Dates, casts & repertoire subject to change. seating...

best value

best value

the marriage of figaro

die fledermaus

roberto devereux

la bohÈme

the italian girl in algiers

operasComeriCa

opening night series

7:30 pm

nov. 14

dec. 5

jan. 23

feb. 13

march 6

sunday matinee

series2:00 pm

dallas morning news

midweek series7:30 pm

loCkheed martin

weekend series7:30 pm

nov. 16 (m)dec. 7 (m)

jan. 25 (m)feb. 15 (m)

march 8 (m)

nov. 19

dec. 10

jan. 28

feb. 18

march 11

nov. 22

dec. 13

jan. 31

feb. 21

march 14

Dates, casts & repertoire subject to change.

BEST VALUE

Guidehow to maximize your opera experience

The Dallas Operap r e s e n t s

Above Weekend Evening Subscription Prices.Seating is limited in Area 11.Single Tickets go on sale September 22, 2008.

seating areas

seating area full-regular( 5 operas )

flex(3 operas)

orchestra floor

1 premium floor $995 n/a

2 premium main aisle sold out sold out

3 premium floor - front $550 $369

5 rear orchestra - front $450 $294

7 orchestra floor $300 $192

8 rear orchestra - rear $275 $183

10 rear orchestra value $125 $93

11 rear orchestra side $75 n/a

balcony

4 premium balcony $550 n/a

6 center balcony $450 $294

9 side balcony $180 $129

subscription series

TickeTs: Call 214.443.1000 or visit www.dallasopera.org

the dallas opera tiCket offiCecampbell centre i8350 n. central expwy.suite 110-lobbydallas, tx 75206

ticket office hourssept. 22, 2008 - march 14, 2009monday - friday, 8 am - 6 pmsaturday, 10 am - 2 pmclosed on sundays

Please note, The Dallas Opera Ticket Office at the Campbell Centre location will close early (at 2 pm) on performance days and will reopen at Fair Park Music Hall 90 minutes before the performance, remaining open through the first intermission.

meet the

Cast

1 / miChael todd simpsonCount Almaviva in THE MARRIAGE OF FIGARO

Award-winning, in-demand baritone Michael Todd Simpson

made Dallas Opera audiences gasp as the sizzling Silvio in

PAGLIACCI and made the critics sit up and take notice as

the King’s Herald in LOHENGRIN. Now, this Glimmerglass

Opera favorite is set to dazzle us once again as the dapper

Count Almaviva, a man who never seems to love the one

he’s with and leaves them all sighing!

2 / ava pineAdele in DIE FLEDERMAUS

Excelling in music from Baroque to Contemporary, Soprano

Ava Pine has been featured in numerous roles including

Zozo in THE MERRY WIDOW and the Angel in ANGELS

IN AMERICA at this year’s FWO Festival. As Adele,

the scheming yet loyal maid in this delightful Viennese

confection, Ms. Pine will flex her comic instincts, as well as

her soaring vocal talents.

3 / stephen CostelloRobert, Earl of Essex, in ROBERTO DEVEREUX

An acclaimed new star in the world of opera, tenor Stephen

Costello wooed Dallas Opera audiences as Leicester in

MARY QUEEN OF SCOTS and won hearts as the charming

Camille in our blockbuster 2007 holiday hit, THE MERRY

WIDOW. Get ready to give it up once more for the young

Metropolitan Opera veteran (Edgardo, Arturo) in this

dramatic and unforgettable title role!

4 / James valentiRodolfo in LA BOHÈME

A brilliant American tenor making his Dallas Opera debut in

the role of the romantic poet in the Parisian garret, James

Valenti exudes star quality whether he’s singing good guys

like Rodolfo (Dallas, and in his 2009 La Scala debut) or bad

guys like Pinkerton (in NYCO’s MADAME BUTTERFLY “Live

from Lincoln Center”). Hear him bring the house down at

the Music Hall before catching his upcoming debuts at Paris

and Covent Garden.

5 / william burdenLindoro in THE ITALIAN GIRL IN ALGIERS

A tenor with an outstanding international reputation making

his long-awaited Company debut as the romantic hero of

Rossini’s rollicking culture-clash comedy. William Burden

recently appeared with San Francisco Opera as Tom

Rakewell in THE RAKE’S PROGRESS and made his Berlin

State Opera debut in the title role of Pelleas in PELLEAS ET

MELISANDE. A dynamic presence in the opera house, the

concert hall or on the soundstage, now coming to Dallas!

SIGN UP Onlineto receive special ticket offers and all the behind-the-scenes scoop on each production.

Go to www.dallasopera.org/signup!

Theg

Joy & ronald mankoff opera overtures One hour before each performance, all ticket holders

can attend a FREE lecture in the Music Hall discussing

the opera they are about to enjoy. Lectures are prepared

and presented by experts in the field and explore topics

such the historical context of the production, insights

into the composer of the work, and previews of musical

highlights in the opera. Opera Overtures gives each

audience member the chance to expand and enrich their

opera experience.

this year’s speakers:

Dr. Stephen Dubberly, Associate Professor, University of

North Texas, is the Music Director of the University of

North Texas Opera Theater. He is a favorite of Dallas Op-

era patrons for his engaging Opera Overtures lectures,

and he brings a wealth of knowledge, experience, and

humor to his presentations.

James Hampton, D.M.A., has received critical acclaim

as both a singer and stage director. He has previously

lectured about opera for The University of Texas at Austin,

The Catholic University of America, and Angelo State

University. James is currently the Artistic Administration

Coordinator for The Dallas Opera.

The Opera Overtures lectures are made possible by Joy

and Ronald Mankoff’s generous endowment gift to support

educational initiatives of The Dallas Opera. Production photos courtesy of Karen Almond Photography.

where have i heard that before?

The choices are endless! Most recently, excerpts from THE

MARRIAGE OF FIGARO were heard in “Waitress” (2007), “All the

King’s Men” (2006), “Prime” (2005), “Wedding Crashers” (2005) and

“Matchstick Men” (2003).

conversation starters:

The play, The Marriage of Figaro, was the greatest theatrical success

of the 18th century. After censors delayed the premiere for years, it

ran for 68 consecutive performances and raked in gross receipts of

347,000 livres (French for “a sizeable fortune”). Its author, Pierre-

Augustin Caron de Beaumarchais, had earlier convinced the French

monarchy to actively support the American Revolution, making him

an “honorary Founding Father.”

did you know? You can’t visit the graves of either the composer or the librettist.

Lorenzo Da Ponte’s original grave is lost among the skyscrapers of

New York City, Mozart was buried in a now-lost common grave on the

outskirts of Vienna. A gravedigger claimed to mark the site and later

retrieved a skull which today resides in the Salzburg Mozarteum.

recommended listening:

Jonathan Pell, Director of Artistic Administration for The Dallas

Opera, advises, “There are so many recordings of Mozart’s

LE NOZZE DI FIGARO (THE MARRIAGE OF FIGARO) and almost

all of them have something to offer. If I had to pick just one, it would

have to be the version with Sir Georg Solti conducting the London

Philharmonic (Decca #410150), and boasting a lineup that includes

Dame Kiri Te Kanawa, Lucia Popp, Sir Thomas Allen, Samuel Ramey

and Frederica von Stade. For those of you looking for a FIGARO

DVD, I might suggest the Kultur Video #2039, a Glyndebourne

production conducted by Bernard Haitink.”

recommended reading:

The Librettist of Venice: The Remarkable Life of Lorenzo Da Ponte –

Mozart’s Poet, Casanova’s Friend, and Italian Opera’s Impressario in

America by Rodney Bolt, Mozart: Letters, The Figaro Trilogy by

Beaumarchais, Mozart: A Life by Maynard Solomon, and Memoirs of

Lorenzo Da Ponte.

NoVEMBER 14, 16 (m), 19 & 22 20

08

The characters we loved in THE BARBER OF SEVILLE all grown

up, with grown-up problems that have to be resolved in one crazy

day. Throw in a teenager with a major crush, a tipsy gardener, and

schemers and dreamers looking for love, and you have one of Mozart’s

finest and funniest operas!

CONSIDERED REVOLUTIONARy – BOTH MUSICALLy AND

POLITICALLy – this lively romantic comedy begins with Figaro and

Susanna preparing for their wedding night, not realizing how many

people they’ll have to maneuver around in order to fall into each

other’s arms. Filled with one breathtaking aria after another, this is

Mozart at his most moving.

the marriage of figarostarring DAniEL OkULiTch, LyUBOV PETrOVA,

MichAEL TODD SiMPSOn, SUSAnnA PhiLLiPS*, STEPhEn MOrSchEck,

JEnnifEr hOLLOwAy* AnD SUzAnnA GUzMAn

conductor GrAEME JEnkinS

stage director JOhn cOPLEy

Production design cArL TOMS

lighting design JEff hArriS

chorus master ALExAnDEr rOM

MOZART

* Dallas Opera debut

Sung in Italian with English supertitles projected above the stage.

See michael todd simpson as count almaviva in the marriage of figaro.

bring a friend programEach 5-Performance-Subscriber may introduce a friend to The Dallas Opera Experience for FREE at either DIE FLEDERMAUS or ROBERTO DEVEREUX.some restrictions apply. for info call 214.443.1000 or visit www.dallasopera.org/bringafriend.

DECEMBER 5, 7 (m), 10 & 13 20

08

The work that defined Viennese operetta at the height of its Golden

Age. Marked by one memorable hit after another, you’ll be swaying

to these much-loved melodies long after the performance is done. The

Dom Pérignon of opera.

AH, TO BE INDEPENDENTLy wEALTHy, HANDSOME AND LOVED!

Life looks pretty good to Gabriel von Eisenstein until he, his lovely

wife, and their rambunctious maid are caught in a practical joke that

exposes all their secrets! Mistaken identities, royal balls, and too

much Champagne create merriment galore! Listen to the complete

audio synopsis, interviews and more at www.dallasopera.org.


There have been at least 17 film versions of DIE FLEDERMAUS,

beginning with a 1923 silent film. Today, there are at least 20 different

audio recordings available for your enjoyment. You’ve heard Johann

Strauss’s glorious melodies from DIE FLEDERMAUS in such movies

as Joseph von Sternberg’s “The Great Waltz” (1938) and 1977’s “Padre

Padrone.” But you were more likely to run across his other hits, such

as “Tales from the Vienna Woods” (“Gallipoli”) and “The Blue

Danube” (“2001: A Space Odyssey,” “Romy and Michele’s High

School Reunion,” “The End of the Affair,” and “Bratz”) in films of

every kind.


Johann Strauss didn’t want his sons following him into the music

business, so Johann II studied music in secret while working as a

bank clerk. The man composer Richard Wagner praised as “the most

musical brain in Europe” eventually composed nearly 400 waltzes,

in addition to his operettas.

did you know? A Batman-like character in the subversive cult cartoon series “The

Tick” is called by the name, Die Fledermaus. Ditto for the comic book.


Jonathan Pell notes, “There are also quite a few versions of Johann

Strauss’s DIE FLEDERMAUS (THE BAT) but alas, none of them are

in English. There is a delightful version in the original German on the

Philips label (#432157) conducted by André Previn, with Kiri Te

Kanawa, Wolfgang Brendel, and Richard Leech. There is also a

superb DVD (DGG 001038309) of the classic production from the

Vienna State Opera, staged by Otto Schenk (who also is the

endearing ‘Frosch’ in the last act) which stars Gundula Janowitz and

Eberhard Waechter, and is conducted by Karl Boehm.”


A Nervous Splendor: Vienna 1888-1889 by Frederic Morton,

Uncorked: The Science of Champagne by Gérard Liger-Belair, Vienna

Blood by Frank Tallis, and World of Yesterday by Stefan Zweig.

STRAUSS

stay up to date on all of the dallas opera’s Current events! visit www.dallasopera.org.

die fledermausstarringwOLfGAnG hOLzMAir, AnA MArÍA MArTÍnEz*,

AVA PinE, BrUcE fOrD, chriSTOPhEr fEiGUM

AnD MAriAnnA kULikOVA


stage director TOMEr zVULUn*

Production design zAck BrOwn

lighting design MAriE BArrETT

chorus master ALExAnDEr rOM* Dallas Opera debut

Sung in English with English supertitles projected above the stage.

See ava pine as adele in die fledermaus.

DONIZETTI

Fantastic singing and unforgettable personalities mix in this action-

packed clash of British royals and rebels. Fiery, feisty, gripping – it

doesn’t get better than this.

SHE GAVE HER NAME TO THE “ELIZABETHAN AGE,” BUT HER

HEART wENT TO THE wRONG MAN AND HEADS MUST ROLL!

This riveting drama pits England’s Queen Elizabeth I against the clever

and ambitious Robert, Earl of Essex, his demure lady love – and her

unsuspecting husband. Donizetti’s last and greatest opera for Teatro

San Carlo is as passionate as it is political. Pick your side…carefully. Or

pick all five productions for as little as $75!


You’ve encountered Donizetti’s music in some unlikely places, like

the 1997 Bruce Willis science fiction cult classic, “The Fifth Element;”

1991’s “Cape Fear;” Oliver Stone’s “Any Given Sunday” (1999); and

Martin Scorsese’s “The Departed (2006).


Despite the success of ROBERTO DEVEREUx, its composer was

convinced, almost from the start, that the opera was “jinxed.”

Nevertheless, Donizetti carefully prepared at least four different

productions of this work and it is today considered a masterpiece.

It’s thought that Beethoven’s early piano sonatas may have

influenced the introduction to the Tower Scene in Act III and that

Verdi’s AIDA and LA FORZA DEL DESTINO were inspired, in part,

by the music of ROBERTO DEVEREUx.

did you know?

Donizetti was an incredible letter writer, more than a thousand survive

today. Can you imagine what he could have done with an ergonomic

keyboard and a memory stick?


“For Donizetti’s ROBERTO DEVEREUx,” recommends Jonathan

Pell, “there is the famous 1969 recording starring Beverly Sills and

conducted by Sir Charles Mackerras on DGG (#465967) or the more

recent version on Opera Rara (catalogue #24) with Nelly Miricioiu,

Jose Bros and Roberto Frontali, conducted by Maurizio Benini, with

London’s Royal Opera House orchestra and chorus. There is also a

DVD of the historic New York City Opera production, which

catapulted Beverly Sills to international fame. Taped at Wolf Trap in

the early 1970s, it was conducted by Julius Rudel (Video Artists

International #528).”


Older Women, Younger Men: New Options for Love and Romance

by Felicia Brings and Susan Winter, Elizabeth I by Anne Somerset,

Murder at the Opera: A Capital Crimes Novel by Margaret Truman,

and The Five Love Languages: How to Express Heartfelt Commitment

to Your Mate by Gary Chapman.

j a N u a R y 23, 25 (m), 28 & 31 20

09

Roberto

roberto devereuxstarring hASMik PAPiAn*, ELizABETh BATTOn,

STEPhEn cOSTELLO AnD DAViD kEMPSTEr


stage director STEPhEn LAwLESS

Production design BEnOiT DUGArDyn

costume design inGEBOrG BErnErTh

lighting design MArk MccULLOUGh

chorus master ALExAnDEr rOM* Dallas Opera debut


See stephen costello as robert, earl of essex, in roberto devereux.

student rush tiCkets best available seats$25Present your valid student ID at the Music Hall Box Office 90 minutes prior to the performance to receive the best available seating for just $25.

FEBRuaRy 13, 15 (m), 18 & 21 20

09PUCCINI

The starving bohemians of 19th century Paris learn how to make love,

how to make friends and influence people, and how to survive in a

cold, hard world. Picture dorm life without laundry privileges or a

cafeteria card.

IT MAy BE THE MOST ROMANTIC OPERA OF ALL TIME,

set among the rooftops and cafés of the down-and-out Latin Quarter,

(2 parts SoHo, one part Deep Ellum). Puccini’s unforgettable music,

poignant romance and a stellar cast will take you back to a time when

hunger for success couldn’t hold a candle to one’s hunger for love.

Cash-starved students can take advantage of our Student Rush, 90

minutes before each performance. Get the best seat available for just

$25 with a valid student ID (one ticket per ID).

la bohÈmestarring MAriA kAnyOVA, VALEnTinA fArcAS*,

JAMES VALEnTi*, DwAynE crOfT*, wESTOn hUrT*

AnD rOBErT GLEADOw

conductor PiETrO rizzO**

stage director MArk STrEShinSky

scenic design JEAn-PiErrE POnnELLE

costume design PETEr J. hALL

lighting design ThOMAS c. hASE*



In the 1982 cult film, “Fitzcarraldo;” 1997’s “Mad City;” and 1999’s

“Pushing Tin,” a black comedy starring John Cusack and Billy Bob

Thornton, to name a few.


The stories behind LA BOHèME first appeared in 1845 in the

Parisian periodical, “Le Corsaire.” An unpublished 23-year-old poet,

Henri Murger, received just 15 francs per episode but was later

awarded the Legion of Honor by his grateful countrymen. The

original plan for the opera was for five acts, including one in which

Musetta throws a party for the bohemians as her furniture is carried

away for failure to pay the rent.

did you know?

Murger called all his girlfriends “Mimi” so he wouldn’t have to

remember their real names in the morning.


Jonathan Pell observes, “There are probably more recordings of

Puccini’s LA BOHèME than any other opera, and the process by

which I have made my selections is highly subjective. There are at

least six or seven competing versions that rank among the finest

recordings ever made, and so I cannot pick just one. My two favorite

stereo versions (an earlier mono recording conducted by Sir Thomas

Beechum with Victoria de los Angeles and Jussi Bjoerling is

extraordinary) are the Herbert von Karajan recording with the Berlin

Philharmonic, which stars Mirella Freni and Luciano Pavarotti (Decca

#421049), and the version on RCA (#70784) with Sir Georg

Solti leading a stellar lineup headed by Montserrat Caballe and

Placido Domingo.”


Noel Riley Fitch’s Literary Cafés of Paris, Bohemians of the Latin

Quarter by Henry Murger, The World of the Paris Café: Sociability

Among the French Working Class 1789-1914 by W. Scott Haine, and

Opera in America: A Cultural History by John Dizikes.

** U.S. debut



See james valenti as rodolfo in la bohéme.

This production is generously sponsored by

italian girl in algiers

Check out our new video blogs & download podcasts from “inside the dallas opera” at www.dallasopera.org!

ROSSINI

A masterful Italian comic gem by the man who gave us THE BARBER

OF SEVILLE. The Turkish Bey of Algiers, bored with his harem, sends

the captain of his guard to find a new bride. He seizes upon the lovely

victim of a shipwreck, an “Italian girl” searching for her lost lover. But

don’t think she’ll go quietly.

IT’S ONE OF THE GREATEST COMEDIES IN OPERA, sparkling with

Rossini’s effervescent music and a keen understanding of just how far

we’ll go to get the man or woman of our dreams! Featuring one of the

most memorable comic villains who ever walked the stage and the

mother of all culture clashes! Save 10% to 30% off when you make

a single ticket purchase for groups of 10 or more. Call 214-443-1000

for details.

the italian girl in algiersstarring MAnUELA cUSTEr*, wiLLiAM BUrDEn*,

PAOLO PEcchiOLi* AnD PATrick cArfizzi*


stage director chriS ALExAnDEr

scenic design rOBErT innES hOPkinS*

costume design DAViD c. wOOLArD*

lighting design DUAnE SchULEr



Rossini and film go together like bread and jam, and you’ve heard his

music at the local cineplex more often than you know in films such

as “Mr. and Mrs. Smith” (2005), “Under the Tuscan Sun” (2003),

“Clear and Present Danger” (1994), “My Life” (1993) and “A Clockwork

Orange” (1971).


Rossini’s friends wanted a statue erected in his honor. “How much

would that cost?” Rossini inquired. When told “20 thousand lira,” the

composer offered to stand on a pedestal for half the price. You think

he was kidding? Rossini’s first nine operas earned the equivalent of

$1,700. He collected no royalties and had no rights over subsequent

productions of his works.

did you know?

Rossini was a leap year baby, born on February 29, 1792. So when he

retired from the world of opera in 1829, he was only nine years old

(no leap year in 1800). Leaping forward a few years, L’ITALIANA IN

ALGERI was the very first opera produced by The Dallas (Civic)

Opera in 1957.


Jonathan Pell informs, “My choice for a recording of Rossini’s

L’ITALIANA IN ALGERI would have to be the one on DGG (#427331)

with Agnes Baltsa and Frank Lopardo, conducted by Claudio

Abbado. For those of you who would prefer watching this comic

masterpiece, I would suggest that you get your hands on a copy of

the DVD from the Jean-Pierre Ponnelle production at the

Metropolitan Opera (DGG #000657909), which stars Marilyn Horne,

Kathleen Battle and Paolo Montarsolo, and is conducted by

James Levine.”


Seafaring Women: Adventures of Pirate Queens, Female Stowaways,

and Sailors’ Wives by David Cordingly, Divas and Scholars:

Performing Italian Opera by Philip Gossett, Arabian Sands by

Wilfred Thesiger, Purity Lost: Transgressing Boundaries in the

Eastern Mediterranean, 1000-1400, and Skeletons on the Zahara: A

True Story of Survival by Dean King.

M a R C H6, 8 (m), 11 & 14 20

09



See william burden as lindoro in the italian girl in algiers.

what should we wear to the opera?

Business attire is the norm, but anything goes, from jeans to

your favorite evening gown! You’ll see more formal attire on

opening night and at Saturday night performances; the

midweek performance tends to be a bit more casual.

However, the rule of thumb is simple: If it makes you feel like

a million bucks, wear it!

should we eat before we go?Most operas last an entire afternoon or evening. While

a variety of drinks are served at intermission, it’s a good idea

to eat beforehand, if you have the time. Pre-performance

dining options are available at the Music Hall, although

reservations are required for the Crystal Terrace

(214.565.0591). No reservations are required to enjoy a salad

or a sandwich in the upstairs café.

will they be singing in english?

Not unless the opera happens to be British or American. The

Dallas Opera has traditionally performed operas in their

original languages, with the occasional exception. This isn’t a

hurdle for contemporary audiences because easy-to-read

English translations are projected above the stage throughout

every performance, even if sung in English. You’ll never, ever

be left in the dark!

i have an extra ticket. what can i do with it?

Bring a friend, neighbor, coworker or loved one and treat

them to a fabulous new experience! If that simply isn’t

possible, you are welcome to donate your extra ticket up to

one hour prior to curtain for a tax deduction equal to the

amount you paid. Contact The Dallas Opera Ticket Services

Office at 214.443.1000 prior to the performance. Your receipt

for your ticket donation will be mailed to you in January.

we’re not sure we can get there on time. is this a problem?

We regret to inform you that there is no late seating for

any performance of The Dallas Opera. This is a courtesy to

both the singers and other members of the audience. If you

should happen to arrive after the opera has begun, you will

be asked to view the performance on a closed-circuit

television monitor, conveniently located in the concourse,

until first intermission. In order to get the most out of your

opera experience, it’s really important to arrive prior to

curtain time. Evening performances typically begin at

7:30 pm and matinees at 2:00 pm.

i’d rather not drive – do i have an option?

Yes, indeed! If you’re coming from Far North Dallas, you can

arrive at the door of the Music Hall relaxed and ready for a

fabulous experience by taking the Barnes & Noble Opera

Coach! Round-trip service for an entire season of opera is

available to season subscribers for an additional charge of

just $50. Considering today’s gas prices, it’s a steal of a deal.

Call 214.443.1000 to make your reservations or to find out

about the Barnes & Noble Opera Coach near you. Be sure

to ask about the “get you there by curtain” guarantee!

frequently asked

To Dressnot to dress?

or

which entrance should i use at fair park?

That depends. Green Inner Circle Parking Pass holders park

in the Inner Circle lot, which can be accessed through the

First Avenue gate. All other patrons (those with or without

special parking passes) are advised to go to the Martin

Luther King Jr. entrance. You will be directed by parking

attendants to a convenient parking spot.

and if i have “special needs”?Disabled parking spaces are available in the Inner Circle

parking lot directly in front of the Music Hall. Please note

that attendants will admit only those vehicles with appropriate

disabled license plates or a rearview mirror tag into the

handicapped spaces. If your car is not so equipped, you may

drop off physically challenged patrons beside the covered

walkway entrance by entering at the First Avenue gate. Once

you have delivered your passengers, parking attendants will

direct you to the appropriate lot.

okay, we got here early. what is there to do?Opera Overtures, a FREE informational discussion,

generously sponsored by Joy and Ronald Mankoff, is

presented an hour before each performance at the

Music Hall.

Exclusive Inner Circle green lot: enter at First Avenue

Early Subscriber purple lot: enter at Martin Luther King Jr. Blvd.

How do i get there?

frequently asked

directions to fair park:

from n. central expressway (us 75): Take US 75, exit onto

I-30 East, then take Exit 47 (Second Avenue/Fair Park) and

continue straight ahead to Fair Park OR continue

Northbound on US 75 to I-45, take Exit 283B (Martin Luther

King Jr. Blvd.) and continue straight ahead to Fair Park.

from dallas north tollway: Go south on the Dallas North

Tollway and exit onto I-35E South. Take the left lane exit to

I-30 East, then take Exit 47 (Second Avenue/Fair Park) and

continue straight ahead to Fair Park OR from I-30 East, take

Northbound I-45, take Exit 283B (Martin Luther King Jr. Blvd.)

and continue straight ahead to Fair Park.

from I-35e: Take I-35E, exit onto I-30 East, then take Exit 47

(Second Avenue/Fair Park) and continue straight ahead to

Fair Park OR from I-30 East, take Northbound I-45, take Exit

283B (Martin Luther King Jr. Blvd.) and continue straight

ahead to Fair Park.

from i-45: Take I-45, exit onto I-30 East, then take Exit 47

(Second Avenue/Fair Park) and continue straight ahead to

Fair Park OR continue on I-45, take Exit 283B (Martin Luther

King Jr. Blvd.) and continue straight ahead to Fair Park.

from downtown dallas: Go east on Commerce Street, turn

right onto Second Avenue and continue straight ahead to

Fair Park.

FREqUENTLy ASkED

Ques�ionsfrequently asked

what about after we take our seats?

First and foremost, relax! It’s time to let go of the stresses

and strains of the day and reward yourself. Some people like

to take the minutes before a performance to share an

intimate conversation with their seatmate. Others prefer to

look over the program book, read the synopsis or articles,

and find out how many intermissions they can expect. Don’t

forget to turn off your cell phone, and if you plan to have a

throat lozenge or hard candy handy, now’s the time to fish it

out of your purse.

how long will the performance last?

It depends on the production. In general, you can expect an

opera to last between two and a half and three hours,

including intermissions. Works by certain composers, like

Richard Wagner, can run longer.

how will we know when the opera is over?There are two clues to watch for: a wild outpouring of

applause, cheers and whistles and – simultaneously – the

sight of select audience members sprinting up the aisles at

the speed of light. If you feel elated following the

performance, show it! Now’s your chance to cheer, whistle

and stomp to your heart’s content! The artists love it,

of course.

when should i applaud?

Whenever you feel like it. No – just kidding! The only thing

better than giving a great performance is to have it

acknowledged by an appreciative audience. However, your

applause needs to wait until the performer has finished

singing. If in doubt, hold your applause until the people

around you begin to clap. If you are extra enthusiastic about

what you’ve just heard, feel free to shout “Bravo!” if the singer

is a man, and “Brava!” for a lady. Of course, there is always

applause at the end of each act and opportunities for curtain

calls, stomping, whistling and standing ovations at the end of

each opera. Go for it!

is it okay to laugh? Yes, certainly! If it’s funny!

tell me about intermission.Intermissions at The Dallas Opera are 20 minutes long,

unless the program indicates otherwise. You are encouraged

to visit The Dallas Opera Guild Boutique, purchase additional

tickets at the box office (open during the first intermission),

enjoy a drink with your friends at one of the many concession

stands or visit the restrooms located on both the balcony

level and downstairs from the center of the concourse.

Handicapped restrooms are located at each end of the

concourse. Announcements and flickering lights warn that

the intermission is ending and it’s time to turn off your cell

phone and get back to your seat, pronto. Once the doors are

closed, you will not be allowed to enter.

what if i have to leave the hall during the performance?

Please try to do so as discreetly and quietly as possible, for

the sake of other patrons. And be aware that once you have

left the auditorium, we cannot allow you to return until the

next intermission; however, you are welcome to sit and view

the performance on a closed-circuit monitor located across

from the Crystal Terrace.

where can i find out more about opera?

Start with The Dallas Opera’s website, www.dallasopera.org, or

ask at your local library. Welcome to the incredible world of opera!

can’t find an answer to your question? Visit us at www.dallasopera.org.

it takes hundreds of people to produce the performance

you are about to enjoy, from administrators to

carpenters to cellists. here are just a few of the titles

you may encounter in your opera program book, with a

brief explanation of what they do.

The buck stops here, at the desk of the GEnErAL

DirEcTOr. Fundraising, balancing budgets, negotiating union

contracts, strategic planning, public speaking and casting the

final vote on nearly every aspect of company business is the

arduous and exhilarating lot of the head of The Dallas Opera.

Control of what you see and hear onstage is the combined task

of the cOnDUcTOr, who directs the orchestra, chorus and

singers in their musical performance, and the STAGE DirEcTOr,

who supervises the blocking, staging and dramatic aspects of

the presentation. However, it is the chOrUS MASTEr who

does the work of preparing the members of the chorus for their

important contribution to the overall performance. MUSicAL

PrEPArATiOn coaches the principal singers on their roles (from

the piano) during the early rehearsal stage.

SUPErnUMErAriES, or “Supers” as they are commonly

known, are the nonsinging performers on stage who make

individual cameo appearances or are part of a crowd. Supers

may be selected on their ability to fit into a particular costume!

The chOrEOGrAPhEr creates dances and movement for a

production. DESiGnErS are largely responsible for the look

of the entire production, from the sets and costumes to the

lighting design.

Although music and words have been combined, since

Ancient Greece, in ways that enhance the dramatic impact on

the listener, the official birth of opera came much later. The

Camerata, an informal academy in Florence, Italy, led by

Count Giovanni de’Bardi, prompted another Florentine circle,

headed by a wealthy merchant and arts patron named Jacopo

Corsi, to take the first steps: a classical composition entitled

Dafne, performed during the 1598 Carnival, followed two

years later by Euridice. The first work of true operatic genius

appeared in 1607 – Orfeo, Claudio Monteverdi’s penetrating

exploration of human psychology. It is one of several works by

Monteverdi still performed today. The first half of the 18th

century was dominated by the operas of George Frideric

Handel, an internationalist who mixed Italian and German

influences before tailoring the result to serve the tastes of his

English audiences.

Opera took a quantum leap forward with the brilliant (and

politically subversive) works of Wolfgang Amadeus Mozart

that portrayed real people of every social class and was

furthered by the Romantic movement and operas by Weber

(The Free-Shooter), Beethoven (Fidelio) and Rossini (The Barber

of Seville and William Tell). Suffering humanity dominated the

works of Giuseppe Verdi, whose works for the stage had

tremendous impact on 19th century audiences (La traviata,

Rigoletto) as well as the heroic epics of Richard Wagner,

creator of the monumental Ring Cycle. The baton then passed

to an Italian who composed some of the greatest melodies in

opera: Giacomo Puccini (Tosca, La bohème, Madame Butterfly)

and the compositions of Shostakovich (Lady Macbeth of

Mtsensk), Janácek (Katya Kabanova), Britten (Peter Grimes,

Billy Budd), Adams (Nixon in China), Picker (Thérèse Raquin

and An American Tragedy) and Heggie (Dead Man Walking).

Opera remains one of the most dynamic and relevant art

forms in the world.

Where Doesopera Come from?

who are thesePeople?

what are the most famous operas today?

Start with the “ABCs”: Aida (the Egyptian opera, elephants

are optional), Bohème (or, to be precise, La bohème, a tale of

starving artists that continues to inspire works like “Rent” and

the movie musical “Moulin Rouge”), and Carmen, the opera

that proves that smoking isn’t the only thing bad for your

health! Add Mozart’s The Magic Flute, Rossini’s The Barber

of Seville, Wagner’s Ring Cycle and Puccini’s Madame

Butterfly to begin a modest list of today’s most popular

operas.

i know sopranos sing high and bass voices sing low, but what about all those other vocal types?

Voices come in many flavors. Sopranos alone can be

classified as a coloratura soprano (the highest and most

brilliant sound), a lyric soprano, a spinto soprano (“pushed

lyric”), or a dramatic soprano (a big, Wagnerian-voiced

soprano). Usually in opera, the hero and heroine are

portrayed by a tenor and soprano, respectively. The bad

guys (and girls) are typically sung by baritones (males) and

mezzo-sopranos. Older characters are usually written for

bass or bass-baritone voices or, if a woman, for a contralto,

the lowest female voice.

do opera singers wear microphones?

No, and this points out another difference between opera

and today’s Broadway musicals. While a few opera companies

permit microphones, most – including The Dallas Opera – do

not, which means the singers must have the talent and

training to compete, unaided, against the sound of a full-scale

orchestra. It’s an extraordinary feat designed to create a

spine-tingling musical experience that cannot be duplicated in

any of the other performing arts.

101 Operafif i don’t see a production this time, can i catchthe same show later on?

Contrary to popular belief, these are NOT touring shows.

When a Dallas Opera production ends, it goes back to the

warehouse. It may be rented to another opera company in

another part of the world or it could be revived by The

Dallas Opera in a later season. However, it’s best to assume

that this may be your only chance to see a given production,

which is what keeps our season subscribers coming back,

year after year.

i’d like to bring a group to a dallas operaperformance. what’s the best way?

How fabulous that you want to share the opera experience

with the people around you! Start by contacting The Dallas

Opera Ticket Office, at 214.443.1000. Significant discounts

are available (up to 30% off!) for groups of 10 or more,

with student group tickets starting at only $25 per ticket.

There’s another big advantage to your group purchase: You

don’t have to wait for single tickets to go on sale to the

general public this September to place your order, which

means your “best available seats” will be, truly, the best of

the best available.

does the dallas opera ever give freeperformances?

From time to time, the Opera hosts free musical events at

the Music Hall, area shopping malls, libraries and museums.

Check the online calendar at www.dallasopera.org for

updated details. We also treat over ten thousand North

Texas school children each season to a daytime main stage

performance of a Dallas Opera production in the Music Hall

at Fair Park. Home and charter schools are also welcome to

attend and parents, grandparents and other family and

friends are encouraged to attend special “Open School

Performances.” For information about this season’s School

Performances program, contact The Dallas Opera’s award-

wining Education Department at 214.443.1082.

why are so many opera singers fat?

You’ve been watching too many old movies! Today’s opera

singer is more likely to be a calorie-counting athlete than a

couch potato. Improved physical conditioning has led to

more theatrical opera stagings than in the past, and much

longer, healthier, and impressive international careers.

lazybones: Rossini’s physical laziness was the stuff of

legend. One story claims a sheet of music slipped off his lap

desk and slid under Rossini’s bed as he was working on it.

With a sigh, the composer wrote a new version of the duet

so he wouldn’t have to retrieve it.

london calling: The first international opera broadcast

occurred in 1896 when an opera being performed in Paris

was transmitted by cable to the Pelican House in London. It

was like listening to opera on a modern-day conference call.

a voice that shatters glass? Although there are

numerous stories of singers causing crystal to break by the

force of a sustained note, no proven incident of this

phenomenon existed until Discovery Channel’s “Mythbusters”

recently captured it on video.

hair-raising: A Boston medical journal published the theory

that classical music is good for the follicles, citing the unusual

number of instrumental performers who retain their thick

heads of hair.

a firsthand report: The first modern conductor to ditch

his baton was Russian Vassily Safonov in February 1905 after

a bloody political assassination delayed his performance.

Conductors have been using their mitts ever since.

okay, so he wasn’t elected for his musical sophistication:

President Ulysses S. Grant once said, “I only know two tunes:

One is ‘Yankee Doodle’ and the other…isn’t.”

arachnophobia: The tarantella, a dance that occasionally

appears in opera, was said to be named for the tarantula

spider. In fact, it was named for the town of Taranto, Italy.

paying the hard way for the best seat in the house:

A Paris newspaper reported that on New Year’s Day, 1843, a

well-to-do Englishman was frustrated by the sell-out of a new

opera. He persuaded the impresario, for a sizeable sum of

money, to suspend a chair by ropes from a convenient

skylight. As the performance began, the foreigner in his chair

was lowered over the heads of the audience. Thinking he

was part of the performance, the man’s appearance elicited

a warm response. Once it became clear that this was a

patron suspended overhead, the audience erupted into

shouts and boos. The Englishman was knocked unconscious

and tumbled from his aerial hot seat onto the audience. And

you think seats in the new Winspear Opera House are tough

to get!

did you Know?

the women’s board of the dallas opera is an important

fundraising arm of The Dallas Opera. Over the past 40 years,

The Women’s Board has contributed more than $3.5 million

to the organization. In addition to sponsoring the Founders’

Lecture Series, designed to enhance the operagoing

experience, The Women’s Board hosts elegant teas and

luncheons designed to benefit Dallas Opera programs. For

more information, contact The Women’s Board at

214.443.1000.

the dallas opera guild invites everyone in The Dallas

Opera family to join the Guild and to participate actively in its

numerous activities listed below that support the Opera and

contribute to its continuing growth as one of the country’s

finest opera companies. With the new Margot and Bill

Winspear Opera House opening in 2009, this is a memorable

time to be involved. The Guilded Notes newsletter and

frequent mailings will notify Guild members of upcoming

special events, so you will not miss a moment of the excitement

as we move into our new home in the Arts District.

the dallas opera guild vocal competition the school performance program opera insights adopt an artist the dallas opera guild boutique guild opera trips

Call the Guild office at 214-443-1040 or email [email protected] to join the Guild or to receive information about events or volunteering.

the dallas opera guild

the women’s board of

The Dallas Operav

g e t

InvolvedAmici di OperA – “Friends OF the OperA”

Whether you’re a lover or a scoundrel, or any other sort, you’ll enjoy being a friend of the Opera. It’s your chance to meet and network with young professionals who are interested in opera, or who are just interested in getting to know other artistic people.

Friends with BeneFits

Amici Di Opera has benefits even a scoundrel would love…not that we think you’re a scoundrel. There’s the Amici season prep kit, which includes all the opera essentials, so you can really befriend the opera. But that’s not the half of it…

FOr A yeArly memBership OF $125 yOu get:

• Year-round events: wine tastings, cocktail lectures, special receptions, etc.• One guest pass to each social event• Even more fun with Partner Events• Access to exclusive Dallas Opera Events throughout the year • Ticket to THE MARRIAGE OF FIGARO Amici Night Performance

and champagne reception

More than friendsMaybe “just friends” won’t be enough. Maybe you’ll fall in love with the Opera. It happens a lot. That’s why we have special ticket deals for Amici members.

20% off all single tickets

$45 best available tiCkets on Amici Nights ($75 Value)

memBership plus tickets! Three- and five-ticket packages available to Amici Members for Amici Night Performances. Amici Members have assigned seating in premium areas of the hall and their tickets include a champagne lecture prior to the performance. Ticket and Membership packages start at just $249 – a 40% saving off the ticket price.

the dAllAs OperA’s yOung prOFessiOnAls grOup

Join amiCi di opera today!VISIT www.DALLASOPERA.ORG/AMICI OR CONTACT US AT [email protected] / 214.443.1919.

join

enhance your dallas opera experience by taking full

advantage of the social, artistic, intellectual, and

educational benefits offered to donors. each level of

giving offers its own rewards with insider opportunities

to promote the arts, meet other artistically inclined

individuals, learn more about each production, or access

exclusive privileges.

insider privileges for friends include:

$50 Member Listen to a tantalizing CD of the music and storylines that await you.

$150 Affiliate Learn personal stories directly fromthe stars at Opera Insights.

$250 Sustainer Meet other opera lovers during a backstage tour.

$500 Guarantor List your name in Playbill.

$1,000 Grand Benefactor Interact with artists atan Inner Circle cast party.

wANT TO BECOME EVEN MORE OF AN INSIDER?

Become a dallas opera donor!

Be the first to get the inside scoop from those in the know.

Become a Dallas Opera insider today as a member of The

Inner Circle! Your annual membership of $3,000 or more is

the key to maximum benefits in the Margot and Bill Winspear

Opera House at the Dallas Center for the Performing Arts.

inner circle membership includes:• Premium Seating in the Winspear Opera House• Guaranteed seat renewal• Priority on-site parking• Dining access in the intimate in-house restaurant at the

Winspear Opera House• Receptions in The Inner Circle Lounge during opera

intermissions• Invitations to Cast Parties and many other great social

events with other opera lovers• Admission to Dress Rehearsals• Playbill Donor Listing• Admission to Opera Insights, a panel discussion the Sunday

before each opera opens

Join the inner CirCle

become a friend & enjoy special benefits for as little as $50!

OperAtion hQ Be a part of the Dallas Center for the

Performing Arts and directly support The Dallas Opera!

The campaign to build a permanent home for the

administrative offices of The Dallas Opera is a unique

opportunity for each member of the Opera family to

contribute to the construction of the Margot and Bill

Winspear Opera House and the long-term health of the

company. Not only will the campaign support actual

construction, but funds will also be used to create an

operating endowment to offset occupancy costs, such as

utilities and maintenance. These items support future

financial stability by eliminating office rent expenses and

supplementing operating costs. Gifts of all sizes will come

together to create a new administrative home for The Dallas Opera.

Rendering by Foster + Partners

for more information on any of these insider opportunities: Call 214.443.1003

you can also join effortlessly online

at www.dallasopera.org

Dates, casts & repertoire subject to change. seating...

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