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He also frequently collaborates with universities, museums, and other cultural institutions and works with scholars, practitioners, and community members across disciplines. He frequently appears throughout the country as a speaker on a variety of cultural and educational topics. As Music Director of LA Opera, Conlon has led more operas than any other conductor in company history. Celebrated by Opera News as a “masterful musician” with an “instrument of striking finish, smooth and solid throughout its range,” Meachem’s recent performances include Sharpless in Madama Butterfly at Royal Opera House, Marcello in La Bohème at the Metropolitan Opera, and the title role in Nabucco at Oper im Steinbruch.
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Additional highlights of his season include returning to the Chicago Symphony Orchestra to lead Mendelssohn’s Elijah, and conducting Wagner’s Lohengrin at Deutsche Oper Berlin. He also returns to Switzerland’s Bern Symphony, where he is Principal Guest Conductor, to lead three programs including Schubert and Beethoven symphonies, a celebratory New Years Day concert, and a season finale with Shostakovich’s Symphony No. 5. Since his debut that year with La Traviata, he has conducted 67 different operas and more than 455 performances to date with the company. The Winspear stands in a long line of opera houses that reserve innovation for the exterior rather than for the theater inside. Jørn Utzon’s Sydney Opera House (1973) in Australia, and more recently Snøhetta’s Norwegian National Opera House in Oslo (2009) come to mind in this regard. Most of these schemes employ the horseshoe configuration established by Carlo Fontana in Venice more than 300 years ago and championed by Essert today; one of the few exceptions is Zaha Hadid’s unbuilt Cardiff Bay Opera House (1994–96).
Willard Spiegelman on the Winspear Opera House and Wyly Theater in the Dallas Arts District - The Wall Street Journal
Willard Spiegelman on the Winspear Opera House and Wyly Theater in the Dallas Arts District.
Posted: Wed, 28 Oct 2009 07:00:00 GMT [source]
Luke Halls
Guanqun Yu has worked with conductors such as Zubin Mehta, James Levine, Michele Mariotti and Cornelius Meister. In 2010 she made her debut in Vienna in Honegger’s Jeanne d’Arc under the baton of Bertrand de Billy. Verdi’s Macbeth has become a signature role, serving as Colclough’s debut at the Metropolitan Opera, Lyric Opera of Chicago, Bayerische Staatsoper and Luxembourg Opera. 2022 saw his return to the Royal Opera House Covent Gardens where he reprised his role as Telramund in Wagner’s Lohengrin.
The Dallas Opera Digital
Artist Es Devlin creates large-scale public art works and stage sculptures that combine light, music and language. In the summer of 2023, he appears with Aspen Music Festival as the Voice of the Oracle (Neptune) in Idomeneo, also covering the role of General Benjamin in Jimmy Lopez's Bel Canto. Anthony holds a bachelor of music from La Sierra University and a master of music degree concentrating in vocal performance from the New England Conservatory of Music in Boston, studying under the tutelage of Bradley Williams. The American-born Cuban and Colombian tenor Anthony León is a young up-and-comer who is quickly developing an international performing career.
On April 23, 2023, he was a 2023 grand finals winner of the Metropolitan Opera Laffont Competition. On October 30, 2022, he was the first place winner of Operalia, where he also won the zarzuela prize. Her interpretation of Lina in Verdi's Stiffelio was released on DVD in a production from Parma.
TITAS / DANCE UNBOUND
On tour, Anthony performed at Théâtre des Champs-Elysées in Paris, France; Arsenal Theater in Metz, France; and Victoria Hall in Geneva, Switzerland. In the fall of 2021, Anthony also presented the role of Count Almaviva in the Opera Theatre of St. Louis production of The Barber of Seville. During the summer of 2021, Anthony was an Apprentice Artist at Santa Fe Opera covering the role of Lysander in A Midsummer Night’s Dream. In addition to these contracts, Anthony has performed in other leading roles recently such as Le Chevalier in Dialogue des Carmélites, Agenore in Mozart's Il re pastore, Nemorino in L’elisir d’amore, Tamino in The Magic Flute, the Witch in Hansel and Gretel, and Frederic in The Pirates of Penzance.
A key design feature is the 318-rod chandelier located inside the performance hall, named The Moody Foundation Chandelier. The Winspear Opera House was designed by Foster + Partners under Pritzker prize-winning architect Norman Foster and Deputy Chairman Spencer de Grey. Renowned for its outstanding acoustics, intimate 2200-seat performance hall and iconic architecture, it is one of the nation’s premier performing art venues.
The AT&T Performing Arts Center has four venues in their complex including the world-famous Margot and Bill Winspear Opera House. The entire facility is based in downtown Dallas, Texas and was designed as a modern 21st-century reinterpretation of a traditional opera house. The venue features room for 2,200 seats and a max capacity of 2,300 in a traditional horseshoe configuration for the most classically appealing opera house experience on their side of the country.
In a New Virtual Series, the Dallas Opera Tackles Race and Inequality - Texas Monthly
In a New Virtual Series, the Dallas Opera Tackles Race and Inequality.
Posted: Wed, 08 Jul 2020 07:00:00 GMT [source]
He is a professor of opera directing at the College-Conservatory of Music in Cincinnati and the executive director of Opera Project Columbus in Ohio. In the summer of 2022, he joined the Frank R. Brownell III Apprentice Program at Des Moines Metro Opera, where he sung the role of Theseus in A Midsummer Night’s Dream and covered the role of the Lawyer in Porgy and Bess. Alan Williams recently received his specialist and master's degrees in voice performance from the University of Michigan under the tutelage of Daniel Washington. He received his undergraduate degree in 2018 from Northern Arizona University, where he studied with Dr. Judith Cloud. In the summer of 2023, she reprised Lilacs with the National Orchestral Institute + Festival at Wolf Trap, and she also made her role debut as Donna Elvira in Don Giovanni with Wolf Trap Opera.
Additionally, Meachem’s Teatro alla Scala debut in Massenet’s Thaïs was acclaimed as the “most impressive performance of the evening” (Opera Online), with his portrayal of Athanaël, alongside Marina Rebeka’s Thaïs, described as “possibly one of the great duos experienced at La Scala in recent decades” (Beckmesser). Spencer de Grey, one of Foster’s senior partners, points out that his team made many decisions with acoustics in mind. So they built the hall basically of timber on concrete with hard textured plaster walls on masonry in the theater to reinforce bass response, and designed slightly convex peripheral walls to help disperse sound and prevent echoes. A large, open orchestra pit—which can be raised and lowered on two lifts—accommodates up to 100 musicians. Following Bill Winspear’s insistence that the new house be first and foremost for opera (with other kinds of performance, such as dance and touring shows taking second place), Essert aimed for a warm, voluptuous sound best suited for the mainstream 18th- and 19th-century operas featured by the Dallas company. He achieved this and more, as attested by New York Times chief music critic Anthony Tommasini, who cited the Winspear’s exceptional combination of “richness and resonance” and its bright, clear sound.
The solar canopy's louvers are arranged at fixed angles following the path of the sun. By eliminating most direct sunlight on the façade and by creating a cooler microclimate around the building, the canopy significantly reduce the energy requirements of the Winspear Opera House. The principal performance space, the Margaret McDermott Performance Hall, features retractable screens, a spacious fly-tower, a three-square stage with generous side and rear stage areas and variable acoustics. Cavaradossi is led away, and Tosca watches with increasing impatience as the exeution is prepared. When the soldiers have all left, she hurries towards Cavaradossi, only to find that he is really dead; Scarpia has betrayed her.
With Lucrezia in a concert performance of I due Foscari, she madeher highly noticed debut at the Salzburg Festival in 2017. Lexus Red Parking, beneath the Winspear, may be purchased at the entrance on the day of the performance as capacity allows. Once you exit your vehicle, wayfinding and safety signs will be prominently located in the parking garage and elevators to notify audiences how to proceed safely to the Winspear. If you prefer not to take the elevator, stairs or escalator (if operational) are alternative options. Inner Circle members will still enjoy the benefit of reserved parking on the 2nd level. The Dallas Opera performs at the Margot and Bill Winspear Opera House, located in the heart of the Dallas Arts District just steps from downtown Dallas and the Uptown neighborhood.
Ottavio and Anna appeal to Giovanni for help in their pursuit of the murderer of Anna’s father. Elvira again interrupts and warns Ottavio and Anna about Giovanni’s true nature; Anna tells Ottavio that Giovanni is the man who murdered her father. Her work in opera includes Eugene Onegin, Don Giovanni and Die Meistersinger at the Royal Opera House in London, Tannhäuser and The Tales of Hoffmann in Copenhagen and The Flying Dutchman in Helsinki. Her first large scale maze work, Mirrormaze (Peckham, London 2016), explored perforated cinema and memory and identity through reflective labyrinthine geometries. Her immense mirrored maze Forest of Us (2021) examines the striking visual symmetries between the structures within us that allow us to breathe and the structures around us that make breathing possible. Alongside work by James Turrell, it forms part of the inaugural exhibition at the new Superblue Miami arts center.
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