita Falls, Texas 2012- Music Director Opera in Concert Dallas, Texas 2012- Conductor Frontiers Festival/ Fort Worth Opera Ft. Worth, Texas 2010-2016 Chorus Master, Associate Conductor Fort Worth Opera Ft. Worth, Texas 2008 Chorus Master Fort Worth Opera Ft. Worth, Texas 2002-2014 Music Director Christ Presbyterian Church Flower Mound, Texas 2001-02 Music Director Black Tie Opera Ensemble Houston, Texas 1999- Associate Professor of Music University of North Texas Denton, Texas (tenured in 2002) Music Director, UNT Opera 1999-2001 Music Director American Bel Canto Opera Denton/Kansas City 1998-99 Music Staff Des Moines Metro Opera Indianola, Iowa 1998-99 Music Director Totally Vocal! Institute Knoxville, Tennessee 1997-99 Director of Music First Presbyterian Church Crossville, Tennessee 1996-99 Music Director Knoxville Opera Studio Knoxville, Tennessee 1993- Pianist Bel Canto Festival Highlands, North Carolina 1992-97 Music Staff Opera Theatre of Saint Louis St. -
THE JOURNEY with ANGEL BLUE New Episodes Tuesdays at 1:00 P.M
THE JOURNEY WITH ANGEL BLUE New Episodes Tuesdays at 1:00 p.m. Central Time Premiered August 25, 2020 TDO Network presents The Journey with Angel Blue, hosted by one of the world’s most engaging and beloved sopranos, Angel Blue. Her new TDO Network series is designed to lift the spirit by finding the “silver lining” in even the most challenging circumstances. Ms. Blue will reflect on her own personal journey through life, offer unique perspectives, and share her ideas on how to accentuate the positive every day. ABOUT THE HOST: Incandescent American soprano Angel Blue has performed, to date, in more than 35 countries with companies including the Vienna State Opera, Semperoper Dresden, San Francisco Opera, Frankfurt Opera, the Aix-en-Provence Festival, La Scala (where she was the first black singer to portray Violetta), and the Royal Opera House, Covent Garden. Her most recent triumph was headlining the Metropolitan Opera’s 2019/20 season-opener, Porgy and Bess. The Gershwin classic was seen in theaters all around the world as part of the Metropolitan Opera’s “Live in HD,” and was also featured on PBS’s “Great Performances.” Over the course of her career, Ms. Blue has earned enthusiastic acclaim in numerous roles, including the title role of Tosca, Violetta in La traviata, Liù in Turandot, Marguerite in Gounod’s Faust, Elena in Boito’s Mefistofele, Giulietta in Les Contes d’Hoffmann, Micaëla in Carmen, and both Clara and Bess in Porgy and Bess. She is perhaps most popularly associated with Puccini’s La bohème, making her U.S. -
Anthony Roth Costanzo (MM ’08), Voice
MASTER CLASS Anthony Roth Costanzo (MM ’08), voice Wednesday, February 26, 2020 | 4 PM William R. and Irene D. Miller Recital Hall Wednesday, February 26, 2020 | 4 PM William R. and Irene D. Miller Recital Hall MASTER CLASS Anthony Roth Costanzo (MM ’08), voice PROGRAM CHARLES GOUNOD “Amour, ranime mon courage“ (Poison Aria) from W. A. MOZART “Quanti mi siete intorno…Padre, germani addio” (1818–1893) Roméo et Juliette from Idomeneo Rosario Hernández, mezzo-soprano W. A. MOZART “Come scoglio” from Così fan tutte Contla de Juan Cuamatzi, Mexico (1756–1791) Makila Kirchner, soprano Student of Joan Patenaude-Yarnell Grand Haven, Michigan Diana Borshcheva, piano Student of Ruth Golden Boston, Massachusetts Yueqi Zhang, piano Student of Warren Jones Nanjing, China Student of Warren Jones VINCENZO BELLINI “Se Romeo t’uccise un figlio” from (1801–1835) I Capuleti e i Montecchi NED ROREM “Take Me Back” from Our Town (b. 1923) CHARLES GOUNOD “Ô ma lyre immortelle” from Sapho (1818–1893) Shelén Hughes, soprano W. A. MOZART “Quanti mi siete intorno…Padre germani addio” Cochabamba, Bolivia from Idomeneo Student of Ashley Putnam Katharine Burns, soprano Shiyu Tan, piano Mechanicsburg, Pennsylvania Shanghai, China Student of Shirley Close Student of Warren Jones Tong yao Li, piano Xuzhou, China Student of Kenneth Merrill ANDRÉ PREVIN “I want magic!” from A Streetcar Named Desire Alternates: (1929–2019) RICHARD STRAUSS “Presentation of the rose” from Der Rosenkavalier (1864–1949) VINCENZO BELLINI “O quante Volte” from I Capuleti e i Montecchi BENJAMIN BRITTEN “Come now a roundel” from A Midsummer Night’s Dream W. A. MOZART “Dalla sua pace” from (1913–1976) Don Giovanni Shan Hai, soprano Beijing, China GIUSEPPE VERDI “Lunge da lei.. -
Program Book
JANUARY 25, 28, 31; FEBRUARY 2 PITTSBURGH CAPA THEATER Handel's Bewitching Baroque Classic FEBRUARY 22, 25, 28; MARCH 1 PITTSBURGH OPERA HEADQUARTERS A Heartfelt Contemporary Satire 2019-20 SEASON Bella Construction & Development Inc. Roofing - Siding - Gutters Be. Simply Beautiful! Your home is your masterpiece. Protect it with quality roofing, siding, and gutters from Bella. • Leading residential roofing, siding, and gutter contractor in the Pittsburgh Metro •Family owned and operated for 25+ years •Quality craftsmanship with attention to detail •Fully licensed and insured Call to schedule your FREE estimate www.mybellaroof.com | (724) 515-5163 PA Contractor # 050898 LETTER FROM OUR GENERAL DIRECTOR World Premiere in English DEAR FRIENDS, Welcome back to the intimate Pittsburgh CAPA The Theater, the ideal venue for a Baroque opera. Alcina is our fourth George Frideric Handel opera here in the past ten years, and our first since 2017’sRichard the Lionheart. We enjoy presenting works by this magnificent composer, whose music has stood the Mother test of time. of © Daniel V. Klein Photography © Daniel V. Our cast features both first-year and second-year Resident Artists, plus a recent alumna. Our first-year artists are Natasha Wilson, who made her mainstage debut with us last fall in Florencia en el Amazonas, and tenor Angel Romero, who makes his Pittsburgh Fishes Opera debut in these performances. Second-year sensations Caitlin Gotimer, Antonia Botti-Lodovico, and Tyler Zimmerman join returning alumna Laurel Semerdjian, who we are delighted to welcome back to our stage. An opera on love, We couldn’t be happier to have our friends from Chatham Baroque in the pit adventure, & magic! with us for these performances. -
Media Release
Media Release FOR IMMEDIATE RELEASE: July 16, 2019 Contact: Edward Wilensky (619) 232-7636 [email protected] San Diego Opera’s 2019-2020 Season Opens with Verdi’s masterpiece Aida Verdi specialist Michelle Bradley to make Company debut as Aida Theatrical Concert Opera will use sets, costumes, and lighting with the San Diego Symphony, San Diego Opera Chorus, and principal singers on stage Tenor Carl Tanner makes welcome return as Radames San Diego, CA – Verdi’s beloved opera Aida opens San Diego Opera’s 2019-2020 season in an entirely new theatrical concert performance utilizing set elements, costumes, lighting, and featuring the San Diego Symphony and San Diego Opera chorus onstage, alongside some of the greatest interpreters of Verdi’s music performing today. Aida opens on October 19, 2019 for four performances. Additional performances are October 22, 25, and 27 (matinee), 2019. All evening performances for the 2019-2020 season will begin at 7:30 PM for the convenience of our audiences. The matinee will remain at 2 PM. Assembled for the opening opera of the season is an exciting cast of singers including the Company debut of soprano Michelle Bradley as Aida who is quickly becoming one of the most sought after Verdi sopranos performing today. Making a welcome return to San Diego Opera in the role of Radames is tenor Carl Tanner who was last heard in San Diego Opera’s 2018 production of Turandot as Calaf. Also making house debuts are mezzo-soprano Olesya Petrova as Amneris and baritone Nelson Martinez as Amonasro. Bass Mikhail Svetlov returns to sing the King of Egypt, having last been heard as Ambimelech in 2013’s Samson and Delilah. -
Texas Opera Alliance Launches the Teen Opera
FOR IMMEDIATE RELEASE Texas Opera Alliance launches the Teen Opera Club of Texas Opera organizations from across the Lone Star State join forces to make opera more accessible and provide teens a exclusive experience with access to artists and creatives TEXAS—October 27, 2020—The Texas Opera Alliance (TOA) is proud to announce the launch of the Teen Opera Club of Texas. In early October, Austin Opera (AO), The Dallas Opera (TDO), Fort Worth Opera (FWO), Houston Grand Opera (HGO), and OPERA San Antonio (OSA) announced the creation of TOA to advance and protect the future of the art form in Texas. In the spirit of this alliance, and during a time when outreach to schools is limited, education representatives from each company have joined forces to create this new initiative. The Teen Opera Club of Texas (TOCT) provides free opportunities for any teen 13-19 years of age to learn about and engage with opera happening in Texas. The club includes access to opera artists and administrative personnel from each organization who will share insights and expertise on a variety of topics. Participants will learn about opera performance, production and design, the creation of new opera, and conducting opera orchestras. As members, students will receive monthly invites to virtual gatherings and watch parties on platforms such as Zoom, Squad, and YouTube channels hosted by each opera company. “Fort Worth Opera education department is proud to stand alongside these amazing companies and form a creative alliance as big as Texas itself,” says Manager of Education and Community Engagement at FWO Sheran Keyton. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.