Performances Magazine | The Dallas Opera, February 2022/2023 Season

FROM THE GENERAL DIRECTOR AND BOARD CHAIR

Welcome back to the 2022/2023 Season!

It is not every day that an opera company unveils a brand-new production, especially of such a revered and intimidating title. Thanks to the incredible team at The Atlanta Opera and our friends at Dallas Stage Scenery, we are doing just that here at the Winspear.

To bring Wagner’s epic Das Rheingold to life, director Tomer Zvulun and projection and set designer Erhard Rom have been planning this project for years. A long-time dream for them both, the excitement has been building from its inception.

Role debuts, not to mention TDO debuts, fill the roster of Das Rheingold, notably Nicholas Brownlee and Michael Mayes’ role debuts as Wotan and Alberich, and the TDO debuts of Amanda Echalaz as Fricka and Karen Slack as Freia.

It takes a staggering number of musicians (96!) to achieve rich, glorious soundscape Wagner imagined for this legendary tale. Be sure to look inside the pit and you will notice that it is expanded to its fullest position—aptly named the “Wagner Pit.” The Dallas Opera Orchestra and cast are led by our inimitable music director, Emmanuel Villaume, who takes the podium with all the power and nuance befitting the scale of this immense opera.

You are all in for a thrill of Wagnerian-sized proportions. Enjoy the splendor!

Welcome!

Dear friends, both familiar and new:

I welcome you to the second half of the 2022/2023 65th Anniversary Season. The fall was a vibrant time at the Winspear Opera House—full of riveting music and rapturous applause. The spectacle continues with a brand-new production of Das Rheingold, returning to the Dallas Opera stage after more than 20 years.

Wagner’s epic tale of greed, gods, myth, and magic gold has echoed through the years, even lending its popular plot to the likes of The Lord of the Rings and Game of Thrones. It is a familiar story and there is truly something for everyone.

To look around and see both new and familiar faces throughout the opera house confirms our success in building new audiences. Earlier this season, the opera offered three programs at approachable pricing: The People’s Choice Concert, A Night Under the Stars at the Arboretum, and the Holiday Concert at Cathedral Guadalupe. We will continue to offer accessible programming with the continued goal of introducing the North Texas community to opera in hopes that we see you at the Winspear in the near future.

Enjoy the performance!

PHOTOS: KYLE FLUBACKER, GITTINGS

COVER: THOMAS YOUNG, BALLPARK BLUEPRINTS

ANN STUART, PH.D. Board Chair

IAN DERRER

The Kern Wildenthal General Director and CEO

Play by Tennessee Williams

ComPosed by andré Previn

TABLE OF CONTENTS

EDITOR Shelby Homiston

ART DIRECTOR

Maya Rose Tweten

PUBLISHER

Jeff Levy

ART DIRECTOR

Carol Wakano

PRODUCTION MANAGER

Glenda Mendez

PRODUCTION ARTIST

Diana Gonzalez

ADVERTISING DIRECTOR

Walter Lewis

ACCOUNT DIRECTORS

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

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

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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.

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.

RICHARD WAGNER

DAS RHEINGOLD

Production Sponsor

Holly and Tom Mayer

Supporting Sponsors

Joanna and Peter Townsend

Sarah Titus and Tilda Morris National Endowment for the Arts

Season Sponsor

MARY ANNE CREE,

IN MEMORY OF ROSINE SMITH SAMMONS

PHOTO: PRELIMINARY SET RENDERING/ERHARD ROM

February 10, 12(m), 15, and 18, 2023

presents

This production of Das Rheingold is an original production of The Atlanta Opera Scenery built by Dallas Stage Scenery

DAS RHEINGOLD

Music and Libretto by Richard Wagner

Margot and Bill Winspear Opera House at the AT&T Performing Arts Center

CAST IN ORDER OF VOCAL APPEARANCE

Woglinde

Wellgunde

Flosshilde

DIANA NEWMAN

LINDSAY KATE BROWN*

HANNAH LUDWIG

Sung in German with projected English titles. Projected titles by Jonathan Dean.

Approximate duration: 2 hours and 25 minutes with no intermission

Soloman Howard is The Greg Swalwell and Terry Connor Featured Soloist

This project is supported in part by the National Endowment for the Arts

Originally premiered at the National Theatre in Munich, Germany on September 22, 1869

The Dallas Opera is a proud member of OPERA America

Alberich

Fricka

Wotan

Freia

Fasolt

Fafner

Froh

Donner

Loge

Mime

Erda

Conductor Director

Set and Projection Designer

Assistant Set and Projection Designer

Video Supervisor and Programmer

Costume Designer

Lighting Designer

Assistant to Lighting Designer

Wig and Make-Up Designer

Technical Consultant

Assistant Director

Stage Manager

Concertmaster

Assistant Conductor

Music Preparation

Live Action Designer

Projected Titles

Assistant Stage Managers

Production Assistant

MICHAEL MAYES

AMANDA ECHALAZ*

NICHOLAS BROWNLEE

KAREN SLACK*

PEIXIN CHEN*

SOLOMAN HOWARD*

ROBERT STAHLEY*

JOSEPH BARRON*

BRENTON RYAN

BARRY BANKS

LINDSAY AMMANN

EMMANUEL VILLAUME

TOMER ZVULUN

ERHARD ROM

LAUREN CARROLL

ERIN TEACHMAN

MATTIE ULLRICH*

ROBERT WIERZEL

CHRISTOPHER WONG

DAVID ZIMMERMAN

DREW FIELD

GREGORY BOYLE

ANGELA TURNER

ELLEN DePASQUALE

PAOLO BRESSAN

ALDEN GATT

KIRK SEVERTSON

RAN BRAUN*

JERI SHAFFER

JONATHAN CAMPBELL

ALETHA SAUNDERS

BEN KULWANOSKI*

*The Dallas Opera debut

BEGINNER’S GUIDE TO DAS RHEINGOLD

The good guys: The Rhinemaidens, Erda

The bad guys: Literally everyone else (greed does that to people)

OPERA VOCAB

Opera: a dramatic work in one or more acts, set to music for singers and instrumentalists

Leitmotif: a recurrent theme throughout a musical or literary composition, associated with a particular person, idea, or situation

The Ring cycle: a cycle of four Germanlanguage epic music dramas composed by Richard Wagner. The works are based loosely on characters from Germanic heroic legend, namely Norse legendary sagas and the Nibelungenlied.

Voice Type: soprano (highest), mezzosoprano, contralto, countertenor, tenor, baritone, bass (lowest)

Aria: a piece for one voice in an opera (a song for a solo singer). It derives from the Greek and Latin ‘aer’, meaning ‘air’.

Bravo(a): an Italian term used to celebrate a standout performance

QUICK FIRE SYNOPSIS

Alberich, a power-hungry dwarf, and Wotan, King of the Gods, are both on the hunt for the mythical Rhine gold. Whoever steals it from the Rhinemadens and forges it into a ring will be granted total world domination—what’s the worst that could happen?

Alberich gets his hands on the gold, stealing it immediately. Little does he know, Wotan also needs the gold to save his daughter. (Did we forget to mention he promised his daughter as payment to two giants in exchange for a new home?) Enter the Tarnhelm—yes, another mythical item—only this time it’s a helmet that turns the wearer into whatever shape they desire. Alberich, showing off, turns himself into a toad—an animal small enough for Wotan to kidnap (and the ring with him)! Placing the ring on his finger *strong Lord of the Rings vibes* Alberich curses future owners to a destiny of death. The giants return to collect their prize, but now they want the ring AND the Tarnhelm. Wotan agrees to the helmet but isn’t about to give up the most powerful ring in the world. However, he’s quickly reminded of the deadly curse and reluctantly hands it over. The curse claims its first victim and the gods make way to their new home, Valhalla.

DAS RHEINGOLD FUN FACTS!

• The Lord of the Rings is based on the plot of the Ring cycle—in Das Rheingold, we begin the quest for the Rhine gold, the key to ultimate power. Sound familiar?

• Wagner wrote both the music and libretto for his operas.

• The complete Ring cycle lasts almost 15 hours—don’t worry, you’re here for the shortest opera in the cycle!

• It took Wagner 26 years to complete the full cycle.

OPERA TIP: Need a bathroom break? Wagner didn’t plan for one—better go quick before the show!

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?

PHOTO: PRELIMINARY SET RENDERING/ERHARD ROM

SCENE 1

In the depths of the Rhine, the Rhinemaidens—Woglinde, Wellgunde, and Flosshilde—cavort happily. They’re surprised when the Nibelung dwarf Alberich appears. Each Rhinemaiden is wooed by him, which quickly turns to teasing mockery. Suddenly Alberich’s eye is caught by something that glows mysteriously. The Rhinemaidens ecstatically hail it as the Rhinegold. Though they protect it, they inform Alberich that anyone willing to renounce love and make a ring from the gold will become ruler of the world. Having concluded that he will get no love from the Rhinemaidens, Alberich seizes the gold and rushes away.

SCENE 2

In an open space, Wotan, King of the Gods, is awakened by his wife, Fricka. He gazes at a magnificent fortress on a rocky summit in the distance and hails it as the god’s new home. Fricka, however, is dismayed about the payment for its construction: the giants Fasolt and Fafner have built it, and Wotan has agreed that their payment would be Freia, Fricka’s sister and the goddess of youth. Wotan assures Fricka that Freia will not be handed over to the giants. Freia rushes in, begging for Wotan’s protection. When the giants appear, Fasolt informs Wotan that he and his brother have worked to give Wotan what he wants, and he must now keep his part of the bargain. Wotan is relieved by the arrival of Loge, the demigod of fire. Loge disappoints Wotan by revealing that, having wandered the earth searching for a possible ransom for Freia, he found nothing to equal her beauty and love. He tells Wotan that Alberich has stolen the gold, and that the Rhinemaidens are pleading for Wotan to restore it to them. The thought of possessing Alberich’s all-powerful ring instantly intrigues Wotan. Loge declares that he can obtain it through theft, but that will mean finding a way to subdue Alberich. The giants inform Wotan that they will accept the ring as an alternative to Freia, but until it is in Wotan’s hand, Freia will be their hostage. The instant they drag her away, the gods begin to age. Wotan and Loge descend to Nibelheim, Alberich’s lair.

SCENE 3

Down in Nibelheim, Alberich yells at his brother, Mime, who has failed to finish the magic helmet that Alberich had ordered. Realizing that Mime intended to keep the helmet for himself, Alberich grabs it from him and puts it on. Now invisible, he is able to pummel Mime mercilessly. Alberich departs, and Loge and Wotan appear. They encounter Mime, who laments that he and the other Nibelungs are now Alberich’s slaves. Mime scuttles away as

Alberich returns. The two gods flatter him, letting him know that they have come to Nibelheim to admire everything he has created, now that he has the king’s power. Alberich demonstrates the helmet’s magic by transforming himself into a dragon. When Loge asks him to become something smaller, he changes into a toad that Wotan then traps beneath his foot. Loge takes the toad in his hand, while also seizing the helmet. Transforming back, Alberich sputters with rage as Wotan and Loge drag him away.

SCENE 4

Back above Nibelheim, Alberich is now Wotan’s prisoner. When ordered to relinquish the hoard he had amassed in Nibelheim, Alberich calls to the Nibelungs, who drag up all his gold. The two gods now have the ring. Alberich resists mightily, but Wotan finally pulls the ring off his finger. Loge then informs him that he is now free, but he mocks that freedom bitterly and places a curse on the ring: that it will bring only misfortune and death to its owner.

Fricka, Donner, and Froh all now appear, welcoming the return of Wotan and Loge. The giants arrive with Freia and insist that the gold be piled before her until it blocks her from their sight. This is done, but Fasolt insists that there is a void, through which he can see her eyes. Fafner orders Wotan to fill the gap with the ring, but he refuses. Suddenly a mysterious glow brings the appearance of Erda, the earthgoddess. She urges Wotan to yield the ring, since keeping it can only lead to disaster. Wotan then agrees to the giants’ request, and Freia is restored to the gods.

The giants argue over who should take the hoard, with Fafner insisting that he should have the greater portion. At Loge’s urging, Fasolt pulls the ring away from Fafner, who strikes his brother dead, adds the ring to the hoard, and drags it all away.

Donner, god of thunder, raises his mighty hammer to dispel the mists. When the clouds lift, a rainbow bridge appears, leading to the fortress, which Wotan greets with joy. Naming it Valhalla, he invites Fricka to live with him there. Loge suddenly hears the Rhinemaidens in the depths of the river, singing for their gold. Loge orders them to stop their wailing, suggesting that they let the gods’ new radiance shine on them instead. Wotan, Fricka, and the other gods cross the bridge to Valhalla, their new home.

Synopsis by Roger Pines

TDO PERFORMANCE HISTORY

The company has performed Das Rheingold two times in the following seasons: 1982/1983 and 1998/1999.

“The incomparable thing about myth,” wrote Wagner, “is that it is true for all time. Its content through utmost compression is inexhaustible for all time.”

The mythic compression that Wagner talks about is fundamental to our concept of the Ring. Our production does not reduce the Wagnerian world to a specific time and place, but rather creates a timeless, mythological world that highlights an alternative reality of fantasy and myth.

The common trend in productions of the Ring from the late 20th century was to update the story and place it in a specific period. I understand the instinct that the Ring is an expression of a human condition and, therefore, adaptable across the scope of human history. I have seen versions of the Ring in which its gods and monsters were transposed to the industrial revolution, the gilded age, the holocaust, and modern time Las Vegas—some of these settings have made more sense than others.

More often than not though, the plot lines, the characters, the themes in this sprawling masterpiece don’t always correspond to analogous figures of a specific moment in history and something is lost.

With time, I found myself craving a world that will not limit the Ring to one specific time period or location but explore the story through its grand themes and characters. After all, Wagner intuited the connection between mythology and psychology long before Freud and Jung showed up. Back to the quote of the Wagnerian idea of compressed mythology at the beginning of this article. Wagner’s 19th century approach finds a renaissance lately with contemporary writers and creators. Stephen Fry’s brilliant books Mythos and Heroes and Neil Gaimen’s Norse Mythology, the Marvel multiverse, and The Lord of the Rings films provide examples of archetypes as timeless and

universal. When stories remain mythological, they become anti-fragile—they resist the danger of becoming dated. So, what is the point of the Ring? I have been studying it for a couple of decades and I find it impossible to summarize Wagner’s rich and complex world. To those who choose to delve into it, the Ring opens a door to an endless world of philosophy, mythology, psychology, and history of the most intricate nature. However, if someone forced me to boil down the story, I would say that the Ring is ultimately about two conflicting forces: nature vs. power.

One is forever constant, the other temporary. The two major characters in the Ring, Wotan and Alberich, personify the dangers associated with lack of moderation. They are both trying to escape their mortality by amassing wealth, property, and power and the clash between them leads to disaster and their ultimate demise. Power, wealth, and material property eventually disintegrate and fall apart. What remains is nature: mountains, forest, water, sun, love.

The world we hope to create is shaped by the ultimate idea that everything in life must end at some point. Whether a slow decay or abrupt explosion, this ending is unavoidable. Nonetheless our existence consists of a series of escape attempts: make more money, gather more power, read more books, visit more cities.

I’d like to finish with a quote from one of my favorite movies Moonstruck. During the film, Olympia Dukakis, who is playing a character of a woman that is struggling with her husband’s infidelities, wonders why men cheat. She is told that the reason is that they are probably scared of dying. So, she stops her husband in the hallway and tells him a simple, blunt truth: “I just want you to know that no matter what you do, you’re still gonna die! Just like everyone else.”

Everything must end. That has been the truth since the dawn of the cosmos, and it balances the harmony of the natural world. Our futile attempts at avoiding this truth manifest in our demons, desires, and disruption of this order. Given a realm of unlimited boundaries, the Ring can encompass a complete mythology of this timeless conflict.

—Tomer Zvulun, director

PHOTO: PRELIMINARY SET RENDERING/ERHARD ROM

ABOUT THE ARTISTS

Emmanuel Villaume CONDUCTOR

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 for his interpretation of the French and Italian repertoire, he regularly guests with the most important opera companies and orchestras worldwide. Most recently, Maestro Villaume appeared at the Metropolitan Opera for the HD simulcast of Massenet’s Cendrillon, at the Munich Staatsoper for Carmen, in Covent Garden for La bohéme, 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.

Tomer Zvulun DIRECTOR

From: Tel Aviv, Israel

Dallas Opera: Die Fledermaus (2008/2009, debut), La bohéme (2018/2019), Rigoletto (2022/2023)

Career highlights: General and Artistic Director of The Atlanta Opera since 2013, his work has been presented by prestigious opera houses around the world, including the Metropolitan Opera, the opera companies of Israel, Buenos Aires, Wexford, Glimmerglass, Houston, Washington National Opera, and Seattle, as well as leading educational institutes and universities such as The Juilliard School, Indiana University, Boston University, and IVAI in Tel Aviv. Zvulun’s work at The Atlanta Opera attracted international attention by earning numerous awards and prizes including the nomination of The Atlanta Opera for the International Opera Awards in London and the selection of his production of Silent Night as both the Irish Times and AJC production of the year. His focus on innovation led to an invitation to deliver a TED talk as well as a case study that is being taught at Harvard Business School. Upcoming productions include Madame Butterfly (Atlanta), The (R)evolution of Steve Jobs (Salt Lake City, Calgary), Maria de Buenos Aires (San Antonio), Das Rheingold, and Die Walküre (Atlanta).

From: Seattle, Washington Dallas Opera: La bohéme (2018/2019, debut), Rigoletto (2022/2023)

Career highlights: Mr. Rom has designed settings for more than 250 productions and in 2015 he was named as a finalist in the designer of the year category for the International Opera Awards in London. His designs have frequently been featured in the Prague Quadrennial International Design exhibition, San Francisco Opera, Royal Swedish Opera, Seattle Opera, Washington National Opera, Houston Grand Opera, Vancouver Opera, Glimmerglass Festival, Opera Theatre of St. Louis, Minnesota Opera, and many more. In 2014 he designed the European premiere of Silent Night for the Wexford Festival. The Irish Times Theatre Awards named it audience choice and best opera production of 2014. Mr. Rom teaches design at Montclair State University.

From: San Diego, California

Dallas Opera: debut

Career highlights: Ms. Ullrich is known for large scale, character-driven designs that focus on rich storytelling. You may have seen her work at LA Opera, Norwegian Opera, Theater an der Wien (Vienna, Austria), Palau des les Artes (Valencia, Spain), Washington National Opera, Opéra de Montréal, and Opera Philadelphia, among many others. Opera highlights include the world premiere of David T. Little’s JFK (Fort Worth Opera and Opéra de Montréal), The Israeli Opera’s Gulio Cesare performed in the medieval Crusader Fortress (Acco, Isreal), an award-winning production of Phillip Glass’ Satyagraha at The Ekaterinburg State Theater (Russia) and the Bolshoi (Moscow), and I due Foscari (co-production LA Opera, The Royal Opera House), Theater an der Wien, and Palau des Artes. Notable theater designs include The Starry Messenger with Mathew Broderick, The Pride directed by Joe Mantello (Wicked), Fault Lines directed by David Schwimmer (Friends), and Things We Want directed by Ethan Hawke.

Erhard Rom SET AND PROJECTION DESIGNER

Mattie Ullrich COSTUME DESIGNER

From: Branford, Connecticut

Dallas Opera: Les contes d’ Hoffmann (2005/2006, debut), La bohéme (2018/2019), Rigoletto (2022/2023)

Career highlights: Mr. Wierzel has worked with artists and directors from diverse disciplines and backgrounds, in opera, theatre, dance, museums and contemporary music, and on stages throughout the country and abroad. His NYC Broadway productions include Lady Day at Emerson’s Bar & Grill, the musical FELA! (Tony Award nomination) and David Copperfield’s Dreams and Nightmares. Mr. Wierzel has designed productions with opera companies in New York (Glimmerglass Festival, NYCO), Paris, Tokyo, Norway, Toronto, Vancouver, Wexford, Atlanta, Boston, Seattle, Houston, Dallas, Portland, Denver (Opera Colorado), Washington D.C, Minneapolis and Chicago (Lyric Opera & Opera Theatre), among others. Future projects include a new musical A Walk On The Moon. Mr. Wierzel is a creative partner at Spark Design Collaborative and is on the faculty of NYU Tisch School of the Arts, Design For Stage & Film.

From: Dallas, Texas

Dallas Opera: The Barber of Seville (2006/2007, debut), 44 productions since 2006/2007

Career highlights: Mr. Zimmerman has worked with numerous opera companies around the world, including the Metropolitan Opera, and those of St. Louis, Santa Fe, Paris, Philadelphia, Chicago, Minnesota, Santa Barbara, Amsterdam, and more. His career extends to Broadway, where he has worked on such shows as Wicked, Rocky Horror, 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: Mobile, Alabama

Dallas Opera: La bohéme (2018/2019, debut)

Career highlights: Mr. Brownlee is a first prize winner of the Hans Gabor Belvedere Singing Competition, winner of the Zarzuela prize at Operalia, and a grand prize winner of The Metropolitan Opera National Council Auditions. He begins the 2022/2023 season with a return to the Ensemble at Oper Frankfurt for Die Meistersinger von Nürnberg and Don Giovanni. Additional season engagements include returns to Bayerische Staatsoper for Der Freischütz and the Santa Fe Opera for the title role in Der fliegende Holländer. Last season at Oper Frankfurt, Mr. Brownlee was seen in Salome, Oedipus Rex, Die Frau ohne Schatten, Fedora, Król Roger, Rigoletto, and Bluebeard’s Castle. Additional engagements included debuts with Bayerische Staatsoper for La bohème, Wiener Staatsoper for Anna Bolena, and La bohème, and returns to the Metropolitan Opera for La bohème, Opernhaus Zürich for Simone Boccanegra, and the Santa Fe Opera for Tristan und Isolde.

From: Durban, South Africa

Dallas Opera: debut

Career highlights: Ms. Echalaz has appeared at leading opera houses, such as the Royal Opera House, the Metropolitan Opera, Lyric Opera of Chicago and Sydney Opera House. She has sung the title role of Tosca for the Royal Opera House Covent Garden, Sydney Opera House, Opera National du Rhin, Staatsoper Berlin, Salzburg Landestheater, Semperoper Dresden, English National Opera, Opera Holland Park and Santa Fe Opera. Appearances include Cio-Cio-San/Madama Butterfly, Ariadne/Ariadne auf Naxos, Ker in the world premiere of Birtwistle’s The Minotaur, Lucia in the world premiere of Ades’ Exterminating Angel, Tatyana/Eugene Onegin, title role/Manon Lescaut, title role/ Salome, Elisabetta/Don Carlos, Amelia/Un Ballo in Maschera, and Maddelena/Andrea Chenier. Ms. Echalaz recently made her role debut as La Gioconda for Grange Park Opera and Lady Macbeth/ Macbeth for New Zealand Opera.

Robert Wierzel LIGHTING DESIGNER

Nicholas Brownlee WOTAN

Amanda Echalaz FRICKA

David Zimmerman WIG AND MAKE-UP DESIGNER

From: Cut’n’Shoot, Texas

Dallas Opera: Great Scott (2015/2016, debut), Everest (2016/2017)

Career highlights: Mr. Mayes enjoys a celebrated operatic career in both traditional and contemporary roles with theaters throughout the United States and Europe. In the 2022/2023 season, Mayes returns to The Atlanta Opera as the title role in the US Premiere of Bluebeard’s Castle, makes his role and company debut as Mr. Potter in It’s a Wonderful Life at English National Opera, and sings the title role in Saint François d’Assise by Olivier Messiaen at Staatsoper Stuttgart. Mr. Mayes recently debuted the role of Captain Von Trapp in The Sound of Music and reprised his role as Daddy in Taking Up Serpents, both at The Glimmerglass Festival.

Brenton Ryan LOGE

From: Sedalia, Missouri

Dallas Opera: La traviata (2017/2018, debut), Der Ring des Polykrates (2017/2018)

Career highlights: The 2022/2023 season sees Mr. Ryan make his house debut with Bayerische Staatsoper as Pedrillo in Die Entführung aus dem Serail, Missail in Boris Godunov, and Second Jew in Salome, as well as his house debut with the Royal Opera House as Monostatos in David McVicar’s production of Die Zauberflöte. Mr. Ryan also returns to the Metropolitan Opera as Monostatos in the new Simon McBurney staging of Die Zauberflöte and a reprise of Spoletta in Tosca.

From: Sioux Falls, South Dakota

Dallas Opera: Arjuna’s Dilemma (2016/2017, debut), Le coq d’or (2019/2020)

Career highlights: Ms. Ammann returns to the Ensemble of the Bayeriche Staatsoper for the 2022/2023 season where she will appear in revivals of La Fanciulla del West, Elektra, Die Zauberflöte, Die Fledermaus, Eugene Onegin, Die Teufel von Loudun, and Rusalka Last season, Ms. Ammann joined the Ensemble at the Bayerische Staatsoper where she was seen in new productions of Das schlaue Füchslein, Les Troyens, and Die Teufel von Loudun and revivals of Il trittico, Falstaff, and Die Zauberflöte. Recent engagements include a return to The Dallas Opera for The Golden Cockerel with Emmanuel Villaume, the Metropolitan Opera for Suor Angelica and Gianni Schicchi conducted by Bertrand de Billy, Washington National Opera for Eugene Onegin, a debut at Madison Opera in Rusalka, a return to the Opera Theatre of Saint Louis for Rigoletto, and a debut at the Seiji Ozawa Matsumoto Festival in Eugene Onegin.

From: Hulunbuir, China

Dallas Opera: debut

Career highlights: Performances of the 2022/2023 season include The Magic Flute at the Metropolitan Opera, La bohème at Washington National Opera, and Don Carlos with Lyric Opera of Chicago. Highlights of Mr. Chen’s recent seasons include Aufstieg und Fall der Stadt Mahagonny at Festival d’Aix en Provence, The Magic Flute and Don Giovanni at the Metropolitan Opera, Aida at Los Angeles Opera and Cincinnati Opera, Rigoletto at Santa Fe Opera and, with his home company, Houston Grand Opera, productions of Turandot, Norma, The Magic Flute, and Il barbiere di Siviglia.

Michael Mayes

Lindsay Ammann ERDA

Peixin Chen FASOLT

From: Washington, D.C.

Dallas Opera: debut

Career highlights: This season Mr. Howard makes his Royal Opera House debut in Aida and also performs Don Carlos at Lyric Opera of Chicago, The Magic Flute at the Metropolitan Opera, and Approaching Ali with Opera Las Vegas. Highlights of the recent past include La bohème and Aida at Teatro Real, Simon Boccanegra at Opéra national de Bordeaux, Turandot, Don Giovanni, Tosca, and Fidelio at San Francisco Opera, Luisa Miller at English National Opera and Lyric Opera of Chicago, and productions of Der Ring des Nibelungen, Show Boat, Don Giovanni, and Philip Glass’ Appomattox at Washington National Opera.

From: Philadelphia, Pennsylvania

Dallas Opera: debut

Career highlights: Ms. Slack’s 2022/2023 season includes the world premiere of Shawn Okpebholo’s Freedom on the Move: Songs in Flight, developed by Sparks & Wiry Cries, alongside Rhiannon Giddens with Philadelphia Chamber Music Society at The Kimmel Center, and at The Metropolitan Museum of Art; performances in Austin and Portland with the Miró Quartet, and in Cincinnati and Albany with the Pacifica Quartet; a recital in Fort Worth with pianist Michelle Cann and at Cal Poly Arts with organist Alan Morrison; featured soloist with the Nashville Symphony and Oklahoma City Philharmonic in two world premieres by Hannibal Lokumbe; Beethoven’s Egmont at Carnegie Hall with Orpheus Chamber Orchestra; Beethoven’s Ninth Symphony with the Fresno Philharmonic; and titled roles in productions at Portland Opera and Edmonton Opera.

From: Groveland, Massachusetts

Dallas Opera: debut

Career highlights: Mr. Stahley will appear in the 2022/2023 season at Utah Opera singing Erik in Der fliegende Holländer, Cavaradossi in Tosca with Opera Theatre of St. Louis, Siegmund in Jonathan Dove’s reduction of Die Walküre with Opera Santa Barbara, Melot and the Young Sailor in Tristan und Isolde with the LA Philharmonic, Leukippos in Daphne with the American Symphony Orchestra at Carnegie Hall, and Verdi’s Requiem with the Bakersfield Symphony. A recent graduate of the Domingo-Colburn-Stein young artist program at LA Opera, he performed Walther in Tannhäuser, Le Berger in Stravinsky’s Oedipus Rex, Valcour in L’Amant Anonyme, and First Armored Man in Barrie Kosky’s famed production of Die Zauberflöte. In the 2021/2022 season, Mr. Stahley performed Jupiter in Semele with Opera Santa Barbara, Narraboth in Salome with Bard Festival, and Beethoven’s Symphony No. 9 and a concert of opera favorites with Dayton Performing Arts.

From: Pittsburgh, Pennsylvania

Dallas Opera: debut

Career highlights: Mr. Barron recently returned to San Francisco Opera to cover Leporello in Don Giovanni, the Metropolitan Opera to cover the title role in Le nozze di Figaro as well as the Police Officer in Boris Godunov, made his role and company debut as Don Pizarro in Fidelio with Opera North Carolina, reprised Bartolo in Il barbiere di Siviglia at Finger Lakes Opera and made his role debut as Colline in La bohème with Charlottesville Opera. Upcoming engagements include debuts with The Atlanta Opera as Donner in Das Rheingold, returning to the Metropolitan Opera to cover Swallow in Peter Grimes and Monterone in Rigoletto, and returning to Charlottesville Opera as Baron Zeta in The Merry Widow.

Soloman Howard FAFNER

Joseph Barron DONNER

Robert Stahley FROH

Karen Slack FREIA

From: Stoke-on-Trent, England

Dallas Opera: Le coq d’or (2019/2020, debut)

Career highlights: Mr. Banks’ 2021/2022 season saw a triumphant return to the Metropolitan Opera singing the role of Hades in Matt Aucoin’s acclaimed new opera Eurydice, earning him the highest of praise from audiences and critics alike. Notable operatic roles have included Arnold (Guillaume Tell) at Welsh National Opera, the title role in Mitridate, re di Ponto at the Bayerische Staatsoper, Ernesto (Don Pasquale) at the Royal Opera House, Covent Garden, Nemorino (L’elisir d’amore) at the Metropolitan Opera and Oreste (Ermione) at the Santa Fe Festival. During a long association with English National Opera, Banks has appeared in a string of new productions and roles including Tom Rakewell (The Rake’s Progress), Edgardo (Lucia di Lammermoor), Hoffmann (The Tales of Hoffmann) and the Duke of Mantua (Rigoletto).

From: Malibu, California

Dallas Opera: Die Zauberflöte (2019/2020, debut)

Career highlights: Ms. Newman begins her 2022/2023 season with the Baltimore Symphony Orchestra as the soprano soloist in Bernstein’s Kaddish Symphony. She returns to The Dallas Opera later in the season as Despina in Così fan tutte. In the 2021/2022 season, Newman made her Metropolitan Opera debut as Papagena in Die Zauberflöte, as well as covered the role of Echo in Ariadne auf Naxos. She also joined the Alabama Symphony Orchestra as the soprano soloist in Beethoven’s Ninth Symphony and sang the leading role of Clara in The Light in the Piazza with Central City Opera.

From: Waterloo, New York

Dallas Opera: debut

Career highlights: Ms. Brown’s 2022/2023 season includes concert debuts in both Verdi and Mozart’s Requiem with South Florida Master Chorale and New Choral Society respectively, and her conducting debut in Amahl and the Night Visitors with Tri-Cities Opera and Syracuse Opera. Recent engagements include: covers of the Inkeeper (Boris Godunov), Big Stone (Eurydice), and Marcellina with the Metropolitan Opera, covers of Minkswoman and Stewardess (Flight) with The Dallas Opera, Hippolyta (A Midsummer Night’s Dream) and Marcellina with Santa Fe Opera, and Giovanna (Rigoletto), Gertrude (Hansel and Gretel), and covers of Léonor (La favorite) and Herodias with Houston Grand Opera. An avid competitor, Ms. Brown has competed and placed in competitions hosted by The George London Foundation, The Metropolitan National Opera, Opera Columbus, and Houston Grand Opera. Ms. Brown founded United in Opera, an organization dedicated to mentoring the opera community, in December 2020.

From: Sacramento, California

Dallas Opera: Die Zauberflöte (2019/2020, debut)

Career highlights: Ms. Ludwig’s 2022/2023 season includes Isabella/L’italiana in Algeri (Eroica Berlin), Maddalena/Rigoletto (Utah Opera), Calbo/Maometto II (Teatro Nuovo), and, on the concert stage, Elgar’s Sea Symphony (Colorado Symphony) and Handel’s Messiah (National Symphony Orchestra, Las Vegas Philharmonic). Her recent performances include Pippo in La gazza ladra, Rosina in Il barbiere di Siviglia, and Isaura in Tancredi (Teatro Nuovo), Alisa in Lucia di Lammermoor (Opera Philadelphia), the District Attorney in Central Park Five (Portland Opera), Dritte Dame in Die Zauberflöte (The Dallas Opera), Giovanna Seymour in Anna Bolena (Baltimore Concert Opera), and excerpts of Adalgisa in Norma (Sacramento Philharmonic).

Diana Newman WOGLINDE

Hannah Ludwig FLOSSHILDE

Lindsay Kate Brown WELLGUNDE

Barry Banks

THE MIRACLES OF DAS RHEINGOLD

Mining musical and dramatic gold in the first of Wagner’s Ring operas

By Roger Pines

In his memoirs, Richard Wagner recalls that while visiting an Italian seaside resort, he suddenly felt as if he were in a dream, “sinking in swiftly flowing water. The rushing sound formed itself in my brain into a musical sound, the chord of E-flat major, which continually re-echoed in broken forms.” At that moment, the composer realized that he’d found the kernel for the prelude to Das Rheingold

Beginning in the lowest strings and developing through the entire orchestra, Wagner’s mesmerizing E-flat chord launches Der Ring des Nibelungen (The Ring of the Nibelung), the cycle of four operas collectively identified by Wagner as “Ein Bühnenfestspiel für drei Tage und einem Vorabend” – “A stagefestival-Play to be produced on three days and a fore-evening.” The “foreevening” is Das Rheingold, and there’s never been a more thrilling preamble for any work of art. It sets the drama of the Ring in motion, introducing us to enthralling characters who burst into life through music of dazzling individuality and imagination. The only Ring opera written in a single act, Das Rheingold thrills in its sheer momentum, both musically and theatrically.

It’s surprising to think that Wagner’s creative process for the Ring included writing the texts of the Ring operas backwards, in terms of the actual plot: Götterdämmerung, the fourth opera— ending with the hero Siegfried’s death and the gods’ destruction, and the

birth of a new world—was written first, with Das Rheingold last. Wagner did compose the four scores in order, with Rheingold finished in late summer of 1854. Audiences, however, didn’t experience it until its world premiere in Munich 15 years later.

The Ring cycle was the product of a genuine obsession: Wagner’s interest in Germanic and Nordic mythology, in which he immersed himself for most of the 1840s. In doing so, he embodied a trend that had taken hold in Germany since the dawn of Romanticism: a renewed interest in the nation’s heritage of myths, which artists and intellectuals hoped to reinterpret, finding a new meaning for their own time. Myths presented Wagner with an enormous range of human behavior, as well as innumerable relationships that he rightly believed could lend themselves gloriously to the operatic stage. It was invariably the human element that mattered to him; the most elemental feelings always brought forth his most inspired music. Fear, greed, lust for power, abject misery, fraternal and conjugal love—all of this comes memorably into play during Das Rheingold.

Of Wagner’s five major literary sources in creating the Ring dramas, two proved especially vital in the Rheingold libretto. The 12th-century Poetic Edda—a collection originating in Iceland, with more than 30 poems written in Old Norse—presented all the Nordic gods, including the mighty Odin. In the Ring he became Wotan, king of the gods and, in Das Rheingold, one of the two protagonists. The other was Alberich, the dwarf—love-starved, powerhungry, finally ragingly vindictive. He figures in the anonymous early13th-century poem known as the Nibelungenlied. This was the only text of German origin and written totally in German that Wagner utilized in preparing the Ring. The greatest miracle of the Ring operas, of Das Rheingold in particular, was that

Wagner, in an astonishing exercise in editing, managed to pull together what he viewed as the most riveting tales within the Poetic Edda, the Nibelungenlied, and all his other sources, to create a persuasive, unfailingly cohesive dramatic structure.

Having narrowed down the elements of Germanic and Nordic myths that best suited his purposes, Wagner then conceived a new kind of opera, within which the drama of the Ring could unfold: a “Gesamtkunstwerk” (“complete art-work”). Writer-philosopher K.F.E. Trahndorff was responsible for that term—it dates from 1827, when Wagner was only 14 years old—but in the arts it was Wagner who utilized it most fully, with Das Rheingold in its initial realization onstage. Wagner imagined the “Gesamtkunstwerk” as a perfect unity of music, poetry, theater, and the visual arts, which he believed no previous opera had achieved. The whole idea represented, in effect, his own resurrection of Greek drama, in which he believed all those elements had been ideally integrated and balanced. Wagner was no longer interested in creating opera as his audiences knew it. Das Rheingold wasn’t centered on the aria or, indeed, on anything that smacked of vocal display. There’s only one solo passage from Das Rheingold that would make any effect out of context: the earth-goddess Erda’s warning to Wotan to give up the ring. Within the opera, however, that passage exists only to provide a hugely important turning point that moves the plot forward—in no way is it meant to show off the voice. The same thing applies to Loge’s narrative, Mime’s complaint, and Wotan’s greeting to Valhalla, extended solo moments all built seamlessly into the work and greatly enhancing its cumulative dramatic impact.

Das Rheingold was also Wagner’s first attempt to bring to the stage (cont’d)

certain qualities that he considered entirely new for singers. First, he called for a detailed, carefully considered response to the text. He also wanted characters portrayed with complete naturalness. Das Rheingold may be populated with deities, giants, and other supernatural beings, but Wagner intended their manner of relating to each other onstage to be direct, unfussy—in a word, human—and unencumbered by anything resembling a “stand-andsing” presentation.

What does it take to sing this opera? Certainly, anyone performing Das Rheingold should bear in mind that Wagner was devoted to bel canto. That meant particularly the works of Vincenzo Bellini, the master of long, elegantly sculpted legato lines that consistently flattered the voice. Listening to historically important Wagner interpreters in Das Rheingold—soprano Elisabeth Grümmer, contralto Karin Branzell, bass-baritones Friedrich Schorr and George London, among others—it’s abundantly clear that the opera can be sung with tone and expression as glorious as one would find in Bellini or any other operatic repertoire.

The vocal rewards of Das Rheingold for the audience are immense, beginning with the opening scene, in which the three maidens (soprano and two mezzos) cavorting in the

Rhine’s depths can ravish the ear with their luminous trios, sung in delectable close harmony. What a contrast when they confront Alberich (baritone). Admittedly, in his music a dulcet beauty of tone can often seem beside the point, but the role should still be genuinely sung, not shouted.

Up in the realm of the gods, we have Fricka (mezzo-soprano) and Wotan, her husband (bass-baritone). The dignified, ultra-womanly Fricka isn’t an especially lengthy role, but what she lacks in length, she more than makes up in vocal allure. As for Wotan, he gets plenty of opportunities to display vocal bite and power, but like his wife, he’s also given numerous moments that call for a velvety warmth. Then there’s the demigod Loge, subtlest of all the Rheingold characters.

An exquisite, free-flowing lyricism characterizes much of his narration, in which he recalls traveling on earth where he searched in vain for someone who would value anything more than women’s beauty and love.

The opera’s other soloists all have their special demands as well: the gods Freia (soprano), Froh (lyric tenor), and Donner (lyric baritone), with their voices in youthful bloom; Erda (contralto), whose flowing lines are made for magnificently organlike sound; Mime (character tenor), pathetic in his recitation of his brother dwarf Alberich’s cruelty; and

the giants Fasolt and Fafner, often cast with basses whose instruments are somewhat rough-hewn, not entirely unsuitable in these roles. However, Fasolt’s adoration of Freia does inspire some lyrical phrases, where mellow tone can prove very welcome.

There’s another miracle in Rheingold: Wagner’s orchestra which, for the first time in opera, becomes an essential commentator on the action. The writing, while virtuosic in itself (especially for strings and brass), also proves illuminating thanks to Wagner’s system of leitmotifs. These recurring phrases can denote a particular character, an object (the ring, or Freia’s golden apples), an idea (renunciation of love, enslavement), or a place (Valhalla, Nibelheim). There are more than twenty leitmotifs in this opera, each one a marvelous enhancement of the drama.

There’s so much to be savored in Das Rheingold. Musically, dramatically, and vocally it’s an absolute feast, and its return to The Dallas Opera stage is cause for celebration.

ROGER PINES is a contributing writer to Opera News, Opera (U.K.), 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.

PHOTOS: COSTUME SKETCHES/MATTIE ULLRICH, DAS RHEINGOLD 1998/1999 DALLAS OPERA PRODUCTION

THE DALLAS OPERA ORCHESTRA

FIRST VIOLIN

Ellen dePasquale

The Mary Anne Cree Concertmaster, in memory of Rosine Smith Sammons

Ami Campbell

Associate Concertmaster

Grace Kang Wollett

Assistant Concertmaster

Florence Wang Conrad

Amy Faires

David Miles Wolcott

Junsoo Park

Paige Kossuth

Kathy Johnson^

Jane Escueta^

SECOND VIOLIN

Kristin Van Cleve

Principal

Sondra Brudnak

Assistant Principal

Suneetha D'Apice

Lisa Shields

Natalie Floyd

Minhee Bae

Jina Lee^

Samantha Bennett^

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

Shawna Hamilton

Assistant Principal

Eric Forman

Vilma Peguero

Sara Hood^

Craig Leffer^

BASS

William Gowen Principal

Michael Lelevich

Assistant Principal

Steve Brown

Kirby Nunez

FLUTE

Helen Blackburn Principal

Ebonee Thomas

PICCOLO

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

BASS CLARINET

Forest Aten

BASSOON

John Searcy Principal

Shannon Highland

HORN

Katie Wolber

The Linda VanSickle

Principal Horn Chair

Jackson Prasifka

Gerry Wood*

Stacie Mickens^

Shelby Nugent

TRUMPET

John Holt

Principal

Rick Bogard

TROMBONE

Ian Maser*

The Cece and Ford Lacy

Principal Trombone Chair

Tony Baker

Acting Principal

Jeremiah Umholtz^

Eric Swanson

BASS TROMBONE

Eric Swanson

TUBA/CIMBASSO

Jeff Baker

Principal

TIMPANI

Deborah Mashburn

The Joan S. Reisch

Principal Timpani Chair

PERCUSSION

Joe Ferraro

Acting Principal

Drew Lang^

HARP

Barbara Biggers

Acting Principal

PERSONNEL MANAGER

Brad Wagner

LIBRARIAN

Shannon Highland

ASSOCIATE MUSICIANS

VIOLIN

Inga Kroll

Lauren Haseltine

Elizabeth Elsner

Amela Koci

Ellen Lovelace

Emily Loh

Robert Gonzalez

Chuong Vu

Christine Rewolinski

Doreida Aleksi Anastasiadi

VIOLA

Désirée Elsevier

Hannah Martineau

Tonia Pilliod

Eve Tang

CELLO

Carol Harlos

Hamin Kim

Zach Mansell

Brooke Alyn Scholl

BASS

Scott Sheffler

Justin Kujawski

Luke Rogers

FLUTE

Lance Sanford

Katherine Velasquez

OBOE

Abigail Hawthorne

Donna Schmidt

CLARINET

Deborah Ungaro Fabian

Phillip O. Paglialonga

BASSOON

Leslie Massenburg

Sara Scurry

HORN

Heather Test

Brian Brown

Nancy Piper

Heather Suchodolski

Reese Farnell

Jason Hofmeister

TRUMPET

Oscar Passley

Steve Menard

TROMBONE

Clayton Yoshifuku

PERCUSSION

Brad Wagner

HARP

Laura Logan Brandenburg

Jaymee Haefner

Karen Abrahamson Thomas

Naoko Nakamura

Megan M. Li

^ 2022 | 2023 Season Substitute

* On Leave 2022 | 2023 Season

STAFF SPOTLIGHT: JORDAN HAMMONS

For the past four years, Mr. Hammons has been a member of The Dallas Opera family in numerous capacities, from teaching artist to assistant touring production supervisor in education and outreach and most recently as patron services assistant. As a member of the patron services team, he assists with everything from ticketing to what you can expect during your visit. Meet Jordan.

What is something you want Dallas Opera patrons to know about you? In addition to my work at TDO, I continue to pursue a performance career. I’ve been incredibly fortunate to work in an environment that encourages my personal growth and growth as an artist. Whether it’s answering the phone, smoking meat, or strutting across the stage dressed as a rooster, The Dallas Opera has allowed me to explore multiple facets of what it takes to make opera.

Favorite opera? Is it possible to pick one favorite? I tend to keep a list of five, but if I had to pick just one, it would be Benjamin Britten’s Peter Grimes. Maybe it’s the constant suspense or the way that Britten and Mantagu Slater (the librettist) hold a mirror up to the struggles of living in community. It’s a reminder of the importance of real, compassionate human connection—even in the face of mistakes and tragedy. Like Peter asks multiple times, “Who can turn skies back and begin again?”

Tell us about your TDO Network show! Smoked: Pit to Stage combines two of my favorite things: opera and barbecue. Each episode features singers from each of our mainstage and family productions in a cook-along format. It’s not a tux and tails kind of show—you wouldn’t want to get sauce on your nicest clothes. Barbecue is a down-to-earth Texas

tradition. Using that lens, Smoked sets out to connect our patrons with artists in a relaxed setting. Don’t forget you can purchase the food we make on the show in the lobby at intermission!

What brought you into the arts? The arts, singing especially, were always a big part of my life. Whether it was church choir or hearing about my great aunts singing at The Grand Ole Opry as an opening act, singing was just part of who we were; however, growing up in Tuscaloosa, Alabama, I was mostly interested in college football and professional wrestling. That started to shift when my mom took me to a touring production of Les Misérables (admittedly against my will). At the end of Act 1, I couldn’t understand why everyone wasn’t giving them a standing ovation. I’ve been hooked ever since!

Something you hope the audience can take away from coming to the opera? Connection! Operas are all about human experiences. Sure, the circumstances are different from our own, but the core ideas connect to our common experiences. When the show is finished, I hope you’ll get a second to chat with the people sitting around you to see how they experienced the same show. You might walk away with a new perspective.

Search Our Performance Archives

UPCOMING

PERFORMANCES

Così fan tutte

March 24, 26(m) & 29, April 1 The Elixir of Love*

Saturday, March 25 at 2:00PM

Biennial Lone Star Vocal Competition

Friday, March 31 at 7:30PM

*family performance

With over 300 productions and counting, fabled U.S. 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, and a commitment to both tradition and innovation, TDO’s past and present is now within reach.

Search our performance archives by your favorite artists, composers, operas, productions, and roles—get lost in the history and make your own when you visit us in-person or online.

ADMINISTRATION

Ian Derrer

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MARKETING, SALES & PATRON

SERVICES

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THE PEROT FOUNDATION

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OPERATIONS

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Brad Wagner, Orchestra Personnel Manager

Caroline Walker, Operations Administrator

Kara Zotigh, Rehearsal and Planning Manager

COVID 19 Safety Officers:

Griffin Camacho

David Hess

Claudia Holm

Sara Newman

PRODUCTION STAFF

Stage Managers

Lisa Marie Lange

Angela Turner

Assistant Stage Managers

Danielle Brewbaker

Jonathan Campbell

Natalie Main

Caitlynn Sandoval

Aletha Saunders

Jennifer Shaw

Miranda Wilson

Production Assistant

Ben Kulwanoski

Resident Design Staff

Andrei Borges, Lighting Director

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Madeleine Reid, Assistant Lighting Director

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

Brandon Arnold, Production Audio

Isaac Parker

Wardrobe

Ginger Boyd, Wardrobe Mistress

Denise Olemeda, Assistant Wardrobe Mistress

Costume Shop

Charlotte Golden, Costume Coordinator

Traci Hutton, First Hand

Kathy Kreuter, Costume Crafts

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Steven Smith, Assistant Costume Shop Manager

Georgia Wagenhurst, Costume Shop Manager

Stitchers

Jan Allison

Natalie Elizondo

Rosa Serrano

Nancy Steward

Fitter / Draper

John Ahrens

Roy Turpin

LEGAL

Armanino LLP, Auditor

Haynes and Boone, LLP, Legal Counsel

MUSIC DIRECTOR EMERITUS

Graeme Jenkins

BOARD OF DIRECTORS

BOARD OF DIRECTORS

Ann Stuart, Ph.D., Chair

Stephen B. L. Penrose, Treasurer

Susan Geyer, Secretary

Martha Allday

Michael Baker*

David Bauman

Ruth Bison

Randall C. Brown*

Julie Buschman

Tassio Carvalho, Ph.D.

Ian Derrer (ex officio)

Cindy Feld*

Cynthia Floyd*

David Genecov+

Mark Geyer (ex officio)

Linda W. Hart

Myra Barker Hull

Augustine Jalomo (ex officio)

Mark H. LaRoe

Thomas Maddrey*

Joy S. Mankoff

Holly Mayer*

Tom G. Mayer, M.D.

Tom H. McCasland, Jr.*

Edgar A. Morales

Marla C. Muns

Laurie Pan, Ph.D.

Michael E. Phillips

Helen Rivero

Quincy Roberts*

Martha Rochelle*

Stephen H. Sands

Enika Schulze

Richard Schulze*

Linda VanSickle Smith*

Darren Speir

Betty Suellentrop

Steve Suellentrop

T. Peter Townsend

John Ward

Bobbi Wedlan Weil

Martha McCarty Wells*

Kern Wildenthal, M.D., Ph.D.*

Marnie Wildenthal

Jill Winspear

Joseph A. I. Worsham

HONORARY DIRECTORS

Alice W. Bass

Susie Bell+

Cecile Bonte+

Diane Brierley

John T. Cody, Jr.

John W. Dayton

Patsy M. Donosky

James R. Erwin

Ruben E. Esquivel

Marilyn Halla

Davis Hamlin

Kaki Hopkins

Connie Klemow+

Richard Massman

Geraldine “Tincy” Miller

Joyce Mitchell

Pat Rosenthal

James R. Seitz, Jr.

Martin J. Weiland

Ann Williams

* Executive Committee Member + Deceased

BOARD OF TRUSTEES

Karen Almond

Angela Bettinger

David Boddie

Roger Carroll

Milene Carvalho

Scott Chase

John Collins

Terry Connor

E. Anthony Copp

Linda Custard

Jane Degler

Robert Dupuy

Gary Glaser

Armon Golliday

Howard Hallam

Jerry Lee Holmes

Robert Hull

Emily Jefferson

Elizabeth Kimple

Ford Lacy

Paula Lambert

Jenny Lewis

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

Jean Ann Titus

Sarah Titus

Kenneth Travis

Jane Wetzel

James Wiley

Debra Witter

Katie Wolber

Preparing for the Future

In response to the cancellation of live performances for nearly two years due to the pandemic, TDO launched the New Vision Initiative in July 2020 to ensure a financially sustainable future for the Opera through new gifts, multiyear pledges, and audience development initiatives. Gifts to this effort support every aspect of the company—dynamic productions with phenomenal casts, efforts to attract new audiences, the expansion of TDO’s role in the community, and digital programming such as thedallasopera.TV.

As The Dallas Opera continues to focus upon reaching the goal of $30 million for the New Vision Initiative, it is now ready to embark upon Phase II of the campaign—a concerted effort to grow its ticket revenue and expand its audiences. You will begin to see many exciting changes over the next season as these efforts take shape.

To date, The Dallas Opera has raised $19.5 million in gifts and pledges. Commitments of $1 million and above include the Perot Family, the Eugene McDermott Foundation, and the late Mary Anne Cree, as well as gifts from other generous donors who are recognized in this program book. The O’Donnell Foundation has committed $3 million to the New Vision Initiative, which includes a matching gift challenge of $1.5 million to inspire new and increased contributions over a three year period. The Dallas Opera is most grateful to those donors who have made gifts during the campaign’s early phase, and we look forward to welcoming new supporters of our New Vision Initiative.

To learn more about this campaign and other fundraising initiatives, please contact Elisabeth Galley, Director of Development, at elisabeth.galley@dallasopera.org or 214.443.1057.

PHOTO: KYLE FLUBACKER

THE DALLAS OPERA GUILD

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Parliamentarian

Shop at the Opera

Trip Coordinator

Vocal Competition

Volunteers

CO-FOUNDERS OF THE DALLAS OPERA GUILD

Mrs. Nancy O’Boyle and Mrs. William A. McKenzie

Jan Clay

Marilyn Halla

Bob Brooks

RuthAnn Becker

Jana Irwin

Carroline Neeley

Mary Anne and Jim Strunc

James Clay

Mary Anne and Jim Strunc

Susan Fleming

Chris Salerno

Roger Carroll

Patsy and Bob Brooks

RuthAnn Becker

Susan Tanner

Nicole LeBlanc

Jana and Mac Irwin

Judy Begal

NEW VISION INITIATIVE GIFTS

$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

O’Donnell Foundation

Linda VanSickle Smith

$500,000 – $999,999

Linda and Mitch Hart

John Ford Lacy and Cece Smith Lacy

$100,000 - $499,999

Anonymous

Holly and Tom Mayer

Phyllis and Tom McCasland

Dr. Joan S. Reisch

James R. Seitz, Jr.

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

Hillcrest Foundation, Bank of America, N.A., Co-Trustee

Joanna L. and T. Peter Townsend

$25,000 - $49,999

Cindy and Charlie Feld

Dr. and Mrs. Mark S. Geyer

The Ruth LeVan Fund

Mr. and Mrs. Michael E. Phillips

Ann Stuart, Ph.D.

Betty and Steve Suellentrop

Sarah L. Titus

FOUNDATION AND GOVERNMENT CONTRIBUTORS

IMPRESARIO ($50,000+)

City of Dallas Office of Arts and Culture

Hillcrest Foundation, Bank of America, N.A., Co-Trustee

Hoblitzelle Foundation

National Endowment for the Arts

O’Donnell Foundation

LEADERSHIP CIRCLE ($20,000+)

Fichtenbaum Charitable Trust, Bank of America, N.A., Co-Trustee

The Carl B. and Florence E. King Foundation

The Ray H. Marr Foundation

The Priddy Foundation

The Rea Charitable Trust

The Rosewood Foundation

Stemmons Foundation

TACA – The Arts Community Alliance

Texas Commission on the Arts

VanSickle Family Foundation

GOLD CIRCLE ($10,000+)

Harry S. Moss Foundation

Texas Women’s Foundation

SILVER CIRCLE ($5,000+)

The Theodore and Beulah Beasley Foundation, Inc.

Mary Potishman Lard Trust

MEMORIAL AND HONORARIUM GIFTS

MEMORIALS

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

Robert Allday

Sylvester Blue

Cecile P. Bonte

Bill and Jean Booziotis

Gordon Cizon

Mary Anne Cree

Davetta Caughey Faria

Dales and Janet Foster

Frank H. Francis

David Genecov

Irl German

Helen Muñoz Gutierrez

Patricia Hutcheson

Plato Karayanis

Jerry and Sis Levin

Ray Marr

Mona Campbell Munson

Stuart Nelson

Virginia Payne

Ester Raines

Mary Humason Santiago

Raisa Shcheglova

John Stuart III

Bryan Hobson Wildenthal

Elizabeth Wilson

Don Winspear

HONORARIUMS

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

Martha Allday

Larry and Dolores Barzune

Lisa Bury

Ian Derrer and Daniel James

Mrs. Joyce Dyll

Elena Fiat

Joel and Sydney-Reid Hedge

Bob and Myra Hull

Julia Lansford

Erin McLinden

Morris Robinson

Norman Silverman

Jane Stringer

Jean Ann Titus

Sarah Titus and Matilda

Morris

Emmanuel Villaume

Dave and Tucean Webb

Kern and Marnie Wildenthal

Don+ and Ellen Winspear

CORPORATE PARTNERS

IMPRESARIO ($50,000+)

GOLD CIRCLE ($10,000+)

Ameriprise Financial

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

BRONZE CIRCLE ($2,500+)

Dallas Stage Scenery, Inc.

SUPPORTING PARTNERS

Far UV Technologies, Inc.

Gittings of Dallas

KERA

North Texas LGBTQ Chamber of Commerce

Salum Restaurant

Ushio America, Inc.

For more information on corporate partnerships, please contact Marie Facini at 214.443.1061 or marie.facini@dallasopera.org.

LEADERSHIP CIRCLE ($20,000+)

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.

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

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

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

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

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

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

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

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

Rodney I. Woods

Donna and Joe Worsham

Cynthia E. Young

Gordon Young

The Linda VanSickle Principal Horn Chair Katie Wolber

“The Opera is dear to my heart. I played principal horn for some of The Dallas Opera performances from 1965-1970.

I endowed this chair because I love the French horn and Katie Wolber is an outstanding principal horn player. I also made this gift because the opera is the only way we can have the wonderful music and artistry of the singers, the dramatic acting, and the visual effect of the costumes and scenery. It’s just magic to the senses!

We have everything here at The Dallas Opera, so we need to support the company and this art form with our presence and gifts.”

—Linda VanSickle

PHOTO: GITTINGS

PHOTO: KYLE FLUBACKER

ANNUAL FUND DONORS

GRAND IMPRESARIO ($1,000,000+)

Margot B. Perot and the Perot Family

MAESTRO SOCIETY ($250,000+)

Linda and Mitch Hart

Estate of Marten F. Klop

Martha Peak Rochelle

PRODUCER SOCIETY ($100,000+)

Estate of Rosalie Alexander

Lisa and David Genecov Family Fund of the Dallas Jewish Community Foundation

Holly and Tom Mayer

Stephen B. L. Penrose

Richard and Enika Schulze Foundation

Betty and Steve Suellentrop

Marnie and Kern Wildenthal

DIRECTOR SOCIETY ($75,000+)

Mr. and Mrs. Stephen H. Sands

GUARDIAN SOCIETY ($50,000+)

Diane and Hal Brierley

Mr. James F. Carey

John W. Dayton

Cindy and Charlie Feld

Joy S. and Ronald Mankoff

The Robert E. and Jean Ann

Titus Family

Joanna L. and T. Peter Townsend

LEADERSHIP SOCIETY ($25,000+)

Martha Allday

Michael and Rebecca Baker

The Ruth LeVan Fund

Debra Witter and Scott Chase

Dr. and Mrs. Mark S. Geyer

Robert L. Hull and Myra Barker Hull

Dr. and Mrs. Willis C. Maddrey

Tom and Phyllis McCaslandCommunities Foundation of Oklahoma

Mr. James and Dr. Betty Muns

Mr. and Mrs. Michael E. Phillips

Dr. Joan S. Reisch

Brian and Debbie Shivers

Dr. and Mrs. Thomas H. Smith

Ann Stuart, Ph.D.

Sandy Tucker

Kathy and John Ward

Martha and Max+ Wells

Jill and Malcolm Winspear

DIAMOND CIRCLE ($15,000+)

Anonymous (2)

Deborah Mashburn and David Boddie

Mr. Roger L. Carroll

Mr. and Mrs. William A. Custard

Robert and Virginia Dupuy

Antony Francis

Raguet Worsham

Mr. Timothy C. Headington

Emily A. Jefferson

Nesha and George Morey

Ms. Marla C. Muns

Mrs. Angela D. Paulos

Ms. Ella Prichard

Pat and Jed Rosenthal

Suzelle M. Smith

Greg Swalwell and Terry Connor

Karen and Jim Wiley

PLATINUM CIRCLE

($10,000+)

Anonymous (2)

Terry Barrett and Krista

Tinsley

Alice W. Bass

Kay Carrel

Christine A. Miller & Gary H. Glaser Charitable Fund at the North Texas Community Foundation

Mr. and Mrs. J. Davis Hamlin

Mr. and Mrs. Scott C. Kimple

Mr. and Mrs. John Ford Lacy

Ms. Paula S. Lambert

Mike and Judge Barbara

Lynn

Ms. Julie Machal-Fulks

Richard and Bobbi Massman

Mary McDermott Cook

Joyce and Harvey Mitchell

Arlene and Louis Navias

Mr. and Mrs. Quincy Roberts

Marion Rothstein

Jennifer and Thomas Russell

Carole and Norman Silverman

Karen and Ken Travis

Jane A. Wetzel

Dr. A. Gordon Worsham

GOLD CIRCLE

($7,500+)

Anonymous (2)

Lois M. Durden Charitable Trust

James R. and Carole Erwin

Jenifer and Peter Flynn

Charles F. Foster and Bill Maina

Dr. and Mrs. John M. Haley

Joanna and John Hampton

Patricia and David May

Kimberly and Brian Williams

Donna and Joe Worsham

SILVER CIRCLE

($5,000+)

Anonymous

Dr. Stephen Baker and Alberto Moreno

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

Grover and Jacqueline

Ellisor

Frances and David Ertel

Dr. and Mrs. James Forman

Mr. Eric Foster

Monica Gaudioso

Harriett and Chuck Gibbs

Fred and Jerri Grunewald

Mr. Brian Hackfeld

Dr. and Mrs. Robert W.

Haley

Fanchon and Howard Hallam

The Honorable Deborah Hankinson

Adrea D. Heebe

Robert and Frieda Hudspeth

Stephanie and Hunter Hunt

Jana and Mac Irwin

Jo Kurth Jagoda

Dorothy and Plato+

Karayanis

Steven and Margaret

Keirstead

Kenneth Killen

Dr. John and Mrs. Paulette

Krause

Tom Leatherbury and Patricia Villareal

Barbara Thomas Lemmon

Charlene and Tom Norris

Tom Norris Jr.

Mr. and Mrs. Ronald Morrill

Ms. Danna Orr

Mr. and Mrs. David Pfeil

Caren Prothro

The Edward Rose III Family Fund of the Dallas Foundation

The Honorable and Mrs. William F. Sanderson, Jr.

Sarah R. Gannon and John Seddelmeyer

Mrs. David R. Stone

The Vice Family Foundation

Mr. and Mrs. Dennis Walo

INNER CIRCLE

($3,000+) Anonymous (2)

Rev. Lawrence Althouse and Ms. Katherine L. Freiberger

Dr. and Mrs. Randall Askins

The Baggett-Luna Family

Carol M. Barger and William D. Elliott

Mr. Carlos Barroso and Dr. Kay Colbert

RuthAnn Becker and Robert Maris

Selly and Joyce Belofsky

Bryan and Robin Benak

Encore Wire

Mr. Michael Blazin

Sheryl Fields Bogen

Carolyn Bradley

Mr. and Mrs. Anthony N. Briggle

Charles and Diana Briner

Mr. Joe B. Brooks

Patricia C. and Robert J. Brooks

Dr. Joseph and Barbara Buchman

Alicia Burkman

Jack and Mary Bush

Evangeline T. Cayton M.D.

Consuelo B. Chavez

Jan and James M. Clay

Mrs. Robert S. Coit

Paul Corley

Grady E. Coyle, DMA

Patricia Crocker

Ian Derrer and Daniel James

Richard and Nancy (Jagmin) Dickerman

Steven Engwall Advised Fund of The Dallas Foundation

Rosemary Enrico

Mr. and Mrs. Ruben E. Esquivel

Mr. and Mrs. Henry Exall

Susan G. Fleming, Ph.D.

Sarah Fry

ANNUAL FUND DONORS (CONT’D)

Elisabeth and Dave Galley

Mr. Larry Gay

Jacqueline and Michael George

Jason and Charlene Gladden

Mr. and Mrs. Don Glendenning

Dr. Agustín Arteaga and Mr. Carlos Gonzalez-Jaime

Tinsley Silcox and Joseph Guzman

Dr. Charles and Mrs. Marcia Haley

Mr. and Mrs. Ward Halla

Mr. and Mrs. Andrew Halle

Kim and Greg Hext

Frederick Hoffman and Roy Joplin

Mrs. Suan Campbell Hughes

Jolie and Bart Humphrey

Melinda and James Johnson

Judge James W. Kerr, Jr.

W. David Klempin

Mr. and Mrs. Eric W. Laub

Dr. Max Spindler and Ms. Carol J. Levy

Robert and Susan Lorimer

Julie and Michael Lowenberg

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

Ruth Mutch

Phillip Muth

Mr. and Mrs. Thomas O’Toole

Mr. and Mrs. Ronald Palmer

Dr. Ya-hui Laurie Pan

Helene and Mark Parker

Dianne and Don Patterson

Mr. Jonathan Pell and Mr. Cleve Schneider

Janelle Pendleton

Mr. and Mrs. Robert C. Richter

Eileen and Harvey Rosenblum

Dr. Christopher A. Salerno and Dr. John Dixon

Mrs. George A. Shutt

Ms. Carla Siegesmund

Neal and Cherie Small

Mr. and Mrs. William T. Solomon

Dr. Stuart and Cindy Spechler

William and Jacqueline Stavi-Raines

Ms. Vivian Steinborn

Mr. and Mrs. Richard L.

Stevenson

Mr. and Mrs. Steven

Stodghill

Mr. and Mrs. Donald J. Stone

John Dee Swope

Mr. and Mrs. John R. Taylor, Jr.

Cynthia and Harry Tibbals

Mr. and Mrs. W. Bradford Todd

Jerre van den Bent

Inge and Sam Vastola

Mr. and Mrs. Donald E. Warnecke

Dona and Michael Watson

Dr. and Mrs. David R. Webb, Jr.

Leigh and Robert Webb

Dr. and Mrs. George W. Wharton

Robert E. and Karina Woolley

John Zrno

BENEFACTOR

($1,000+)

Anonymous (3)

Dr. and Mrs. Michael Abraham

Greg and Christine Acker

Mr. David Baad

Delia Esther Banchs

Nancy and David Bauman

Mr. and Mrs. Jon Bauman

Joan A. Becker

Boeckman Family Foundation

Mr. Steve Bottum

Ms. Jeanne Campbell

Tassio and Milene Carvalho

Mr. and Mrs. Bennett W. Cervin

Mr. Griffin Collie

Wendy Collini

Jess Corrigan

Dr. and Mrs. Robert E. Cronin

Ms. Lee Cullum

Dr. and Mrs. Alexander

Douglass

Tom and Sally Dunning

Rosemary Enrico

Mr. and Mrs. Larry Finstrom

Ms. Ketty Fitzgerald

Dr. John G. Flores

Greg and Cynthia DeMars

Mr. and Mrs. James C. Francis Jr.

Candace Faber and Andrew C. Frechtling

Richard and Gaile Gertson

Julia and Thomas Grace

Carlos Gracia

Mona and Bill Graue

Nicholas P.G. Greenko

Mr. and Mrs. John Hallam

Mr. and Mrs. James E. Harrison

Mr. Louis H. Harrison

Mr. and Mrs. Keith Harville

Jack W. Hawkins

Drs. Ted and Shannon Hayes

MD

Roxanne Hayward

Mrs. Kathleen Muldoon and Dr. Robert Hendler

Dr. Virginia Hertenstein and Mr. Dean Hertenstein

Kaki and Shelton Hopkins

Mr. and Mrs. Ronald J. Hull

Mr. and Mrs. Steve Ivy

Louise W. Kahn Endowment Fund at The Dallas Foundation

Mr. Alfred Kelley

Mr. Jay Langhurst and Mr. Daniel Klingler

Will and Liza Lee

Mrs. Dorothy B. Leyrer

Lind Family Foundation

Fr. John Libone

Lind Family Foundation

Linda Lipscomb

Ms. Margaret McAllaster

Mr. and Mrs. J. Roddy

McGinnis

Chris R. McIntyre

Geraldine “Tincy” Miller

Dr. and Mrs. William Morton

Eric Nadler and Ahn-Hong

Tran

Kathy and Greg Nelson

Mr. and Mrs. Mark O’Leary

Dr. and Mrs. German A. Oliver

Dr. and Mrs. R.V. Rege

Dr. Wilfredo Rivera and Veronica Diaz

Dr. Randall and Barbara

Rosenblatt

Mary Jane Rutherford

Alan J. Savada and Will

Stevenson

Mrs. Elizabeth A. Scott

Dr. and Mrs. James C. Scott

R.A. Seeliger and L.H. Harrison

Mr. James R. Seitz, Jr.

Ricki and Gabe Shapiro

Lewis and Janet Shaw

Tom and Dorothy Timmins

Dr. Martin and Judy Tobey

Mr. and Mrs. Richard D. Upton

Mr. Robert G. Van Stryland, Jr.

Bobbi and Larrie Weil

Andrea and Loren Weinstein

Donna M. Wilhelm

Mr. James W. Woodall

GUARANTOR ($500+)

Anonymous (3)

Sharon and Gerard Balsley

Dr. Barbara Baxter

Mark Blaquiere and Cathey Ann Fears

Mr. Donald W. Bonneau

Mel and Charlotte Booth

Ms. Diana Briner

Andrew Brock

Mr. and Mrs. Paul Browning

Mr. and Mrs. Bill Bush

John T. Carlo

Mr. and Mrs. Elliot R. Cattarulla

Stephen Chamblee

Mr. and Mrs. Lester Coleman

Lori and John Collins

Betty Taylor Cox

Mr. Michael Crow and Ms. Lorene Randall

Mr. and Mrs. Evan M. Cudd

Mr. Atlee Cunningham

Mr. Andre Desire

M. Dondero and R. Trammell

Beth Drewett

Ms. Teresita Dujon

Mr. and Mrs. Raymond A. Enstam

Robert A. and Catherine Estrada

Myra Franke

Diana Gandy

Dee and Jim Genova

Mr. and Mrs. Patrick Haggerty, Jr.

Mr. John R. Harpool and Mr. Richard Gordon

Bob and Debby Harpool

Cindy Hauser

Mr. Philip C. Henderson

Dr. Christine Ho

Ms. Nancy Hodge and Mr. Douglas W. Orr

Mr. Carle Howell

Mr. Mark E. Jacobs

ANNUAL FUND DONORS (CONT’D)

Mr. and Mrs. Robert Kaufman

Mr. Brad Kennedy

Ellen Lindsey Key

Mr. Christopher S. Klekar and Mr. Danny Frerich

Mr. Japheth Learn

Lesley Leuzinger

Ms. Elena V. Livingston

Mr. Jack Logan, Jr.

Mr. and Mrs. Peter Lorenzen

Lynn and Allan McBee

Mr. George McDonald

Ms. Linda D. McKown

Ms. Virginia Michalicek

Mr. C. H. Moore

Mr. Edgar Morales

Mr. Tim Morris

Sarah K. Naifeh

Mr. James Noonan

Ms. Elizabeth Norwood

Ronnie Pack

Mr. and Mrs. Henry B. Paup

Mr. Bryan Peeler

Dr. Margaret Phillips

Mr. and Mrs. Kenneth Pickens

Mr. and Mrs. John W. Priest

Ray and Martha Quigley

Mr. Mauro D. Ravelo

Dick Rawlings

Mr. Rust E. Reid

Valerie J. Remley

Ela and James Rix

Mr. and Mrs. Elliott Ross

Mr. Wayne Ruhter

Leif Sandberg

Mr. and Mrs. William Sandlin

Dr. Genie and Mr. Gary Short

Mrs. Tina T. Simpson

Ms. Nancy N. Smith

Dr. Rick Snyder

Mr. and Mrs. Richard G. Stoddard

Cynthia S. Thomas

Ms. Heidi F. Verges

Mr. Robert Webb

Karen and Howard J. Weiner

Ms. Marianne Wells

Ms. Karen L. Wiese

C.E. and Susan Wilson

Mr. and Mrs. David Yett

INTRODUCING GENERAL DIRECTOR’S SELECT CLUB:

DAS RHEINGOLD

The General Director’s Select Club supports an exceptional opera each season. Dedicated opera lovers have the opportunity to contribute directly to the production while diving deeper into its artistic development.

Thank you to our generous donors for their instrumental support of this iconic new-to-Dallas production of Das Rheingold.

Dr. Stephen Baker and Alberto Moreno

Bryan and Robin Benak

Joanne L. Bober in memory of Marten Klop

Carole Braden

Carol W. Byrd

Mr. Roger L. Carroll Richard and Nancy (Jagmin) Dickerman

Sarah R. Gannon and John Seddelmeyer

Gary Glaser and Chris Miller

Dr. and Mrs. John M. Haley

Adrea D. Heebe David and Miranda Lind in memory of David Genecov

Phillip Muth

Tinsley Silcox and Joseph Guzman in memory of David Genecov

Dr. and Mrs. Thomas H. Smith

Greg Swalwell and Terry Connor

Mr. and Mrs. W. Bradford

Todd

Inge and Sam Vastola

Kathy and John Ward

Mr. and Mrs. Donald E. Warnecke

Debra Witter and Scott Chase

Marnie and Kern

Wildenthal

For more information on the General Director’s Select Club, or to make a donation, contact Hannah Huddleston at 214.443.1055 or hannah.huddleston@dallasopera.org.

Deborah Mashburn

“I have attended The Dallas Opera for many years, and when I decided to make a gift to name one of the orchestra chairs, I was drawn to the timpani because Deborah Mashburn, the principal chair, chose to master an instrument that traditionally has been the domain of men.

It has been such a pleasure learning more about timpani and watching Deborah play. A tremendous amount of technique is involved in playing this amazing instrument. There are subtleties in many of the opera scores—timpani is much more than thunder and battle cries. This has been a fascinating journey of discovery for me.”

—Joan Reisch

The Joan S. Reisch Principal Timpani Chair

Ian Maser

“I think that the real reason that we gave to the Opera to name Ian’s position is the fact that I played the trombone in grade school and junior high. As a consequence, I have always had an interest in the trombone, and making the gift just seemed a natural thing to do as a way of continuing our support of the Opera.”

—Ford Lacy

The Cece and Ford Lacy Principal Trombone Chair

A LOOK BACK AT FALL 2022

PHOTOS: KYLE FLUBACKER AND LYNN LANE

Photo: Kyle Flubacker