Performances Magazine | The Dallas Opera, October 13-21 Season

2023/2024 SEASON

PUCCINI

TOSCA OCTOBER 13–21, 2023

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9/29/23 2:05 PM

FROM THE GENERAL DIRECTOR AND BOARD CHAIR

Welcome!

Thank you for helping us begin our 2023/2024 Season!

It’s fantastic to have you back at the Winspear to help us kick off our 66th season! I’m looking forward to every aspect of it, including working with our new board chair, Quincy Roberts.

He brings deep experience with The Dallas Opera, both onstage and off.

The opening of a new opera season is one of the most exciting times for the arts. I couldn’t be happier to serve as your new board chair and build on the success of last season, when nearly 30 percent of our Winspear audiences and 60 percent of digital audiences were new to The Dallas Opera. There is still more to accomplish, though!

Tosca holds a revered place in our history, not only in the many times we have performed it but in the lineage of great Toscas who have performed the role here, including Renata Tebaldi, Magda Olivero, Maria Guleghina, and Carol Vaness.

The legendary Maria Callas, one of the world’s greatest Toscas, opened TDO’s first season in 1957 with a celebrated concert at Fair Park Music Hall. We are proud of our company’s relationship with her, and our tribute on pp. 16–17 marks the 100th anniversary of her birth.

We welcome back Ewa Płonka as Tosca and celebrate two distinguished house debuts: Joseph Calleja as Cavaradossi, a role in which he has earned international acclaim, and BBC Singer of the World Gihoon Kim as Scarpia. We think you’ll enjoy this new-to-Dallas production—thanks to designer Robert Perdziola’s meticulous attention to detail, it is absolutely gorgeous.

Emmanuel Villaume, the Mrs. Eugene McDermott Music Director, conducts Tosca as well as our next opera, the longawaited world premiere of Joby Talbot and Gene Scheer’s The Diving Bell and the Butterfly. Both are not-to-be-missed!

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COV ER: A DAPTED FRO M PH I L I P GROS H O NG/C I NC I NNATI O PERA

QUINCY ROBERTS Board Chair

I am eager to use what I’ve learned to draw new generations to opera as an art form and to this company.

As some of you know, I’ve seen TDO from many different angles. I’ve served onstage as a singer and even offstage as an usher, not to mention in other capacities.

But before I did any of that, my grandparents did something important for me: they brought me to the opera from a very young age. I’m convinced that this is the most important way to keep bringing new generations into the art form. To help do that, my company and I provide TDO’s OperaTruck, which takes family-friendly productions all over the area. If your children aren’t ready for a mainstage opera just yet, check out our Community and Family Performances! You are bound to find something just right for your child.

PH OTOS: KY LE F LU BAC KE R , G IT T IN G S

IAN DERRER The Kern Wildenthal General Director and CEO

But right now, just enjoy the opera! Thanks again for sharing this experience with us.

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TABLE OF CONTENTS

EDITOR Laura Chandler ART DIRECTOR Maya Rose Tweten

Welcome

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Tosca

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Cast List

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Synopsis

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Director’s Note

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PRODUCTION ARTIST Diana Gonzalez

First-timer’s Guide

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ADVERTISING DIRECTOR Walter Lewis

About the Artists

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Program Article

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ACCOUNT DIRECTORS Kerry Baggett, Jan Bussman, Jean Greene, Tina Marie Smith

Tribute to Maria Callas

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Spotlight: The Diving Bell and the Butterfly

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Donor Recognition

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PUBLISHER Jeff Levy ART DIRECTOR Carol Wakano PRODUCTION MANAGER Glenda Mendez

CIRCULATION MANAGER Christine Noriega-Roessler DIGITAL PROGRAM MANAGER Audrey Duncan Welch DIGITAL MANAGER Lorenzo Dela Rama BUSINESS MANAGER Leanne Killian Riggar MARKETING/PRODUCTION MANAGER Dawn Kiko Cheng Performances Magazine 3679 Motor Ave., Suite 300 Los Angeles, CA 90034 Phone: 310.280.2880 / Fax: 310.280.2890 Visit Performances Magazine online at socalpulse.com Performances Magazine is published to serve performing-arts venues throughout the West.

© 2023 California Media Group.

All Rights Reserved.

Printed in the United States.

LAND AND PEOPLE ACKNOWLEDGMENT Creating a place of belonging for everyone to experience this art form is a vital part of inspiring generations of opera lovers and honoring those who came before us. As an opera company, we are storytellers of the full human experience, and that includes the narratives we share about this land and its people.

We are on the original land of the Caddo, Wichita, and Comanche sovereign nations, whose people faced horrible treatment and policies that forced their removal from the land.

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People were also stolen from their homes in Africa, enslaved, dehumanized, and forced to build Dallas through free labor.

While none of us created these conditions, we have the opportunity, responsibility, and honor to uplift these communities through truth-telling, greater connection, and holistic celebration.

Thank you for joining us in acknowledging this land and these peoples.

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PH OTO : PH I L I P GROSH O N G/C I N C I N N AT I O P E RA

THE DALLAS OPERA

Season Sponsor: Mary Anne Cree, in memory of Rosine Smith Sammons

GIACOMO PUCCINI

TOSCA Presenting Sponsor KATHERINE AND MICHAEL E. PHILLIPS Producing Sponsor FANCHON AND HOWARD HALLAM THE CAROLINE ROSE HUNT MAINSTAGE PRODUCTION THE ELEANOR FORD PENROSE MAINSTAGE PRODUCTION LINDA AND MITCH HART SEASON OPENING NIGHT PERFORMANCE: OCTOBER 13

The 2023/2024 Season is dedicated to the memory of James R. Seitz, Jr., longtime board member and supporter.

The October 21 performance is dedicated to the memory of David G. Genecov, M.D. 4

THE DALLAS OPERA | 2023/2024 SEASON THE DALLAS OPERA | 2022 | 2023 SEASON

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presents Performance dates: October 13, 15 (matinee), 18, and 21

TOSCA Opera in Three Acts by Giacomo Puccini Libretto by Giuseppe Giacosa and Luigi Illica

This production of Tosca is a co-production of Cincinnati Opera, Detroit Opera, and l’Opéra de Montréal

Margot and Bill Winspear Opera House at the AT&T Performing Arts Center CAST IN ORDER OF VOCAL APPEARANCE

Sung in Italian with Projected English Titles

Approximate duration: 2 hours and 45 minutes including two intermissions

Originally premiered at Teatro Costanzi in Rome, Italy, on January 14, 1900

Andrew Neinaber is The Ann Stuart Stage Director

The Dallas Opera is a proud member of OPERA America

Cesare Angelotti Sacristan Cavaradossi Tosca Scarpia Sciarrone Spoletta A Shepherd Boy A Jailor

ANDREW POTTER* DALE TRAVIS JOSEPH CALLEJA* EWA PŁONKA GIHOON KIM* ERIK EARL LARSON THOMAS CILLUFFO* SRIPAL MEDARA METLA* CHRISTOPHER HARRISON

Conductor Original Director Director Set and Costume Designer Lighting Designer Assistant to Lighting Designer Guest Chorus Director Artistic Director and Conductor, GDCS Wig and Make-Up Designer Assistant Director Stage Manager Concertmaster Assistant Conductor Music Preparation

EMMANUEL VILLAUME JOSE MARIA CONDEMI ANDREW NIENABER* ROBERT PERDZIOLA THOMAS HASE KRISTA BILLINGS GEORGE GREGORY HOBBS* KIMBERLEY AHRENS DAVID ZIMMERMAN ADAM DA ROS* ANGELA TURNER AMI CAMPBELL PAOLO BRESSAN CHRISTOPHER DEVLIN SOPHIA MUNOZ Fight Director and ASHLEY WHITE Intimacy Coordinator Supertitles JERI SHAFFER Assistant Stage Managers DANIELLE BREWBAKER CAITLYNN SANDOVAL Production Assistant BENJAMIN KULWANOSKI *The Dallas Opera debut

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SYNOPSIS ACT I The Church Sant’Andrea della Valle in Rome, 1800. Noon.

Angelotti, a political prisoner, has escaped from Castel Sant’Angelo and takes cover in the church where his sister, the Marchesa d’Attavanti, has left him the key to the family chapel. He is discovered by the painter Mario Cavaradossi, a liberal sympathizer, who is painting an altarpiece. His portrait of Mary Magdalene is inspired by the Marchesa, whom he has observed in prayer. When the singer Floria Tosca, Cavaradossi’s lover, arrives, she recognizes the blueeyed Magdalene as none other than the Marchesa herself.

Tosca jealously insists that the figure should have dark eyes, like her own, and leaves the church. Soon after, a cannon shot from the prison announces Angelotti’s escape, and Cavaradossi hurries him away to hide in his country villa.

The Sacristan tells the choir of the reported defeat of Napoleon at Marengo, to be celebrated with a High Mass.

Their jubilation is interrupted by Scarpia, the feared chief of police, who arrives with his men to search for Angelotti.

Scarpia finds a fan with the Attavanti crest, part of a disguise left for Angelotti, as Tosca returns to tell Mario that she will sing for the queen that night at Palazzo Farnese.

Scarpia uses her jealousy to sow seeds of doubt about her lover and the Marchesa; as Iago used a handkerchief to manipulate Othello, he will trap Tosca with the Marchesa’s fan.

INTERMISSION

ACT II Scarpia’s apartments at the Farnese Palace. That evening.

Scarpia desires Tosca and hopes to use her lover’s arrest to force her to his will. As he dines in his room, he hears Tosca’s voice rising from the celebrations below. Spoletta arrives from Cavaradossi’s villa, having failed to find the escaped Angelotti. He has, however, arrested Cavaradossi and brings him before Scarpia.

TOSCA

Tosca, having been to the villa as well, knows that Scarpia was lying about Mario’s infidelity. She also knows the hiding place of Angelotti, which she reveals when Mario screams under torture.

Scarpia proposes a bargain to Tosca: If she will yield to him, he will spare Cavaradossi, and give them both safe conduct out of Rome. But, for political reasons, he must first hold a mock execution.

Tosca agrees, and as Scarpia prepares to collect his reward, she offers him a deadly surprise.

INTERMISSION

ACT III The battlements of Castel Sant’Angelo, high above the Tiber.

Near dawn.

Cavaradossi, awaiting execution, recalls his first night with Tosca—when the stars shone just as they do now.

Tosca arrives with the safe conduct and describes how she obtained it. A carriage is waiting, and she has brought money and her jewels. She explains that Mario will have to feign death at the hands of a mock firing squad, and coaches his acting.

The firing squad, however, is real; Scarpia has worked his evil from beyond the grave. Pursued by Scarpia’s minions, who have discovered her deed, Tosca calls on her tormentor to meet her before the Throne of God and leaps to her death.

Synopsis adapted from Opera Theatre of Saint Louis.

TDO PERFORMANCE HISTORY The company first performed Tosca in the 1965/1966 Season, with six more stagings, the last of which was in the 2015/2016 Season.

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THE DALLAS DALLAS OPERA OPERA || 2022 2023/2024 THE | 2023 SEASON SEASON

DIRECTOR’S NOTE

TOSCA Speaking of small, the second act is almost a chamber piece, a taut and tight thriller, a series of duets and trios that shift with breakneck speed from power plays to defiance to heroism to tragedy. The quick and brutal shift of power from Tosca to Scarpia and, ultimately, back to Tosca is always electrifying in the rehearsal room, and I never tire of seeing it on stage.

While it is rightly recognized as one of our greatest grand operas, I think the beauty of Tosca is in its simplicity. At its core, it is about the power struggle between three people, two who are in love with each other and one who is in love with his power over the other two. Like Sartre’s famous play No Exit (about three strangers trapped together in a room in hell), Tosca uses the simple premise of shifting power dynamics between three people to create endless dramatic possibilities.

But the simplicity of Tosca is also in its abundant, quiet detail. In my career, I have worked on this piece more than any other, both as an assistant director (once right here at The Dallas Opera) and directing it myself. I have watched many tenors struggle with the blockbuster third-act aria “E lucevan le stelle” because the nostalgia of the first half of the song clashes so stridently with Cavaradossi’s situation: he is about to be executed, and yet he takes the time to remember a specific rendezvous with his lover. It wasn’t until my seventh time doing the show that I identified the missing emotional key: Cavaradossi’s last words to Tosca before they drag him away to be murdered are “m’hai tradito, maledetta!”—“you’ve betrayed me, accursed woman!” Hardly a fitting goodbye for a love that was so strong. The aria is as much about regret and guilt as it is about losing the wonderful life he had. Every time I tell a tenor that, I see the same lightbulb go on in their heads. It’s one of many tiny, simple details in this opera that often go unnoticed, and the richness created by those details is what makes Tosca so wonderful.

Of course, there are larger issues, too, that make this opera great. Puccini’s “shabby little shocker” has everything an audience could want from a night at the theater. For starters, it has one of the only healthy, mature, established romances in the operatic canon. Instead of a naïve, burgeoning love, a torrid betrayal, or a wistful pining, we see Tosca and Cavaradossi in a loving, stable relationship from the beginning that is (aside from some jealousy issues that I think spring naturally from a performer’s insecurities) remarkably healthy. It remains so through to the end, despite the notably unhealthy circumstances.

All of this comes in the package of a true grand opera, replete with corruption, lust, political intrigue, violence, and a finale that is as eternally surprising as it is tragic. Tosca earned its place in the repertoire by cramming all these things into a slim and digestible two-hour run time without skimping on any individual element. And, it goes without saying, it also contains some of the greatest music ever composed for the stage.

I’m thrilled to bring this gorgeous, sumptuous production of one of my very favorite operas to a company very dear to me. I hope that as you are basking in the glorious music, the superb performances, and the magnificent design, you’ll also have a chance to see some of the finer details that I think make this piece truly special.

—Andrew Nienaber, Director

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Whether it’s your first visit or you consider yourself a “regular,” we’re so happy to welcome you!

Now, what did you just sit down to watch?

BEGINNER’S GUIDE TO TOSCA The good guys: Tosca, Cavaradossi The bad guys: Scarpia, Spoletta, Sciarrone (most of the men whose name begins with S)

OPERA VOCAB Opera: a dramatic work in one or more acts, set to music for singers and instrumentalists Voice Type: soprano (highest), mezzosoprano, contralto, countertenor, tenor, baritone, bass (lowest). Huge generalization here, but composers often write hero and heroine roles for the higher voice types (Tosca and Cavaradossi). Villains (the S Men), parents, and secondary roles are often written for lower voices.

Diva: in opera, diva doesn’t mean a temperamental, demanding star—it just means an enormously gifted singer.

Aria: an operatic song for a solo singer.

It derives from the Greek and Latin aer, meaning air.

TOSCA FUN FACTS!

QUICK FIRE SYNOPSIS Power, lust, and politics combine in one of opera’s tightest and most suspenseful stories.

But first, some history, which should help the story make sense. Tosca is set in Rome in June 1800, during the French Revolutionary Wars. In 1798, the French occupied Rome and formed the republic mentioned in the opera. This republic had fallen by the time of the opera, but Napoleon is fighting to regain it. The opera’s references to the war are mostly accurate.

A political prisoner, Cesare Angelotti, has escaped and is being sheltered in a church by the artist Mario Cavaradossi. Angelotti is being pursued by the nefarious chief of police, Scarpia. Convinced that Cavaradossi is helping the escapee, Scarpia manipulates the diva Floria Tosca (Cavaradossi’s lover), to bring him the artist for questioning. But Scarpia wants more than political vengeance— he wants Tosca herself (anyone see that coming?). He paws at her and tests her will as Cavaradossi is tortured in the next room. Maddened by her lover’s cries, Tosca agrees to give herself to Scarpia in exchange for Cavaradossi’s life. Scarpia shrewdly insists that a mock execution of Cavaradossi must be carried out.

But when Scarpia tries to collect on Tosca’s end of the bargain, she surprises him with a deadly double cross. Aha, but he has double crossed her as well: Cavaradossi lies dead after the “mock” execution. As Scarpia’s men rush to arrest her, Tosca does what any self-respecting diva would do—she leaps to her death from the Castel Sant’Angelo.

• Tosca probably couldn’t have leaped to her death from Castel Sant’Angelo. She would have needed a running start to clear the ledges on the outside of the castle.

• Puccini almost cut the most famous piece of music in the whole work—Tosca’s act-two aria “Vissi d’arte”—because he feared it would bring the pace to a standstill.

• If the opera wasn’t already melodramatic enough, the librettists’ original ending went way over the top, with Tosca going crazy, holding her executed lover and hallucinating that they were sailing away in a gondola.

Luckily, Puccini nixed it, as did Victorien Sardou, who wrote La Tosca, the play Tosca was based on.

• Sarah Bernhardt was the original star of the Sardou play and also of the Alexandre Dumas fils play La dame aux Camélias, the basis for Verdi’s opera La traviata.

OPERA TIP: Not sure when to applaud? This is one time when you should follow the crowd.

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THE DALLAS OPERA | 2023/2024 SEASON

P HOTO : B EN SC H IL L/ V IR G IN I A O PE RA

SOPRANO EWA PŁONKA AS TOSCA

ABOUT THE ARTISTS Emmanuel Villaume

Andrew Nienaber

CONDUCTOR

DIRECTOR

From: Strasbourg, France Dallas Opera: The Mrs. Eugene McDermott Music Director (2013/2014–present) Career highlights: Maestro Villaume has been the Mrs. Eugene McDermott Music Director of The Dallas Opera since 2013 and the music director of the Prague Philharmonia since 2015. Recognized equally for his insightful and dramatic interpretations, he regularly guests with the most important opera companies and orchestras worldwide. This season, he conducts for the Royal Opera Covent Garden, Bayerische Staatsoper, Opéra National de Bordeaux, Prague Philharmonia, and Bratislava Music Festival, among others; and at the Winspear Opera House, he conducts Tosca, The Diving Bell and the Butterfly, and Elektra. Most recently, Maestro Villaume appeared at the Metropolitan Opera for the HD simulcast of Massenet’s Cendrillon, at the Munich Staatsoper for Carmen, and at Royal Opera Covent Garden for La bohème, as well as with the Los Angeles Philharmonic and Mariinsky orchestras.

Maestro Villaume has recorded extensively with all major labels.

He studied music in Strasbourg, his hometown, and at the Sorbonne in Paris.

From: Cleveland, Ohio Dallas Opera: debut Career highlights: Andrew Nienaber is the artistic director of Permian Basin Opera.

His productions of The Barber of Seville for Piedmont Opera and Hubbard Hall Opera have been called “a rousing success” by the Winston-Salem Journal, and “legitimately hilarious” by Berkshire Fine Arts; his Elixir of Love for Resonance Works Pittsburgh was awarded the American Prize for Best Opera Performance of the Year. In 2020, he directed and served as primary puppeteer for Verdi by Vegetables, a film in which vegetables tell the life story of Giuseppe Verdi. It won the first-ever Opera America Award for Digital Excellence. His other directing credits include Tosca for l’Opéra de Montréal, Opera Idaho, Opera Birmingham, and Permian Basin Opera; Rusalka for Resonance Works Pittsburgh; The Elixir of Love for Opera Idaho, Permian Basin Opera, and Hubbard Hall Opera; Glory Denied for Penn Square Music Festival and Permian Basin Opera; Don Giovanni, La bohème, Carmen, and Macbeth for Opera Idaho; and King for a Day and The Daughter of the Regiment for Orlando Opera.

Robert Perdziola

Thomas Hase

SET AND COSTUME DESIGNER

LIGHTING DESIGNER

From: Pittsburgh, Pennsylvania Dallas Opera: Così fan tutte (2009/2010, debut) Career highlights: Robert Perdziola has designed sets and costumes for American Ballet Theatre, Asolo Repertory Theatre, Bolshoi Ballet, Boston Ballet, Finnish National Ballet, Hyogo Performing Arts Center, Lyric Opera of Chicago, Opera Australia, Boston Lyric Opera, Metropolitan Opera, Opera Monte Carlo, Saito Kinen Festival, San Francisco Opera, San Francisco Ballet, Santa Fe Opera, Signature Theatre, Shakespeare Theatre, and the Stratford Shakespeare Festival. Among these designs have been Capriccio and Il pirata for the Metropolitan Opera, Giselle for the Bolshoi Ballet, Arabella for Opera Australia, and Anna Karenina for Florida Grand Opera. In 2023, he created sets and costumes for Die tote Stadt with Opera Colorado, La bohème for Veroza Opera in Japan, and Don Giovanni for the Hyogo Performing Arts Center.

From: Sheboygan, Wisconsin Dallas Opera: La bohème (2008/2009, debut), 12 productions since Career highlights: Thomas Hase’s design work encompasses many opera companies in the United States, including the companies of Santa Fe, Los Angeles, Houston, Seattle, Boston, Philadelphia, Atlanta, and San Diego, as well as Washington National Opera at the Kennedy Center and Florida Grand Opera. In theater, his designs have been featured at Chicago Shakespeare Theater, Milwaukee Repertory Theater, Indiana Repertory Theater, the Dallas Theater Center, Cincinnati Playhouse in the Park, and the Alliance Theatre.

In New York, his work has been seen on Broadway with Company (Tony Award for Best Revival) and also Off-Broadway, and he has designed for New York City Opera and BAM Next Wave Festival.

His work abroad includes designs for the Vienna State Opera, Bayerische Staatsoper, Staatstheater Kassel, Deutsche Oper am Rhein, Theater Erfurt, and Stadttheater Giessen; the Barbican and Sadler’s Wells in London; Opera North in the UK; and numerous others. Mr. Hase has been the head of lighting design for the Cincinnati Opera Association for 28 years.

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David Zimmerman

Ewa Płonka

WIG AND MAKE-UP DESIGNER

TOSCA

From: Dallas, Texas Dallas Opera: The Barber of Seville (2006/2007, debut), 47 productions since Career highlights: David Zimmerman has worked with numerous opera companies around the world, including the Metropolitan Opera, and the companies of St. Louis, Santa Fe, Paris, Philadelphia, Chicago, Minnesota, Santa Barbara, Amsterdam, and more. His career extends to Broadway, where he has worked with such shows as Wicked, The Rocky Horror Show, Show Boat, South Pacific, and Evita. Some of his personal clients include Renée Fleming, Joyce DiDonato, Susan Graham, Patricia Racette, Martha Stewart, and Ricky Martin. Mr. Zimmerman has also worked with DIFFA Fashion Runway, Dallas Fashion and Art, and Yelp.com Fashion Magazine; credits include spreads in Opera News, Vanity Fair, and The New Yorker. TV and film credits are Glamour Magazine’s Women of the Year, Margaret (starring Anna Paquin), and Hostiles (starring Christian Bale and Rosemund Pike).

From: Prudnik, Poland Dallas Opera: Opera’s Greatest Hits!

(2021/2022, debut) Career highlights: This season, soprano Ewa Płonka stars in the title role of Turandot at La Scala and at Teatr Wielki in Warsaw, and also performs with Hamburg Opera, Deutsche Oper Berlin, and Washington National Opera.

Recent highlights include Abigaille in Nabucco at Arena de Verona and Teatro Massimo di Palermo; Aida in Národní Divadlo in Prague; Lady Macbeth in Macbeth with Deutsche Oper am Rhein; Venus in Tannhäuser with the Royal Opera Covent Garden; Elisabetta in Don Carlos with the Staatsoper Berlin; and Foreign Princess in Rusalka with the Bayerische Staatsoper. On the concert stage, Ms. Płonka performed as the soprano soloist in Rachmaninoff’s The Bells with the Nashville Symphony and in Delius’s A Mass for Life with the Grant Park Festival in Chicago. She was a featured soloist in Mendelssohn’s Elijah under conductor Sebastian Lang-Lessing with the San Antonio Symphony. Ms. Płonka is a graduate of the Juilliard School, where she earned an artist diploma in opera studies. She is also an accomplished pianist, holding several degrees in piano performance. As a concert pianist, Ms. Płonka has received multiple awards in international competitions and has performed in the United States, Poland, Israel, France, Italy, Germany, and Norway.

Joseph Calleja

Gihoon Kim

CAVARADOSSI

SCARPIA

From: Attard, Malta Dallas Opera: debut Career highlights: Joseph Calleja’s 2023/2024 season includes Rodolfo in La bohème at the Metropolitan Opera, Pollione in Norma at the Bayerische Staatsoper, Enzo Grimaldi in La Gioconda at Deutsche Oper Berlin, and Cavaradossi with the Staatsoper Unter den Linden. In concert, he will perform with the Puerto Rico Symphony Orchestra alongside Ana María Martínez and Paolo Szot at the Luis A. Ferré Performing Arts Center in San Juan. Previous highlights include the Duke in Rigoletto with the Paris Opera and the Bayerische Staatsoper; Foresto in concert performances of Atilla with the Royal Opera in London; Count Loris Ipanov in concert performances of Fedora at the Amsterdam Concertgebouw; the title roles in new productions of Faust and Les contes d’Hoffmann at the Met; Alfredo in La traviata opposite Renée Fleming; Adorno in Simon Boccanegra alongside Plácido Domingo; new productions of La bohème opposite Anna Netrebko and La traviata at the Lyric Opera of Chicago; and Maria Stuarda alongside Joyce DiDonato in concert with the Deutsche Oper Berlin. He made his Hollywood debut in 2014’s The Immigrant, in which he portrays the legendary tenor Enrico Caruso in a cast with Marion Cotillard, Joaquin Phoenix, and Jeremy Renner.

From: Gokseong, Jeollanam-do, South Korea Dallas Opera: debut Career highlights: Gihoon Kim was named BBC Cardiff Singer of the World in 2021: “winner Gihoon Kim rose highest with a velvet baritone capable of inspiring tears and awe” (The Guardian). Mr. Kim has risen to prominence following a string of international competition successes, including winning second prize and the Audience Prize at Operalia 2019, and the second prize at the 2019 International Tchaikovsky Competition. This season, he will make a string of house debuts including at the Royal Opera Covent Garden as Marcello in La bohème as well as at the Bayerische Staatsoper. On the concert platform, he will make his debut at Wigmore Hall. Last season, highlights included his US debut with Washington National Opera as Marcello in La bohème, a role in which he made his debut at the Glyndebourne Festival Opera and Korea National Opera. In future seasons, Mr. Kim will make his debut at the Metropolitan Opera and with Danish Royal Opera. He is a former member of the Junges Ensemble at Staatstheater Hannover, which he joined after his studies with Kwan-dong Kim at the Yonsei University in Seoul.

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THE DALLAS OPERA | 2023/2024 SEASON

Dale Travis

Thomas Cilluffo

SACRISTAN

SPOLETTA

From: Harleysville, Pennsylvania Dallas Opera: Tosca (2015/2016, debut), La traviata (2017/2018) Career highlights: With a repertoire encompassing over 50 roles in a wide variety of styles from Mozart, Donizetti, and Rossini to Strauss, Puccini, and Wagner, Dale Travis has been a frequent guest artist at the most prestigious opera companies in the world, including the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Houston Grand Opera, Washington National Opera, Los Angeles Opera, Santa Fe Opera, Spoleto Festival USA, the Saito Kinen Music Festival, Teatro Regio in Torino, Teatro Carlo Felice in Genoa, the Berlin Komische Oper, and the New Israeli Opera. Last season, he returned to the San Francisco Opera as the Marquis de la Force in Dialogues of the Carmelites and was presented the San Francisco Opera Medal for 34 years of exemplary artistic service with the company. This season he returns to Opera San José for its 50th Anniversary Season in the role of Dr. Bartolo in Il barbiere di Siviglia. Recent performances include La bohème with the Metropolitan Opera, Sacristan for San Francisco Opera, and the Seiji Ozawa Music Academy in Japan as Frank in Die Fledermaus.

From: Traverse City, Michigan Dallas Opera: debut Career highlights: This season, Thomas Cilluffo makes his Wagner debut in Das Rheingold as Mime with Staatsoper Stuttgart; debuts with the Royal Danish Theater in Copenhagen in Barrie Kosky’s production of Handel’s Saul as Abner/High Priest/Amalekite/Doeg; and sings Ernesto in Don Pasquale with the Lakes Area Music Festival. Recent highlights include Hadji in Lakmé and Arturo in Lucia di Lammermoor with Deutsche Oper Berlin, Monostatos in Die Zauberflöte with Teatro Regio Torino; Bardolfo in Sir David McVicar’s new production of Falstaff at the Santa Fe Opera; and, also as Bardolfo, he made a triumphant, last-minute debut at Staatsoper Stuttgart. Mr. Cilluffo was a quarterfinalist in Operalia 2022, the World Opera Competition, and the 2023 Tenor Viñas Competition. During the pandemic, he began making “Selfie-Operas,” opera scenes produced and performed entirely by him to bring opera up close and personal for people confined to their homes. For nearly a decade, Mr. Cilluffo has worked as a craftsman of bespoke conducting batons for orchestral and choral conductors around the world.

Andrew Potter

Erik Earl Larson

CESARE ANGELOTTI

SCIARRONE

From: Mansfield, Ohio Dallas Opera: debut Career highlights: Andrew Potter’s repertoire ranges from powerful roles such as Mephistopheles in Faust and Sarastro in Die Zauberflöte; to buffo roles like Bartolo in Il barbiere di Siviglia, Don Alfonso in Così fan tutte, and Don Magnifico in La Cenerentola; to agile Handelian roles including Zoroastro in Orlando, Ariodate in Serse, and Argante in Rinaldo. This season, he makes house debuts with Detroit Opera as Harašta in The Cunning Little Vixen and the Santa Fe Opera in Der Rosenkavalier. Additionally, he returns to Opera Santa Barbara as Ferrando in Il trovatore, Livermore Valley Opera as Sarastro in Die Zauberflöte, and Vero Beach Opera as the Commendatore in Don Giovanni. Recent highlights include house debuts with Seattle Opera as Abimelech in Samson et Dalila and the world premiere of A Thousand Splendid Suns, as well as Portland Opera as Vodník in Rusalka; appearances with Livermore Valley Opera as Belcore in L’elisir d’amore, Indianapolis Opera as Scarpia in Tosca, Opera Grand Rapids as the Pirate King in The Pirates of Penzance, and Pacific Opera Project for its unique take on Mozart’s Die Zauberflöte: Superflute.

From: Evansville, Wisconsin Dallas Opera: Rigoletto (2022/2023, debut) Career highlights: Recent engagements have included Le Dancaïre in Carmen under the baton on John DeMain with Madison Opera, Escamillo for Parkway Concert Orchestra, Ford in Verdi’s Falstaff for TCU Opera, as well as Figaro in Le nozze di Figaro, Sid in Britten’s Albert Herring, Maguire in Tobias Picker’s Emmeline, and Golaud in Debussy’s Pelléas et Mélisande, all for Boston University’s Opera Institute. Mr. Larson has been in the young artist programs at The Dallas Opera, Des Moines Metro Opera, Sarasota Opera, and Music Academy of the West. He has received recognition in competitions including the Metropolitan Opera National Council Auditions, the Gerda Lissner Foundation, and the Giulio Gari Foundation.

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Sripal Medara Metla

George Gregory Hobbs

SHEPHERD BOY

GUEST CHORUS DIRECTOR

From: Irving, Texas Dallas Opera: debut Career highlights: Sripal Medara Metla, eleven years old, is a classically trained treble singer from the Greater Dallas Choral Society. He has been passionate about music and singing since he was very young, leading to numerous stage and solo appearances in Dallas-area community events. Sripal began training in Carnatic music, a classical Indian form, at the age of four, and also studies piano, guitar, marimba, and viola. He made his debut ensemble performance with The Dallas Opera in the 2022 production of Humperdinck’s Hansel and Gretel and is excited to make his solo debut in Puccini’s Tosca. For five consecutive years, he has won first place in the North American Telugu Society Singing Competition. Sripal has starred in several leading roles in productions at McCoy Elementary School in Carrollton, and currently plays in the school orchestra at DeWitt Perry Middle School.

From: Dallas, Texas Dallas Opera: debut Career highlights: George Gregory Hobbs is conductor of the Highland Park Chorale, music director of Highland Park Presbyterian Church, and artistic director of the Highlander Concert Series. His choral groups have performed in numerous settings throughout the United States and Europe in concert halls, historic cathedrals, and sanctuaries. Dr. Hobbs has guest conducted such noted ensembles as the Eric Ericson Chamber Choir, Voices of Ascension, Canticum Novum, and the New York Virtuoso Singers.

He has also conducted at workshops with the Philadelphia Singers, the New World Symphony, and the Civic Orchestra of Chicago.

He has served on the faculties of the University of North Texas College of Music, Meadows School of the Arts at Southern Methodist University, and Florida International University.

His ensembles have performed for regional and national conferences of the American Choral Directors Association, and he has led interest sessions at these and other conferences.

2023/2024 THE DALLAS OPERA CHORUS SOPRANO Kristin Tallett Bittick Megan Cottle* Megan Dobbs† Marcie Ellen Duplantis† Carelle Flores Sophia Formella† Dana Francis Goodnuff Cynthia Hackathorn Stephanie Jennings Tiffanny Lynne Lopez Kristen Mata Amanda O’Toole Haichen Peng^ Helen Dewey Reikofski Judith Rodriguez Catherine Swindle

MEZZO-SOPRANO Karina Buruca-Kunda† Jessica Green Lisa Huffaker Rachel Moon Shannon Moy Silvia Paola Nuñez Jennifer Mays Resendez Denise Stom CONTRALTO Arielle Collier Avanti Dey Megan Gackle-Mobley Lisa Schlepp Susannah Woodruff

^ Substitute Regular Chorister † Auxiliary Chorister * On Leave

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THE DALLAS OPERA | 2023/2024 SEASON

TENOR David Bogaev Johnny Brown Dan Crowell Joshua Friend Jay Gardner Zach Hess Jerry Johnston Samuel PJ Lopez Mark Malloy Karl A. Martin† Ricardo Oliveros† Rick Rainey Brian Rosewell Andrew Smathers

BARITONE Clayton Kahler Brown Erik Danielson Christiön Dior Draper* Brandon J. Gibson^ Armon Golliday Tracy Herron* Uram Park^ Bobby L. Tinnion Matt Woodbury BASS Kyle Logan Hancock Christopher Harrison Donald Jones Travis Wiley McGuire Brian Post Quincy Roberts* Bryce Smith† Andrew Ward^

2023/2024 THE DALLAS OPERA ORCHESTRA FIRST VIOLIN Ami Campbell Acting, The Mary Anne Cree Concertmaster in memory of Rosine Smith Sammons Grace Kang Wollett Acting Associate Concertmaster Florence Wang Conrad Acting Assistant Concertmaster Amy Faires David Miles Wolcott Junsoo Park Paige Kossuth Natalie Floyd Samantha Bennett Lauren Haseltine^

Shawna Hamilton Assistant Principal Eric Forman Vilma Peguero Esther Seitz Craig Leffer

SECOND VIOLIN Kristin Van Cleve Principal Sondra Brudnak Assistant Principal Suneetha D'Apice Minhee Bae Emily Loh Seowon Lee Diego Campos Medina Yuhong Sun

PICCOLO Ebonee Thomas

VIOLA Liesl-Ann deVilliers Principal Katrina Smith Co-Principal Donna Hall Paul Tullis Colin Garner Meghan Birmingham Vangeli CELLO Mitch Maxwell The Catherine Brackbill Principal Cello Chair

BASS William Gowen Principal Michael Lelevich Assistant Principal Steve Brown Kirby Nunez FLUTE Helen Blackburn Principal Ebonee Thomas

OBOE Gina Ford The Eleanor Ford Penrose Principal Oboe Chair Stewart Williams ENGLISH HORN Stewart Williams CLARINET Kenneth Krause Principal Danny Goldman Forest Aten* Phillip O. Paglialonga^ BASS CLARINET Phillip O. Paglialonga^ BASSOON John Searcy Principal Shannon Highland

HORN Katie Wolber The Linda VanSickle Principal Horn Chair Jackson Prasifka* Heather Test^ Stacie Mickens^ Shelby Nugent TRUMPET John Holt Principal Rick Bogard TROMBONE Tony Baker Acting Principal The Cece and Ford Lacy Principal Trombone Chair Timothy Owner^ Eric Swanson

ASSOCIATE MUSICIANS VIOLIN Jane Escueta Kathy Johnson Amela Koci Inga Kroll VIOLA Désirée Elsevier Haojin Wang CELLO Carol Harlos Sara Hood BASS Scott Sheffler Jack Unzicker FLUTE Lance Sanford Katherine Velasquez OBOE Abigail Hawthorne BASSOON Leslie Massenburg TRUMPET Oscar Passley

BASS TROMBONE Eric Swanson

PERCUSSION Michael E. McNicholas Brad Wagner

TUBA/CIMBASSO Jeff Baker Principal

HARP Laura Brandenburg

TIMPANI Deborah Mashburn The Joan S. Reisch Principal Timpani Chair

KEYBOARDS Christopher Devlin

^ Substitute * On Leave

PERCUSSION Joe Ferraro Acting Principal Drew Lang^ HARP Barbara Biggers Acting Principal PERSONNEL MANAGER Brad Wagner MUSIC LIBRARIAN Shannon Highland

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The Eternal Allure of Tosca: Why We Keep Coming Back

By Roger Pines Giacomo Puccini’s Tosca is an opera that audiences have always craved.

So, let’s ask the question: 123 years after its January 1900 premiere (the first great opera of the twentieth century!), why do audiences for Tosca, as well as the artists who perform it, keep returning to this melodrama in which the baritone is stabbed to death, the tenor is shot, and the soprano commits suicide?

First of all, musically and dramatically Tosca is Puccini at the absolute top of his game. He’s created passionate arias for Tosca and her beloved Mario, as well as their two glorious duets, and, for villainous Scarpia, the electrifying “Te Deum” solo that ends act one (he has the fervent chorus to back him up, plus Puccini’s grandiose orchestration).

Along with those highlights are hair-raising exchanges between the characters. Those episodes include the crux of act two: Tosca’s pivotal, almost unbearably tense confrontation with Scarpia. As in all of Puccini’s finest works, he gives us riveting theatricality: the action develops with such momentum that we’re constantly on the edge of our seats, caught up in the opera from start to finish.

Audiences love the contrasts in Tosca. They can revel not just in the massive act-one finale, but in moments of amazing intimacy—for example, the end of the murder scene, when Tosca looks down at the dead Scarpia and murmurs, “And before him, all of Rome trembled.”

That line is so quiet, yet still so intense, that it burns itself in our memory.

Innumerable singers dream of appearing in Tosca, because there’s nothing more fulfilling for them than singing music where they can let

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themselves go in blazing, primary-color emotions (and what a joy that is for their audience). Clarion-voiced tenors have invariably been drawn not just to the revolutionary Mario Cavaradossi’s heartfelt music, but to his boldness and idealism. Smolderingly charismatic baritones relish singing and acting the venomous, lustful police chief, Baron Scarpia, opera’s most formidable villain.

But above all, we have Floria Tosca herself. So many qualities can be cherished in this characterization, beginning with her music. In those soaring climaxes that Puccini gives Tosca, her voice can truly lift our spirits.

But there’s also the vitality that colors every fiber of Tosca’s being. We feel her special energy from the moment we first hear her voice from offstage, calling out “Mario! Mario!” Then, when she makes that unforgettable first entrance—rushing through the church, assuming that another woman had been there with her lover, and hurling one brief accusatory line after another at him (“Why was the door locked? To whom were you speaking?”)—it’s clear that this is a strong woman who hides nothing in her emotions. But as she proceeds in their duet, it’s clear that she’s not only a fiery heroine, but also a lovable one.

Tosca’s appeal stems, too, from her being a woman for our times. Not simply a glamorous diva, she’s also a woman of agency. She has her own career, and she makes her own choices about every aspect of her life. Unlike so many female characters in opera who find themselves hopelessly caught in a patriarchal society, she’s not entirely subject to the whims of men—and how many heroines like that do we have in opera? Bellini’s Norma is one, Bizet’s Carmen is another—but how many heroines actually kill the bad guy?

THE DALLAS OPERA | 2023/2024 SEASON

TDO’s first Tosca, Renata Tebaldi, courtesy of The Dallas Opera Archives

Tosca’s situation is more relevant now than ever. Think of the #MeToo movement revealing the appalling abuse of women by men who demanded sexual favors as part of everyday business. When Scarpia tries that tactic with Tosca, she takes matters into her own hands. Her final, fateful step in attempting to save the man she loves from execution may be a desperate and spontaneous choice, yet she does it with strength and courage.

And in the end, when Scarpia’s villainy ensures a real execution for Mario rather than a simulated one, Tosca’s decision to kill herself is still a choice in favor of independence and freedom.

Beyond even the thrill of her high C’s, it’s her bravery that makes us love her and continually enriches our operatic lives.

ROGER PINES is a contributing writer to Opera News, Opera (UK), programs of opera companies internationally, and major recording labels. A faculty member of Northwestern University’s Bienen School of Music, he has also been a panelist on the Metropolitan Opera broadcasts’ “Opera Quiz” every season since 2006.

Kimberley Ahrens ARTISTIC DIRECTOR AND CONDUCTOR

Kimberley Ahrens, ARTISTIC DIRECTOR AND CONDUCTOR Migel Cantú IV, EXECUTIVE DIRECTOR The Greater Dallas Choral Society for children and youth (GDCS) was founded in 2022 to carry on the legacy of the prestigious Children’s Chorus of Greater Dallas. Under the leadership of Artistic Director and founder Kimberley Ahrens, GDCS is dedicated to giving children and youth an experience in choral artistry in a group that reflects the ethnic and economic diversity of greater Dallas.

Currently in their second season, GDCS serves over 275 singers in grades four through twelve. GDCS has five choruses, including three treble choruses for children in grades four through eight, a high school treble chorus, and a high school mixed chorus. Recently invited to perform at the 2025 National American Choral Directors Association Convention, GDCS is the official children’s chorus of The Dallas Opera.

From: McKinney, Texas Dallas Opera: Hansel and Gretel (2022/2023, debut) Career highlights: Kimberley Ahrens is a nationally recognized choral conductor, educator, and clinician with more than 20 years’ experience enriching children and youth through the study and performance of the choral arts. Recipient of the 2022 Choral Director of Distinction Award from the Texas Choral Directors Association, Ahrens is currently founding Artistic Director of the Greater Dallas Choral Society for Children and Youth.

From 2005 to 2023, Ahrens taught choir in the Texas public school system, leading her ensembles to national awards and performances at major conferences for the Texas Music Educators Association. She also served nine years as principal conductor for the Children’s Chorus of Greater Dallas.

An expert in the adolescent voice, Ahrens is regularly engaged as a clinician and guest conductor for elementary- and middle-school honor choirs throughout the United States. She has taught at the university level as an adjunct professor and guest lecturer at Southern Methodist University, Abilene Christian University, Texas Tech University, and Florida State University. She holds degrees from Texas Christian University and The University of North Texas.

Tosca Children’s Chorus Whitt James Jonah Korula Charlotte Marlowe Kane McLeod Sripal Medara Metla Holden Montgomery Conrad Moore Jackson Moore Beckett Potter Charlie Scheib

PHOTO : LYNN LANE

Caleb Aldis Samuel Aldis Frederick Berger Oliver Berger Zoe Cernoch Eitan Cisneros Mason Council Ajay Hande Elizabeth Holt Austin Howarth

GDCS Chorus in Hansel and Gretel, 2022/2023

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Divining Callas

How the Greatest Diva of All Found Her Way to The Dallas Opera

By Ian Derrer This December the opera world will celebrate the 100th anniversary of the birth of one of its most revered divas, Maria Callas. In fact, the international celebration has already begun with tributes, special programming, new books, movies, and remastered recordings.

Her life—and tragic death—continue to fascinate new generations of admirers whether they are drawn to her voice or her legendary look. She represented the highest of artistic achievements through seemingly insurmountable odds—a voice more unique than inherently beautiful, a body re-shaped through meticulous determination, and a private life that was frustratingly public.

Born in New York City in 1923, she was in top demand to perform in the United States, but rarely did so. She studied voice in Greece and eventually married an Italian industrialist, Giovanni Meneghini, who acted as her manager in the early years of her career.

As she grew more and more famous in the 1950s, Callas was unattainable for most opera companies, including the Metropolitan Opera. However, Lyric Theater of Chicago (now Lyric Opera of Chicago) secured her American debut as Norma in 1954 for its inauguration, thanks to the triumvirate leadership of Carol Fox, Nicola Rescigno, and Lawrence (Larry) Kelly. That triumvirate did not last long, however, as—in grand operatic style—a rift divided the team.

A miffed Kelly and Rescigno headed due south to start their own company in Dallas and, coincidentally, Callas never sang in Chicago again. The rest, as they say, is history.

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Undated photo of Callas with Larry Kelly in Dallas; courtesy of The Dallas Opera Archives

Enter Henry and Juanita Miller, and a host of other opera devotees in Dallas who found a way to give Kelly and Rescigno the means to start an opera company. In 1957 the company began with none other than Maria Callas as the headliner for its inaugural performance. Dallas became one of the only places in the United States to see Callas perform live, and the public grew accustomed to exceptionally high-quality opera in subsequent years.

THE | |2023 THE DALLAS OPERA 2023SEASON THEDALLAS DALLASOPERA OPERA| |2022 |2022 2023/2024 SEASON

Rescigno, as music director, was an integral part of that quality and securing the finest singers to round out the casts. Larry aimed to bring Dallas the highest level of stage directors that would assure first-rate theater. Franco Zeffirelli, who made his American debut here in 1957 directing L’italiana in Algeri, was engaged for a number of projects, including La traviata with Callas—her final staged performances of the role.

Dallas drew the opera world’s attention for securing Callas while Rudolf Bing and the Met drew headlines for firing her, over a dispute about her repertoire.

The music and productions in which she starred at TDO (Medea, Lucia di Lammermoor, La traviata) were theatrical, well-rehearsed, and innovative, but the key ingredient was Callas. Her presence was a catalyst for what the growing city could achieve and gave proof of what Texans could do.

Maria spent the last few years of her life in relative isolation in Paris. She died on September 16, 1977—three years to the day after Larry.

We remember you with grateful hearts, Maria. Thank you for sculpting our arts community in its most formative years and for helping set artistic standards we still strive to uphold. This year, new fans will be

born, listening to your recordings and watching your videos spellbound. Here in Dallas, we’ll do that too, but we will also talk to the lucky ones who still recount your Fair Park performances as if they were yesterday.

Happy birthday, La Divina— with love, from a city who knows you like no other.

Why Dallas? Quite simply, Maria’s friendship with Larry and her respect and admiration for Nicola. Larry and Maria maintained a strong relationship throughout some of the toughest years of her life. Her career suffered ups and downs and her private life was the subject of constant scrutiny, particularly during her divorce from Meneghini, her highly publicized relationship with Aristotle Onassis, and—more locally—the friendship and often barbed admiration of critic John Ardoin. Larry was always there with loving words, encouragement, new projects, and promises to produce whatever she wanted. He was a source of hope which, to an artist, is as essential as food and water.

Larry Kelly died from cancer in Kansas City on September 16, 1974, age 46. Maria’s telegram to Nicola echoes her shock and heartbreak: Destroyed by such a cruel news and by my impossibility to be present...

Really, I never found a person that has been so close to me that has believed in me and that helped me in every way possible, both artistically and as a friend. His passing away takes an irreplaceable part of me with him.

Words can never express what his death means to me as I can’t be there by stupid bureaucratic reasons like not having my passport until Friday...

Anything I can possibly do in the future, I am at your disposal. All my love, Maria.

Undated photo of Callas, courtesy of The Dallas Opera Archives

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ADMINISTRATION Ian Derrer The Kern Wildenthal General Director and CEO Emmanuel Villaume The Mrs. Eugene McDermott Music Director Nicole Paiement The Martha R. and Preston A. Peak Principal Guest Conductor

OFFICE OF THE GENERAL DIRECTOR

Thu Alsvary, Executive Assistant Quodesia Johnson, Company Culture Consultant Meghann Jones, Director of Tessitura Operations and Strategy David Lomelí, Artistic Consultant Sara Newman, HR Generalist and Occupational Health Coordinator

ADMINISTRATION & FINANCE

Kevin Figg, CPA, Director of Accounting John Harpool, Director of Financial Planning and Analysis Maria Martinez, Senior Accountant Beverley Phillips, Accounting Clerk

DEVELOPMENT

Elisabeth Galley, Director of Development Marie Facini, Institutional Giving Officer Ashley D. Harris, Major Gifts Officer Abigail Head Salmeron, Development Assistant Shawn Ingram, Interim Individual Giving Officer Krystal Kunz, Development Communications Coordinator Georgia Lahr, Event Coordinator Linda Lipscomb, Associate Director of Development Malikha Mayes, Audience Development Officer

MARKETING, SALES & PATRON SERVICES

Cindy Grzanowski, Director of Marketing, Sales, and Patron Services Megan Anthony, Patron Services Manager Valerie Bromann, Digital Marketing Manager Jordan Hammons, Patron Services Coordinator Sara Means, Performance and Ticketing Administrator Amy O’Neil, Social Media Manager Maya Rose Tweten, Graphic Designer

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THE PEROT FOUNDATION EDUCATION & COMMUNITY OUTREACH PROGRAMS Kristian Roberts, Director of Education Rebecca Britten, Education Program Manager Christopher A. Leach, Education Production Manager Audra Scott, Community Engagement Coordinator

OPERATIONS

Walker Beard, Director of Operations Robert Derby, Director of Information Technology Shannon Highland, Music Librarian Jonathan Leitch, KRPC Facility Manager Jennifer Magill, Artistic Operations Administrator Josh Martin, Ensembles Company Manager and Executive Assistant to the Music Director Erik McCullough, Technical Director Devon Patch, Company Management Assistant Jeri Shaffer, Production Manager Katherine Spellmon, Artistic Operations Coordinator Brad Wagner, Orchestra Personnel Manager Kara Zotigh, Administrator of Company Management

PRODUCTION STAFF Stage Managers Lisa Marie Lange Angela Turner

Assistant Stage Managers Danielle Brewbaker Christopher Griswold Natalie Main Caitlynn Sandoval Jennifer Shaw Miranda Wilson

Production Assistant Ben Kulwanoski Leah Anderson

THE DALLAS OPERA | 2023/2024 SEASON

Resident Design Staff

Tommy Bourgeois, Properties Designer and Costume Design Consultant Oran Wongpandid, Wig and Make-up Assistant David Zimmerman, Wig and Make-up Supervisor/Designer

Carpenters

Pat Spencer, Production Carpenter Joey Barber Keith Huston Acreston Lockett Sean Oakry Robinson Parker Enrique Ramirez Damion Scales-Tarver Anthony Woodard

Head Flyman Glenn B. Boyd

Properties

David King Boyd, Production Property Master Glenn Geaslin

Orchestra Properties

Cliff Chambers, Production Orchestra Properties Elfonso Hernandez

Electricians

Paris Gutierrez, Production Electrician Richard Buckelew, Projectionist Yevgeniya Dickson Amanda Hackney Dean Horan, Production Board Operator Forrest Howard Edward Ruiz John Shelton

Audio

Isaac Parker, Production Audio

Wardrobe

Ginger Boyd, Wardrobe Mistress Denise Olemeda, Assistant Wardrobe Mistress

Costume Shop

Scotland Ford, Assistant Costume Shop Manager Traci Hutton, First Hand

Stitchers

Jan Allison Rosa Serrano Nancy Steward

LEGAL

FORVIS, Auditor Haynes and Boone, LLP, Legal Counsel

MUSIC DIRECTOR EMERITUS Graeme Jenkins

ALL IN GOOD TIME: THE MAKING OF THE DIVING BELL AND THE BUTTERFLY “All music was once new.” We regularly hear this on NPR, because we need to be reminded that not all great music was composed decades or centuries ago. While it’s natural to keep coming back to works like Tosca, which have aced the test of time, we must remember that even Tosca was once new. We couldn’t enjoy it today if an opera entrepreneur hadn’t commissioned Puccini to write it.

That was how the art form of opera grew in the past, and that is still true today. The Dallas Opera is strongly committed to commissioning new work, and each new opera has the potential to inspire, challenge, and delight audiences generations beyond its premiere. You have a chance to become part of history when you attend The Diving Bell and the Butterfly, TDO’s seventh mainstage world premiere, in November.

We have good reason to be excited about this work because of the creative team behind it—composer Joby Talbot, librettist Gene Scheer, director Leonard Foglia, and designer Elaine McCarthy. If those names sound familiar, it’s because they are part of the same team that in 2015 brought us Everest, one of our most successful world premieres. It was so enthusiastically received that we revived it only two seasons later, and it has traveled to several other opera companies.

GENE SCHEER AND JOBY TALBOT

Creating a new opera is always risky and difficult, but the Covid pandemic forced a much more protracted journey to the stage than any opera should have to endure. Diving Bell was optimistically programmed for March 2021 as the third opera in the 2020/2021 season. You may have been one of those who looked on in dismay as the first part of that season was eroded, and then eventually entirely canceled—part of a multitude of programming changes.

When it was safe to do so, and with an abundance of testing and social distancing, we kept marching forward.

After Diving Bell was canceled in March 2021, Emmanuel managed to lead orchestral readings of the entire opera with Joby, Gene, and a few cast members. Then, earlier this year in April, we held a workshop of the kind that all new works customarily receive: the creators finally heard the opera sung in its entirety, giving them their best opportunity to imagine what it will sound like to an audience—well before rehearsals began and just in time to make any needed adjustments. As part of the workshop, a small, invited audience of supporters heard excerpts of the music sung live with piano and selections from the 2021 recording with orchestra.

Finally, here it is! Creating an opera may be risky and difficult, but it is also joyful. We hope to see you back at the Winspear in November, to share in the joy of creation and to celebrate the growth of the art form we love.

P H OTOS : CO U RTE SY O F T H E DA LL AS O P ERA A RC HI V ES ; AB OV E: K A REN A L M O ND

By Laura Chandler

Search Our Performance Archives Search over 300 productions with fabled US debuts from world-renowned artists including Dame Joan Sutherland, Montserrat Caballé, Teresa Berganza, designer/director Franco Zeffirelli, director Sir David McVicar, and costume designer Peter J. Hall. dallasopera.org/archive

A young Dame Joan Sutherland in her dressing room at The Dallas Opera.

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The Diving Bell and the Butterfly The Diving Bell and the The Diving Bell and the Butterfly Butterfly JOBY TALBOT JOBY TALBOT Composer JOBY TALBOT Composer Composer

GENE SCHEER GENE SCHEER Librettist GENE SCHEER Librettist Librettist

LEONARD FOGLIA LEONARD FOGLIA Director LEONARD FOGLIA Director Director

NOVEMBER 3–11, 2023 NOVEMBER 3–11, 2023 NOVEMBER 3–11, 2023 WINSPEAR OPERA HOUSE WINSPEAR OPERA HOUSE WINSPEAR OPERA HOUSE

GREAT SEATS FROM $19!

GREAT SEATS FROM $19!

GREAT SEATS FROM $19!

PHOTO: LUCAS MEACHEM AS JEAN-DOMINIQUE BAUBY, JOE MAZZA/BRAVELUX PHOTO: LUCAS MEACHEM AS JEAN-DOMINIQUE BAUBY, JOE MAZZA/BRAVELUX PHOTO: LUCAS MEACHEM AS JEAN-DOMINIQUE BAUBY, JOE MAZZA/BRAVELUX

From the creators of Everest comes a new opera about the inspiring true story From the creators of Everest comes a new opera about the inspiring true story From the journalist creators of Everest comes Bauby’s a new opera about the inspiring trueon story of French Jean-Dominique life-altering paralysis.

Based the of French journalist Jean-Dominique Bauby’s life-altering paralysis. Based on the of French journalist Jean-Dominique life-altering best-selling memoir, TheBauby’s Diving Bell and the paralysis.

Butterfly. Based on the best-selling memoir, The Diving Bell and the Butterfly. best-selling memoir, The Diving Bell and the Butterfly.

dallasopera.org or 214.443.1000 dallasopera.org or 214.443.1000 dallasopera.org or 214.443.1000 Presenting Sponsor: Martha Peak Rochelle Presenting Sponsor: Martha Peak Rochelle Producing Sponsor: Martha Allday Presenting Sponsor: Martha Peak Rochelle Producing Sponsor: Martha Allday Supporting Sponsors: CeCe and Ford Lacy; Greg Swalwell and Terry Connor; Producing Sponsor: Martha Allday Supporting Sponsors: CeCeDonor and Ford Lacy;of Greg Swalwell and Terry Connor; Anonymous in honor Lucas Meachem Supporting Sponsors: CeCe and Ford Lacy; Greg Swalwell and Terry Connor; Anonymous Donor in honor of Lucas Meachem Anonymous Donor in honor of Lucas Meachem

Season Sponsor: Mary Anne Cree, in memory of Rosine Smith Sammons Season Sponsor: Mary Anne Cree, in memory of Rosine Smith Sammons Season Sponsor: Mary Anne Cree, in memory of Rosine Smith Sammons

BOARD OF DIRECTORS BOARD OF DIRECTORS Martha Allday Michael Baker RuthAnn Becker (ex-officio) Randall C. Brown* Julie Buschman* Kimberly Calton Tassio Carvalho, Ph.D. Ian Derrer (ex-officio) Cindy Feld* Cynthia Floyd, Treasurer Susan Geyer, Secretary Linda W. Hart Brittani Hite Myra Hull Augustine Jalomo (ex officio) Mark H. LaRoe W. P. Andrew Lee, M.D. Thomas Maddrey Robert Maris+ (ex-officio) Ginger Martin Holly Mayer* Tom Mayer, M.D. Tom H. McCasland, Jr.* Edgar A. Morales* Marla C. Muns Teresa Nguyen Laurie Pan, Ph. D. Stephen B.L. Penrose* Michael E. Phillips Quincy Roberts, Chair Martha Peak Rochelle* Enika Schulze Richard Schulze* Linda VanSickle Smith* Darren Speir Ann Stuart, Ph. D., Immediate Past Chair Betty Suellentrop Steve Suellentrop* T. Peter Townsend John Ward* Martha Wells* Ginger White

BOARD OF TRUSTEES Kern Wildenthal, M.D., Ph.D.* Marnie Wildenthal Jill Winspear Joseph A. I. Worsham

HONORARY DIRECTORS Alice W. Bass Ruth Bison Diane Brierley John T. Cody, Jr. Linda Custard John W. Dayton Patsy M. Donosky James R. Erwin Ruben E. Esquivel Marilyn Halla Davis Hamlin Kaki Hopkins Joy S. Mankoff Richard Massman Joyce Mitchell Pat Rosenthal James R. Seitz, Jr.+ Martin J. Weiland Ann Williams

* Executive Committee Member + Deceased

Karen Almond Rick Bettinger David Boddie Roger Carroll Milene Carvalho Scott Chase John Collins Terry Connor E. Anthony Copp Jane Degler Robert Dupuy Gary Glaser Armon Golliday Howard Hallam Robert Hull Emily Jefferson Elizabeth Kimple Ford Lacy Paula Lambert Jani Lotz Julie Machal-Fulks Jay Marshall Mitch Maxwell Phyllis McCasland C.H. Moore Katie Myatt Arlene Navias Louis Navias Darryl Pounds Ella Prichard Joan Reisch Marion Rothstein Abraham Salum Carole Silverman Ashley Anderson Smith Greg Swalwell Jean Ann Titus Sarah Titus Kenneth Travis Bobbi Wedlan Weil Donna Weitzman Jane Wetzel James Wiley Debra Witter Katie Wolber

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MEMORIAL AND HONORARIUM GIFTS MEMORIALS The Dallas Opera gratefully acknowledges the receipt of gifts made in memory of:

HONORARIUMS The Dallas Opera gratefully acknowledges the receipt of gifts made in honor of:

Doris Anton Cecile P. Bonte Thomas Britt Wallace Todd Chapman Phillip Ramon Blackshear Coleman Ted Coulter David Genecov Helen Muñoz Gutierrez Johnny Boyd Isbell Plato Karayanis

Anne Barton Mr. and Mrs. Willis Cowlishaw Ian Derrer and Daniel James Joyce Dyll Alfredo C. Gurmendi Bert Headden Bob and Frieda Hudspeth Donald R. Jones Yvonne Killen Carol Levy

Ronald Mankoff Pat Pace Mitch Rofsky Alfreda Rollins Brian L. Smith Charles Steen Mrs. Barbara McGrath Stoddard Gerald Tate Joanne D. Vinocur Don Winspear

Alexander Rom Richard Schulze Jane Stringer Joby Talbot and Gene Scheer Emmanuel Villaume Raymond Vivian III Molly Wolveck Tsi Van Yu

NEW VISION INITIATIVE GIFTS TDO launched the New Vision Initiative in July 2020 to ensure a financially sustainable future for the Opera. Gifts to this effort support every aspect of the company—dynamic productions with phenomenal performers, initiatives to attract new audiences, and the expansion of TDO’s role in the community.

To date, the initiative has raised $20.8 million in gifts and pledges, and we are entering the final sprint to achieve the $30 million goal.

The Dallas Opera is most grateful to those donors who have made gifts during the campaign and we look forward to welcoming new supporters of our New Vision Initiative.

To learn more, please contact Elisabeth Galley, Director of Development, at elisabeth.galley@dallasopera.org or 214-443-1057.

$5 MILLION AND ABOVE Margot B. Perot and the Perot Family $1 MILLION – $4.99 MILLION Estate of Mary Anne Cree The Eugene McDermott Foundation Martha Peak Rochelle The O’Donnell Foundation Linda VanSickle Smith $500,000 – $999,999 Linda and Mitch Hart John Ford Lacy and Cece Smith Lacy James R. Seitz, Jr.

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$100,000 - $499,999 Anonymous Carol Franc Buck Foundation Radford and Patricia Crocker Foundation Fanchon and Howard Hallam Holly and Tom Mayer Phyllis and Tom McCasland Dr. Joan S. Reisch The Richard and Enika Schulze Foundation Martha McCarty Wells $50,000 - $99,999 Martha Allday John W. Dayton David+ and Lisa Genecov Winnie and Davis Hamlin

THE DALLAS OPERA | 2023/2024 SEASON

Hillcrest Foundation, Bank of America, N.A., Co-Trustee Greg Swalwell and Terry Connor Joanna L. and T. Peter Townsend $25,000 - $49,999 Cindy and Charlie Feld Dr. and Mrs. Mark S. Geyer The Haley Family Paula Lambert The Ruth LeVan Fund Thomas Maddrey Mr. and Mrs. Michael E. Phillips Ann Stuart, Ph.D. Betty and Steve Suellentrop Sarah L. Titus + Deceased

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FOUNDATION AND GOVERNMENT CONTRIBUTORS IMPRESARIO ($50,000+) Carol Franc Buck Foundation City of Dallas Office of Arts and Culture Fichtenbaum Charitable Trust, Bank of America, N.A., Co-Trustee Hillcrest Foundation, Bank of America, N.A., Co-Trustee Hoblitzelle Foundation National Endowment for the Arts O’Donnell Foundation Texas Commission on the Arts

LEADERSHIP CIRCLE ($20,000+) The Theodore and Beulah Beasley Foundation, Inc. The Carl B. and Florence E. King Foundation Ray H. Marr Foundation The Priddy Foundation The Rea Charitable Trust The Rosewood Foundation Stemmons Foundation TACA – The Arts Community Alliance VanSickle Family Foundation GOLD CIRCLE ($10,000+) Harry S. Moss Foundation SILVER CIRCLE ($5,000+) Mary Potishman Lard Trust

CORPORATE PARTNERS IMPRESARIO ($50,000+)

LEADERSHIP CIRCLE ($20,000+)

GOLD CIRCLE ($10,000+) Ameriprise Financial Dallas Mavericks Ernst & Young, LLP H-E-B/Central Market JPMorgan Chase & Co. Locke Lord LLP SILVER CIRCLE ($5,000+) Ben E. Keith Company G Texas Custom Catering prototype:IT Salum Restaurant BRONZE CIRCLE ($2,500+) Dallas Stage Scenery Encore Wire For more information on corporate partnerships, please contact Marie Facini at 214.443.1061 or marie.facini@ dallasopera.org.

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C R E S C E N D O THE DALLAS OPERA’S UNDER 45 PROGRAM, CRESCENDO ,

welcomes individuals from various backgrounds, ages 21-45, to mingle and learn more about opera.

YOUR $60 MEMBERSHIP INCLUDES: 2 COMPLIMENTARY TICKETS to one Wednesday or Friday showing of our Mainstage Performances

DISCOUNTED TICKETS

• $45 tickets to all Wed and Fri Mainstage Performances • 40% off tickets to all Mainstage Performances • 50% off select season-ticket packages

PRE-SHOW MIXERS

NATE REHLANDER

Tosca | Wednesday, Oct 18 The Diving Bell and the Butterfly | Fri, Nov 3 and Wed, Nov 8 Elektra | Fri, Feb 9 and Wed, Feb 14 Romeo and Juliet | Fri, Mar 1 and Wed, Mar 6

SCAN THIS QR CODE TO JOIN TODAY!

BEHIND THE SCENES ACCESS

• Invitation to one backstage tour (for 2) • Invitation to a special event surrounding the Hart Institute for Women Conductors program

For more information, connect with MALIKHA MAYES, Audience Development Officer, at CRESCENDO@DALLASOPERA.ORG or 214.443.1062!

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NEW MEMBERSHIP PROGRAM AND LECTURE SERIES CHOOSE YOUR LEVEL:

BRONZE

SILVER

GOLD

All 4 Opera Insights lectures and receptions

All Bronze benefits and your choice of one party

All Silver benefits

Opportunity to add party invites for $65/person

Opportunity to add party invites for $65/person

$60/person $100/couple

$225/person $425/couple Invites to all three parties

OPERA INSIGHTS LECTURES (held in Hamon Hall at the Winspear Opera House): Sun, Oct 8, 2023, 4pm

Legendary Toscas on The Dallas Opera Stage

Sun, Oct 29, 2023, 6pm

From Page to Stage—The Creation of a Brand-New Opera

Sun, Feb 4, 2024, 4pm

The Myth and Drama of Elektra

Sun, Feb 25, 2024, 4pm

Shakespeare’s Theatre—Conventions and Practices

All memberships also include the Bravo! newsletter, travel deals to cultural destinations, and opportunities to volunteer.

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$95/person $170/couple

SCAN THIS QR CODE TO JOIN TODAY!

For more information, connect with KRYSTAL KUNZ, Communications Coordinator, at BRAVO@DALLASOPERA.ORG or 214.443.1059!

ORPHEUS LEGACY SOCIETY

The Orpheus Legacy Society is comprised of individuals who have made a planned gift by naming The Dallas Opera in their will or estate plan. When you join the Orpheus Legacy Society you make a lasting mark on your community.

Named for the mythological poet who charmed the gods with his music and was the subject of many early operas, the Orpheus Legacy Society honors those individuals who have made an investment in the future of our company through their wills or deferred gifts.

For more information on the Orpheus Legacy Society, please contact Linda Lipscomb at 214.443.1086 or linda.lipscomb@dallasopera.org.

Anonymous (4) Martha Allday Nancy Johnson Anderson Rebecca and Michael Baker G. Ward Beaudry Mr. and Mrs. John E. Beitzel Carole Braden Diane and Hal Brierley Ms. Mary M. Brinegar Robert+ and Kay Carrel Mr. Roger L. Carroll The Carl L. Cerrato Family Scott Chase and Debra Witter Bruce Chemel Annelies Christian Patti and John Cody Phyllis M. Coit Betty Taylor Cox Grady E. Coyle, DMA Alice Cushman Anne Davidson Arlene+ and John Dayton Ms. Karen E. Keith and Mr. David A. Derr Ian Derrer and Daniel James Dr. James E. Elbaor Mr. and Mrs. James R. Erwin Susan G. Fleming Mrs. Lee Ford Dr. Gabriel and Monica Fried Lee Gibson Gary Glaser and Chris Miller Steven Gold and Merlene Walker Joan L. Goltz Ms. Gabriele Gruschkus Mr. Mario A. Gutierrez The Honorable Deborah Hankinson Frederick Hoffman and Roy Joplin Ms. Susan F. Holly Myra Barker Hull

Robert L. Hull Mac and Jana Irwin Jo Kurth Jagoda Emily A. Jefferson Dorothy and Plato+ Karayanis Judge James W. Kerr, Jr. Kyle Kerr Scott C. Kimple John Ford Lacy and Cece Smith Lacy Mrs. Robert I. Lansburgh Ms. Carol J. Levy Mrs. Mary Lysaught Ms. Julie Machal-Fulks Charles Mandernach Joy and Ronald+ Mankoff Pat Mattingly Holly and Tom Mayer Lynn McBee Michelle Mew Joyce and Harvey Mitchell Mr. and Mrs. Dwaine R. Moore III Dr. Gary and Bette Morchower Arnold R. (Andy) Mozisek, Jr. Arlene and Louis Navias Ms. Virginia G. Nerney Mr. and Mrs. Jack Oliver Mr. and Mrs. Michael A. O’Neil Neil Douglas Oxford Mr. and Mrs. Gary L. Patterson Kenneth Peck Mr. Jonathan Pell Randy D. Pierson Julian Reed Ms. Pat Rosenthal Marion Rothstein Dr. Chris Salerno Mark C. Scammel Mrs. Enika Schulze

Mr. James R. Seitz, Jr.+ Dr. B. Lynwood Simpson Ms. Renee Sterling Richard Stoddard Ann Stuart, Ph.D. John Dee Swope Barbara and Bob Sypult Jean Ann Titus Sarah L. Titus Mr. and Mrs. W. Bradford Todd Nancy Abbott Torell Dr. Robert S. Toth Ms. Sandy Tucker Jeremy D. Wance Kathy and John Ward Dona and Michael Watson Mr. Martin J. Weiland Martha Wells Jane A. Wetzel Jeanette and George Wharton Elaine Wiant Marnie and Kern Wildenthal Samuel Williams Rodney I. Woods Donna and Joe Worsham Gordon Young

+ Deceased

26

THE DALLAS OPERA 2022 2023SEASON SEASON THE | |2023 THEDALLAS DALLASOPERA OPERA| ||2022 2023/2024 SEASON

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IN REMEMBRANCE The Dallas Opera mourns the recent passing of these extraordinarily generous and committed supporters. Each one filled a special place at the Opera and in our hearts. Their loss is deeply felt.

David G. Genecov, M.D. 1963—2022

Ronald Mankoff 1931—2023

James R. Seitz, Jr.

Mark Wagenhurst

Debbie Mealue Ms. Maria Mendez Mr. and Mrs. William M. Middleton Kenneth Miller Mr. and Mrs. Mooney Mr. Ralph Morehead Ms. Robin Morgan Darren and Robin Morrissey Nan Morrow Mr. Andrew G. Nigrone Mrs. Jennifer A. O’Connell Edward Olkkola Jose Ortiz-Marrero Erdal Paksoy and Jules Sears Dr. Frank R Perez Dr. Elisabeth Joye Petr Mr. Nicholas S. Racz II Ms. Maureen Rakow Ms. Celia Reece Ms. Mary Rich Mr. Jay Roberts Mr. and Mrs. Bill Rodgers Jo Rotunno Mrs. Kathy Row Mr. Samuel Santiago Dr. and Mrs. Lawrence Schoenfeld Ms. Marcia Schwall Ms. Carmen A. Scott Odette Serrato Hannah Sharma Mr. and Mrs. James Shuster Denise Sleeper Jose Sologuren Stacy Spencer Jim Stephens Sigma Alpha Iota Dallas Alumnae Chapter Ms. Janet V. Thoele Dr. K. Alyson and Mr. Kurt Thompson Ms. Melissa Thrailkill Dr. Martin and Judy Tobey Mrs. Virginia Urban Ms. Mary Vogel Ms. Elizabeth Walley Ms. Samantha Wallings Don and Andrea Fellows Fineberg

Dr. Herbert G. Weinstein Ms. Talia Weltman-Cisneros Mr. Donald R. Wertz Mr. and Mrs. Todd White Olivia Wilson Mr. and Mrs. James Wintle Randy and Gina Wolveck Mr. and Mrs. Jeff Woodward

1935—2023

1962—2023

ANNUAL FUND DONORS MEMBER ($50+) Anonymous (7) Dr. Aaron Adair Mr. Jooyong Ahn Ms. Whitney M. Amador Barbara Anderson Ms. Maria Andrade Ms. Tatiana Androsov Mr. Pedro C. Angulo Mr. Andrew Astmann George S. Augustas Judy Babb Mr. William E. Bachman and Ms. Laura Cocharo Judy Bailey Charles Barefoot Judi and Peter Bargmann Mr. James S. Barnett Patricia J. Baudendistel Mr. Robert Behrendt Dwight Bell Mr. Joe M. Benavides Ms. Helen Boehning Mrs. Crystal Brown-Tatum Mr. and Mrs. N. R. Buckenham Ms. Jennifer E. Burgin Wende Burton James and Beth Bush Mr. Andre Canabou Robert Cantrell Dr. Arthur R. Cardona Edorta Carrascal Lekunberri, PhD Tim and Jan Casner Mr. Gary Chiang Sarah Colby Luigi and Sumico Colombo Dennis Cooper Dr. Hector R. Cordova Nancy and Barry Crossman Ms. Laura Cutler Mrs. Erica Davis Orlando De Jesus Mr. and Mrs. Louis Dellefave Dr. Robert V. DeMartini Ms. Mary Ann Duckworth Mr. and Mrs. Robert E. Dunn Frank L. Effland Judith Evans

John L. Fetters Ira Finley Linda S. Flynn Laura and Steve Freeland Carrington Giammittorio Mr. and Mrs. O’Neal Gray Lexa Gurmendi Albert Halff Mr. Jim Harmon Mr. Mark W. Harris Dana Hartman Kelli Heinzerling Ms. Mary H. Hill Mr. Daryl Hinshaw Ms. Valencia G. Hooper Connor Howard Charlene Howell Ms. Petia Lordanova Ms. Xiaoyan Jiao David Johnson Mrs. Joan Johnson Mr. and Mrs. Kerry Johnson Bryan and Lee Jones J Kelleher Dr. Judith Kirby Mr. Steve Kohn Ms. Lois Kowalsky Victor F. Kralisz Norm Krasne Mr. and Mrs. Rayner Krause Ms. and Mr. Maureen O. Kroeger Ms. Ekaterina Kuznetsova Melissa Land Ms. Inna Langer Mr. Jeff R. Lawrence Carl and Barbara Lee Dr. Moonhee Lee Ms. Catherine Leu Kyle E. Lockhart Mrs. Jennifer Luderman Billy J. Lynch Mr. Eric Markinson Ms. Patti Martin Ms. Pat J. Mattingly Ms. Susan Mayer Diane Mcada Ms. Marilyn B. McConnell Mr. and Mrs. Peter McCormick Mr. Glenn McEowen

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FRIEND ($100+) Anonymous (11) Ms. Darlene Aguilar Mr. and Ms. Mike Alessio Dr. John Avitabile Ms. Catherine L. Awtrey Marilyn Baierlipp Sarah and Steven Bartfield Mr. and Mrs. Walker Beard Yolanda Bell Roy Bergstrom Mr. Martin Berkman Michelle Beuther Mr. Shimon Braff Jennifer Brahm Mr. and Mrs. David Briggs Mr. Alex C. Brooks Chevelle Brudey Mr. Jeffry Buchmiller Rabiah Hickey Burk Julie A. Buschman Ms. Judith Calvert Bill Campbell Mr. Henry V. Campbell III Mr. Kit Campbell Ms. Amy Carpenter Ms. and Mr. Suzanne Cate Che Jen Cheng Lori and John Collins Mr. and Mrs. John Cone Mrs. Loral R. Conrad Jay Courtright Mr. and Mrs. G. M. Cullum Ms. Susan G. Davis Sharon DeFalco Greg & Cynthia DeMars Mrs. Kathleen T. Dennehy-Taylor James W. Deskins Ms. Genevieve Desmond Ms. Barbara G. Dickson TOSCA

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ANNUAL FUND DONORS (CONT’D) Dougherty Family Dr. Melvin R. Earnest and Karen Fontenot-Earnest Mr. Micah Eimerbrink Mr. Mark A. Eitzen Mrs. Debbie A. Elam Dr. Roy Ellzey Mrs. Sylvia Elton Mr. and Mrs. Lawrence Engel Haseena J. Enu Mr.and Mrs. Joe Bob Everett Ms. Joan Firra Dr. Deborah I. Friedman Nanette Gartrell Mr. Edward Gehlhausen Mr. W John Glancy Mr. Stuart Glass and Ms. Joan Davidow Mr. and Mrs. Gary Grayson Steven and Susan Haley Mr. Mark Hanna Mr. and Mrs. Charles M. Hanson Mr. William Hare Sid Harris Rosanne P. Hart Mrs. Robin Haseltine Cindy Hauser Jack W. Hawkins Geoffrey C. Hennessey Mr. Allan Hill Mr. and Mrs. John B. Holden Jr. The Rev. Virginia Holleman Ms. Margery Hunter Mr. Francisco J. Izaguirre Ms. Lynne Jackson Ms. Mary Jane Jacot Alex Jennings Mr. Christopher Johnson Ms. Quodesia Johnson Angela L. Jones Mr. and Mrs. Ron Kirk Mr. Dennis Klembara Mr. and Mrs. John Kriet The Kushner Family Dr. Fred Lagomarsino Claudia Lamberson Mr. Robert Lane Nicole LeBlanc Ms. Grace N. Ledford Mr. Moses S. Lee Nicole Leone Ms. Anita Lester Dr. M. Lewin Ms. Patricia Lindley Ms. Bernice Lindstrom Dr. Mark Hupert and Mr. Mark Lombard Robert and Ginger Loshelder Dr. Christopher Madden Mr. Thomas Maddrey

28

Mr. Charles G. Mandernach Mr. Stanley Martin Mr. and Mrs. Dan McAllen Linda McKown Jeffrey and Stephanie McLeod Ms. Robin Minick Mr. Marcos R. Moore Mr. M. Mukhtarian Mr. Patrick Nanto Frank and Brenda Nichols Dr. Marvin Noble Erik Norgello Deborah and Jim Nugent James and Kathryn Ogden Mr. Mark A. Pacheco Howard A. Parness and Luba Daneman Mrs. Carlene Peal-Sconce Mr. Francois M. Perrin Ms. Rositta Pohl Mr. and Mrs. Eliot D. Raffkind Mr. Raul Ramirez Mr. George P. Reed Carole Ann Mikoryak Mrs. Marilyn Rice Darren Rich Kelly Campbell and Clint Riley Ela and James Rix Mr. David L. Rodgers Mr. and Ms. Cullen Rogers Laura and Jeff Ruediger Cindy and Steve Russell Mr. Rodolfo Salas Jani Salyers Stanley S. Sanders Mr. and Mrs. William Sandlin Ed Sargent Robin and Susmita Sarma Mr. Michael A. Schlesser Ms. Norma Schlinger Ms. Anita Scott Mr. George Shaw Suzi Sheaffer Mr. and Mrs. David Shutler Ms. Phyllis Silver Lolita Cuellar Sims Soukup Family Ms. Merrie Spaeth Jody and Ashley Staggs Marcella Stark Mr. Bob Straka Wendy and Jeremy Strick Mr. James Strunc and Mrs. Mary Anne Gentry-Strunc Ms. Cynthia L. Sunderman Dr. Laszlo Takacs Mrs. Tania Tarjan Mr. James D. Tarr and Mr. Darren LaPorte Dr. Joshua C. Tate and Ms.

2022 | 2023SEASON SEASON THE DALLAS OPERA | 2023/2024

Lisa Hasday Cynthia and Harry Tibbals Bernard and Yawen Tiegerman Ms. Mary Carolyn Trent Dr. and Mrs. Albert Vaiser Dr. Dianna Vitanza and Donald Rose Mr. John Vitucci Benedict Voit Drs. Walter Voit and Felicity Lenes-Voit Mr. Gary Wagner Mr. Gary Webb Mr. A. E. Weynand Jonathan Whitfield Mrs. Jennifer Wintle Russell and Alice Witt Mr. Stuart Yarus and Ms. Judith Williams Mr. Marcos Yturri Mr. Phillip Zeeck Ms. Laurel Zeiss SUSTAINER ($250+) Anonymous (7) Anonymous+ Ms. Sherae Bene Ms. Carolyn Bisulca Mrs. Carol Brettell Mr. and Mrs. Frank W. Cass Mr. and Mrs. Thomas Chambers and Margaret Chambers Interiors Mr. & Mrs. John Champion Susan Chizeck and William Pervin Mr. and Mrs. Matt Clifford Mrs. Jeanne Cochran Barron Coleman Mr. Marion Cowell Ms. Kathy Daniel Malcolm and Lois Davidson Louise Delano David Fang Ms. Roberta L. Fischer and Mr. H. E. Gene Hair Lisa Guthrie Mr. Johnson M. Haning Jr Mr. John R. Harpool and Mr. Richard Gordon Mr. and Mrs. Charles E. Hasty Mr. John Hawkins Mrs. Kathleen Muldoon and Dr. Robert Hendler Rainer & Conny Herkenrath Mr. and Mrs. David Higgins Mr. and Mrs. Houston E. Holmes, Jr. Mrs. Lisa Jennings Scott Jordan & Tim Myrick Robert Kelsoe Mr. and Mrs. Kenneth Krause

Mr. John Lill and Mrs. Veletta Forsythe-Lill Limei Lin Kirsten F. Lindahl Ms. Virginia Markley Carol Ann and David McMann Dr. Margaret Phillips Gloria M. Portela Qian Family Fund Mr. and Mrs. Bernard Raden Janet and Tom Rogers Mr. Tom Rogers Ms. Kristine Ruckert Ms. Katherine Seale Elizabeth Shorey Vonda Smith Richard and Candace Stern Dr. and Mrs. James Strauss Mr. J. W. Torrance and Ms. Ann Armbrister Mr. and Mrs. Tsuruoka Mark Parker & Mark Uherek Mr. Michael W Vinocur Mr. Travis Walden Mr. Edward Wanek Mr. Peter J. Wender Ms. Karen L. Wiese C.E. and Susan Wilson Mr. Jerry Worden Meredith and John Wright, W5 Farms GUARANTOR ($500+) Anonymous (3) Dr. and Mrs. Michael Abraham Delia Esther Banchs Fr. Stephen Bierschenk Mel and Charlotte Booth Ms. Diana Briner Mr. and Mrs. Lester Coleman B. Allen Courtney Mr. Atlee Cunningham Erica and Stan Dorsett Mr. and Mrs. Steven M. England Ms. PJ Ericson Marsha Findlay Myra Franke Kyle and James Galbraith Mr. and Ms. Walter Gast Dee and Jim Genova Ray and Heather Hambrick Dr. Charles Harris Mark and Susan Heymann Dr. Christine Ho Ms. Nancy Hodge and Mr. Douglas W. Orr Kaki and Shelton Hopkins Carle and Mary Lou Howell Stephen Huff

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ANNUAL FUND DONORS (CONT’D) Mr. and Mrs. Robert Kaufman Mr. and Mrs. George Kondos Lesley Leuzinger Ms. Elva V. Lewis Mrs. Dorothy B. Leyrer Mr. Jack Logan, Jr. Peter and Lee Lorenzen Dr. Robert C. Mann Rev. Claude O. Maples and Mrs. Patricia B. Maples Mr. and Mrs. Gordon McWatt Mrs. Ciel Murphy Sarah K. Naifeh Mr. James Noonan Mr. and Mrs. Mark O’Leary Ronnie Pack Mr. and Mrs. Henry B. Paup Mr. Bryan Peeler Fred M. Penn and Dean Corbitt Pat and John Priest Ray and Martha Quigley Dick Rawlings Mr. and Mrs. Richard J. Remley Mr. and Mrs. Gill Richards Wayne Ruhter Mary Jane Rutherford Leif Sandberg Edwin and Jane Schaffler Dr. and Mrs. James C. Scott Lewis and Janet Shaw Dr. Genie and Mr. Gary Short Mrs. Tina T. Simpson Linda Siy, M.D. Janet P Smith Dr. Mabelle Sonnenschein Ms. Kristina Staley Rev. Christopher Thomas Dr. William Wadley Karen and Howard J Weiner Carl Weisbrod BENEFACTOR ($1,000+) Anonymous Greg Acker - BSBD Insurance Mr. and Mrs. Jerald Baldridge Nancy and David Bauman Mr. and Mrs. Jon Bauman Joan A. Becker Dr. Diane and Mr. David Birk Mark Blaquiere and Cathey Ann Fears Joanne L. Bober Mr. Steve Bottum Jack and Mary Bush Kelly A. Carter

Mr. and Mrs. Elliot R. Cattarulla Mr. and Mrs. Bennett W. Cervin Mrs. Iris Chang Mr. Griffin Collie Wendy Collini Betty Taylor Cox Dr. and Mrs. Robert E. Cronin Ms. Lee Cullum Timothy K. Dahlstrand Mr. and Mrs. Philip Daniel Dr. and Mrs. Alexander Douglass Mr. and Mrs. Larry Finstrom Ms. Ketty Fitzgerald Susan G. Fleming, Ph.D. Candace Faber and Andrew C. Frechtling Richard and Gaile Gertson Julia and Thomas Grace Carlos Gracia Mona and Bill Graue Mr. and Mrs. James E. Harrison Louis Harrison Mr. and Mrs. Keith Harville Drs. Ted and Shannon Hayes MD Roxanne Hayward Mr. William L. Herrera Susan F. Holly Mr. and Mrs. Ronald J. Hull Mr. Mark E. Jacobs Louise W. Kahn Endowment Fund of The Dallas Foundation Mr. Alfred Kelley Jeremiah Kelley and Patricia Turner Mr. Jon Bradley Kennedy Mr. and Mrs. Mark LaRoe Mr. and Mrs. Eric W. Laub John and Ramona Locke Ms. Margaret McAllaster Mr. and Mrs. J. Roddy McGinnis Mr. Edgar Morales Dr. and Mrs. William Morton Mrs. David M. Munson Kathy and Greg Nelson Michael and Ann Ochstein Dr. and Mrs. German A. Oliver Mr.+ and Mrs. Thomas O’Toole Susan Partridge Stanley M. Peskind Dr. and Mrs. R.V. Rege Mr. and Ms. Jacques Sardas Alan J. Savada & Will Stevenson

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Dr. Richard J. Schaar Ricki and Gabe Shapiro Edgar Sprinkle Mr. Mason McCamey and Dr. David T. Stanley Mr. and Mrs. Richard G. Stoddard Lenore Sullivan and Barry Henry Cindy Thomas Tom and Dorothy Timmins Mr. and Mrs. Richard D. Upton Mr. Robert G. Van Stryland, Jr. Mr. and Mrs. Robert Webb Bobbi and Larrie Weil Andrea and Loren Weinstein Dr. Muriel Yu INNER CIRCLE ($3,000+) Anonymous Rev. Lawrence Althouse and Ms. Katherine L. Freiberger Dr. and Mrs. Randall Askins Mr. Carlos Barroso and Dr. Kay Colbert RuthAnn Becker and Robert Maris+ Selly and Joyce Belofsky Sheryl F. and Gordon Bogen Mr. Michael Blazin Carolyn Bradley Mr. and Mrs. Anthony N. Briggle Charles and Diana Briner Mr. Joe B. Brooks Patricia C. and Robert J. Brooks Dr. and Mrs. Joseph Buchman Alicia Burkman Tassio and Milene Carvalho Evangeline T. Cayton M.D. Consuelo B. Chavez Jan and James M. Clay Mrs. Robert S. Coit Paul Corley Grady E. Coyle, DMA Amy M. Daley Ian Derrer and Daniel James Richard and Nancy (Jagmin) Dickerman Encore Wire Steven Engwall Advised Fund of The Dallas Foundation Rosemary Enrico Nancy and Jon Esber Mr. and Mrs. Ruben E. Esquivel Mr. and Mrs. Henry Exall Sarah Fry Elisabeth and Dave Galley

Mr. Larry Gay Jacqueline and Michael George Mr. and Mrs. Don Glendenning Dr. Charles and Mrs. Marcia Haley Mr. and Mrs. Ward Halla Mr. and Mrs. Andrew Halle Frederick Hoffman and Roy Joplin Suan Campbell Hughes Jolie and Bart Humphrey Melinda and James Johnson Judge James W. Kerr, Jr. Ellen Lindsey Key W. David Klempin Dr. and Mrs. W. P. Andrew Lee Will and Liza Lee Carol J. Levy and Max Spindler Robert and Susan Lorimer Julie and Michael Lowenberg Mr. Lloyd Lumpkins Mary Lysaught Nancy Wiener Marcus Sara and David Martineau Dr. James and Becky McCulley Berlene and Jarrell Milburn Don Montgomery, Jr. William and Mary Moore Dr. and Mrs. Gary C. Morchower Mr. and Mrs. Ronald Palmer Dr. Ya-hui Laurie Pan Dianne and Don Patterson Helene and Mark Parker Mr. Jonathan Pell and Mr. Cleve Schneider Caren Prothro Douglas and Jennifer Purcell Eileen and Harvey Rosenblum Dr. Christopher A. Salerno and Dr. John Dixon Ms. Carla Siegesmund Tinsley Silcox and Joseph Guzman Mr. and Mrs. William T. Solomon Dr. Stuart and Cindy Spechler William and Jacqueline Stavi-Raines Mr. and Mrs. Richard L. Stevenson Mr. and Mrs. Steven Stodghill John Dee Swope Mr. and Mrs. W. Bradford Todd Jerre van den Bent Inge and Sam Vastola Mr. and Mrs. Dennis Walo

TOSCA

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ANNUAL FUND DONORS (CONT’D) Dona and Michael Watson Mr. and Mrs. Robert J. Webb Dr. and Mrs. David R. Webb, Jr. Dr. and Mrs. George W. Wharton Robert E. and Karina Woolley SILVER CIRCLE ($5,000+) Anonymous Dr. Stephen Baker and Alberto Moreno Carol M. Barger and William D. Elliott Mrs. Thomas P. Barton Elaine and Bill Blaylock Carole Braden Mason Brown Family Foundation Carol W. Byrd Jean Tsao Chang and Kern Chang Estate of Annelies Christian Bonnie E. Cobb Dr. and Mrs. James Forman Monica Gaudioso Jason and Charlene Gladden Fred and Jerri Grunewald Mr. Brian Hackfeld Dr. and Mrs. Robert W. Haley Fanchon and Howard Hallam Robert and Frieda Hudspeth Stephanie and Hunter Hunt Jana and Mac Irwin Steven and Margaret Keirstead Dr. John and Mrs. Paulette Krause Tom Leatherbury and Patricia Villareal Barbara Thomas Lemmon Tom Norris, Sr. and Tom Norris Jr. Ms. Danna Orr The Edward Rose III Family Fund of the Dallas Foundation Jennifer and Thomas Russell The Honorable and Mrs. William F. Sanderson, Jr. Mrs. David R. Stone Mr. and Mrs. John R. Taylor, Jr. The Vice Family Foundation Donna and Joe Worsham GOLD CIRCLE ($7,500+) James R. and Carole Erwin Jenifer and Peter Flynn Charles F. Foster and Bill Maina Dr. and Mrs. John M. Haley

30

Joanna and John Hampton Adrea D. Heebe Patricia and David May Mr. and Mrs. Ronald Morrill Sarah R. Gannon and John Seddelmeyer Mr. and Mrs. John R. Taylor, Jr. PLATINUM CIRCLE ($10,000+) Anonymous Terry Barrett and Krista Tinsley Alice W. Bass Bryan and Robin Benak J. Andrew Brock Parker Crook Estate of Lois M. Durden Frances and David Ertel Christine A. Miller & Gary H. Glaser Charitable Fund at the North Texas Community Foundation Emily A. Jefferson Mr. and Mrs. Scott C. Kimple Nicole Company Kunda Foundation Ms. Paula S. Lambert Richard and Bobbi Massman Mary McDermott Cook Joyce and Harvey Mitchell Arlene and Louis Navias Mr. and Mrs. Quincy Roberts Marion Rothstein Carole and Norman Silverman Karen and Kenneth Travis Jane A. Wetzel Kimberly and Brian Williams Dr. A. Gordon Worsham DIAMOND CIRCLE ($15,000+) Anonymous Mr. Roger L. Carroll Debra Witter and Scott Chase Mr. and Mrs. William A. Custard Robert and Virginia Dupuy Mr. and Mrs. J. Davis Hamlin Mike and Judge Barbara Lynn Nesha and George Morey Ms. Marla C. Muns Mrs. Angela D. Paulos Ms. Ella Prichard Suzelle M. Smith Greg Swalwell and Terry Connor Karen and Jim Wiley Raguet Worsham

THE DALLAS OPERA | 2023/2024 2022 | 2023SEASON SEASON

LEADERSHIP SOCIETY ($25,000+) Anonymous Estate of Rosalie Alexander Michael and Rebecca Baker Deborah Mashburn and David Boddie Dr. and Mrs. Mark S. Geyer Robert L. Hull and Myra Barker Hull Dr. and Mrs. Willis C. Maddrey Estate of Polly Lou McAdams Moore Mr. James and Dr. Betty Muns Dr. Joan S. Reisch Martha Peak Rochelle Pat and Jed Rosenthal Dr. and Mrs. Thomas H. Smith Ann Stuart, Ph.D. Ms. Sandy Tucker Kathy and John Ward Martha McCarty Wells Jill and Malcolm Winspear GUARDIAN SOCIETY ($50,000+) Diane and Hal Brierley Mr. James F. Carey John W. Dayton Cindy and Charlie Feld Mr. and Mrs. John Ford Lacy The Ruth LeVan Fund Joy S. and Ronald+ Mankoff Robert E. and Jean Ann Titus Family Joanna L. and T. Peter Townsend Marnie and Kern Wildenthal DIRECTOR SOCIETY ($75,000+) Martha Allday Linda and Mitch Hart Mr. and Mrs. Stephen H. Sands PRODUCER SOCIETY ($100,000+) Holly and Tom Mayer Tom and Phyllis McCaslandCommunities Foundation of Oklahoma Stephen B. L. Penrose Mr. and Mrs. Michael E. Phillips Mr. James R. Seitz, Jr.+ Betty and Steve Suellentrop GRAND IMPRESSARIO ($1,000,000+) Margot B. Perot and the Perot Family

+ Deceased

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CREATE YOUR OWN 3-OPERA PACKAGE! Life is more flexible these days—and so are we!

Choose any performance day and the price that fits you.

214.443.1000 or dallasopera.org/cyo

FEB 9, 11, 14 & 17, 2024

PHOTO: ROBERT KUSEL/LYRIC OPERA OF CHICAGO

BY CHARLES GOUNOD MAR 1, 3, 6 & 9, 2024

PHOTO: LYNN LANE/HOUSTON GRAND OPERA

FROM THE CREATORS OF EVEREST COMPOSED BY JOBY TALBOT TO A LIBRETTO BY GENE SCHEER

PHOTO: JOE MAZZA/BRAVELUX

NOV 3, 5, 8 & 11, 2023

BY RICHARD STRAUSS

Season Sponsor: Mary Anne Cree, in memory of Rosine Smith Sammons

2023/2024 2023/2024 SEASON SEASON

FAMILY SHOWS OCTOBER OCTOBER 14 14 AND AND MARCH MARCH 10 10

GOOD GOOD STORIES STORIES ++ GOOD GOOD MUSIC MUSIC == OPERA OPERA FUN FUN FOR FOR ALL ALL AGES! AGES! TICKETS TICKETS JUST JUST $5 $5 BUY BOTH BUY BOTH SHOWS SHOWS AND AND PAY PAY $4! $4!

NOVEMBER NOVEMBER 12 12 AND AND MARCH MARCH 2 2

THE THE WINSPEAR WINSPEAR OPERA OPERA HOUSE HOUSE AT AT THE THE AT&T AT&T PERFORMING PERFORMING ARTS ARTS CENTER CENTER

DALLASOPERA.ORG DALLASOPERA.ORG || 214.443.1000 214.443.1000