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The national tour of SIX will launch a daily digital ticket lottery for its engagement at North Charleston Performing Arts Center. Any ticket listed for a particular event will be on sale all the way to the last minute. For a small premium price, you can have tickets emailed directly to you after purchase so you can download it and show the barcode at the Winspear Opera House door for entry. The Grand Portico, radiating from the opera house on all sides, provides shade over 3 acres (12,000 m2) of the Performance Park. The solar canopy's louvers are arranged at fixed angles following the path of the sun. By eliminating most direct sunlight on the façade and by creating a cooler microclimate around the building, the canopy significantly reduce the energy requirements of the Winspear Opera House.
Leporello
The detail and finishes improve the resonance of the human voice, making the orchestra sound rich but clear. To heighten the sense of drama, there is a chandelier creating an inverted cone of light and produced from an assembly of 320 acrylic rods that ascends into the ceiling of the auditorium at the beginning of the performance. To complete the auditorium, the distinguished Argentinean artist Guillermo Quintero has designed a mesmerising curtain for the stage.
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The principal performance space, the Margaret McDermott Performance Hall, features retractable screens, a spacious fly-tower, a three-square stage with generous side and rear stage areas and variable acoustics. The Margaret McDermott Performance Hall in the Margot & Bill Winspear Opera House has five levels, accessible via six floors (5th and 6th serve the Grand Tier). Danish choreographer Signe Fabricius is well sought-after for her work within the fields of opera, musicals, theater and film. In opera, she has had engagements with Malmö Opera, Royal Opera House in London, Teatro Real in Madrid, Vienna State Opera, Finnish National Opera, and the Bregenz Festival. She frequently works at both the Royal Danish Theater and Royal Danish Opera in Copenhagen.
Forgotten Space + Stu Allen Celebrating The Gratef...
With Lucrezia in a concert performance of I due Foscari, she madeher highly noticed debut at the Salzburg Festival in 2017. Verdi’s Macbeth has become a signature role, serving as Colclough’s debut at the Metropolitan Opera, Lyric Opera of Chicago, Bayerische Staatsoper and Luxembourg Opera. 2022 saw his return to the Royal Opera House Covent Gardens where he reprised his role as Telramund in Wagner’s Lohengrin. Colclough is currently building the character of Alberich under the direction of Brigitte Fassbaender for the Tiroler Festspiele in Austria. Having debuted Alberich in her 2021 Rheingold to great acclaim, Colclough will complete the cycle in 2024.
Review: Dallas Opera’s ‘Romeo and Juliet’ musically excellent - The Dallas Morning News
Review: Dallas Opera’s ‘Romeo and Juliet’ musically excellent.
Posted: Mon, 04 Mar 2024 08:00:00 GMT [source]
Side-by-side seating
Mr. Conlon is an enthusiastic advocate of public scholarship and cultural institutions as forums for the exchange of ideas and inquiry into the role music plays in our shared humanity and civic life. At LA Opera, he leads pre-performance talks, drawing upon musicology, literary studies, history, and social sciences to contemplate—together with his audience—the enduring power and relevance of opera and classical music in general. Additionally, he frequently collaborates with universities, museums, and other cultural institutions, and works with scholars, practitioners, and community members across disciplines. His appearances throughout the country as a speaker on a variety of cultural and educational topics are widely praised. Conlon opens his 18th season at LA Opera conducting Mozart’s Don Giovanni directed by Kasper Holten. He also conducts Verdi’s La Traviata—the first opera he led as Music Director of LA Opera—continuing his multi-season focus on the works of the great Italian composer.
Command Performance
The AT&T Performing Arts Center’s mission is to provide a public gathering place that strengthens community and fosters creativity through the presentation of performing arts and arts education programs. The opera house is named for the late Margot and Bill Winspear, who in their lifetimes were devoted supporters of the opera art form and The Dallas Opera. Their generous gift helped enable the construction of the AT&T Performing Arts Center.
Orchestra
British video designer Luke Halls has produced video designs and animations for a wide variety of music, theater and dance performances. Opera work includes Don Giovanni (Royal Opera House, Covent Garden), Otello (Metropolitan Opera) and Carmen (Bregenz Festival Lake Stage).Theatre work includes West Side Story (Broadway), Ugly Lies The Bone, The Lehman Trilogy (National Theatre) and The Nether (Royal Court). Halls has worked prolifically for music artists, creating video designs and animation for tours by Adele, Beyoncé, Pet Shop Boys, U2 and Rihanna, among others. She developed her deep understanding of the terms of audience engagement through two decades of collaborations in theater, designing The Lehman Trilogy (National Theatre, London; NYC; LA); Hamlet with Benedict Cumberbatch at the Barbican; A Number, Girls and Boys, The Nether (Royal Court); Chimerica, The Hunt (Almeida); Faith Healer (Donmar). Her work in opera includes Don Giovanni, Salome, Les Troyens and Mahagonny at the Royal Opera House, Covent Garden, and Carmen at the Bregenz Festival in Austria.

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Radiating from all sides, the slatted Sky Canopy provides shade to the Prothro Lobby over three acres of Sammons Park, defining outdoor spaces for visitors to gather. The entrance to the Winspear Opera House features the Annette and Harold Simmons Signature Glass Facade, which ascends 60 feet, creating a seamless visual appearance between the vibrant red glass panels of the McDermott Performance Hall and the surrounding Sammons Park. Radiating from the Winspear Opera House on all sides, the Sky Canopy provides shade to the Simmons Glass Facade over three acres of Sammons Park, defining new outdoor spaces for visitors to gather.
Community and Family Performances
Additionally, Meachem’s Teatro alla Scala debut in Massenet’s Thaïs was acclaimed as the “most impressive performance of the evening” (Opera Online), with his portrayal of Athanaël, alongside Marina Rebeka’s Thaïs, described as “possibly one of the great duos experienced at La Scala in recent decades” (Beckmesser). Grammy Award-winning baritone Lucas Meachem returns as the ill-fated playboy, leading a dazzling ensemble of singers including Craig Colclough, Guanqun Yu and Isabel Leonard. James Conlon, renowned for his astonishing command of Mozart, conducts what many consider to be the greatest of all operas in a visually spectacular production by director Kasper Holten, with scenery by stage designer extraordinaire Es Devlin, known for innovative stage designs for Beyoncé, Adele, U2 and others. Punctuated with indigenous trees, the sheltered public areas beneath the canopy benefit from a cool, shaded microclimate. Vertical sliding glass panels moving the full length of the east façade allow the building with its cafe and restaurant to be fully opened up, further enhancing the transitional inside-outside nature of the space. The Grand Plaza responds to the grid of the opera house canopy with a scored pattern set into the concrete, referencing the wider urban grid of Dallas.
Peixin Chen has sung Sparafucile in Rigoletto at Santa Fe Opera and the Lyric Opera of Kansas City, Sarastro in The Magic Flute with Opera Philadelphia, Dulcamara in L’Elisir d’Amore at Washington National Opera, and the Patriarch of Moscow in Dvořák’s Dmitrij at the Bard Music Festival in a new production directed by Anne Bogart. With Houston Grand Opera, he has bowed as Doctor Bartolo in The Barber of Seville, Oroveso in Norma, the King of Egypt in Aida, Ferrando in Il Trovatore, Sarastro in The Magic Flute, and as Hunding in Die Walküre. As a member of the Merola Program under the auspices of San Francisco Opera, he appeared as Basilio in performances of The Barber of Seville. Ms. Zhang was the Grand Prize winner of the 2019 Verbier Festival “Prix Yves Paternot”, a finalist in the 2019 Queen Sonja International Music Competition, and took second place at the 2020 Opera Index Competition. While in the Metropolitan Opera’s Lindemann Young Artist Development Program, Ms. Zhang made her Metropolitan Opera debut as the Bloody Child in Macbeth, followed by Barbarina in The Marriage of Figaro. While attending the Merola Opera Program, she performed as Anne Trulove in The Rake’s Progress, and at the Chautauqua Institute, she was seen as Pamina in The Magic Flute.
He has worked on over 70 productions in 9 countries, and served for 3 years as a board member of industry body Stage Directors UK. A former Bayreuth Scholar, Greg has given talks at Regent's University, London and St John's College, Cambridge as well as interviewing, hosting and appearing on panels for the Royal Opera, Covent Garden. He has worked in conservatories and young artist programs in Australia, the United Kingdom, Germany, Italy and the United States.