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FROM THE GENERAL DIRECTOR AND BOARD CHAIR

IAN DERRER The Kern Wildenthal General Director and CEO

I can’t say enough about the stellar creative team behind this opera: composer Joby Talbot, librettist Gene Scheer, designer Elaine McCarthy, and director Leonard Foglia, with our own Emmanuel Villaume. They took on the challenges of a topic that is hard to envision and a protagonist who is utterly isolated because he cannot speak, and they have created a work of enormous power. I think it resonates even more deeply because of the pandemic; as we, too, emerge from isolation, we have a new understanding of what that means. On the stage, we have an equally stellar team, headed by Lucas Meachem as Jean-Dominique Bauby, along with other TDO favorites including Richard Croft, Sasha Cooke, and Andriana Chuchman. Thanks to all of them, and to you, for believing in this project and for meeting it with the enthusiasm it deserves. Enjoy!

The Dallas Opera’s commitment to new work is one of the aspects of the company that I am most proud of. Creating new opera is a reminder that ours is a living, breathing, evolving art form, and that it belongs every bit as much to us as it did to the original audiences of Mozart, Verdi, and Puccini. Operas like The Diving Bell and the Butterfly can also be a magnet to newcomers to the art form, who might be pleasantly surprised to find they can relate to today’s opera. They might be surprised when they notice the cinematic quality of Joby Talbot’s music in Diving Bell, for example. In fact, they’ve probably heard his music in the cinema: among other works, he scored 2016’s Sing and is now creating the score for Wonka, the upcoming film starring Timothée Chalamet. Librettist Gene Scheer is a longtime presence at TDO—The Diving Bell is his fourth world premiere with us, and he also wrote the libretto for composer Jake Heggie’s Intelligence, the world premiere that just opened Houston Grand Opera’s season.

COV ER: J O E M A ZZA / B RAV ELUX

Our seventh world premiere represents the fruition of several false starts. It was originally planned for March 2021, but Covid had other plans. I won’t go through all the heartbreaking rescheduling details, but suffice it to say that The Diving Bell and the Butterfly’s journey to the stage was quite an unconventional one.

Welcome, friends!

I couldn’t be more excited to see The Diving Bell and the Butterfly on our stage. We are glad you’re here—enjoy the opera!

THE DIVING BELL AND THE BUTTERFLY

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

Welcome to the long-awaited premiere of The Diving Bell and the Butterfly!

QUINCY ROBERTS Board Chair

YOU’RE HERE. Congrats, You’ve Picked a Great Performance!

Check out the interactive version of this theater program magazine and enjoy even more insight into the performers, creative talent and theater activities that are behind it all.

LINKS TO PERFORMERS’ SOCIAL MEDIA ACCOUNTS MULTI - MEDIA PRESENTATIONS ABOUT THE PERFORMANCE. UNDERSTUDY UPDATES THEATER SUPPORT OPPORTUNITIES UPCOMING SHOWS PRODUCTION DETAILS & SHOW INFORMATION

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TABLE OF CONTENTS

EDITOR Laura Chandler ART DIRECTOR Maya Rose Tweten

Welcome

The Diving Bell and the Butterfly

Cast List

Program Article

Director’s Note

PRODUCTION ARTIST Diana Gonzalez

About the Artists

ADVERTISING DIRECTOR Walter Lewis

Composer’s Note

Librettist’s Note

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

Tribute to Maria Callas

Spotlight: The Hart Institute for Women Conductors

Donor Recognition

Expanding the Artform: The Diving Bell and the Butterfly

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.

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.

THE DIVING BELL AND THE BUTTERFLY

PH OTO : JO E M A ZZA / B RAVE LUX

THE DALLAS OPERA

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

COMPOSED BY JOBY TALBOT TO A LIBRETTO BY GENE SCHEER

THE DIVING BELL AND THE BUTTERFLY Presenting Sponsor MARTHA PEAK ROCHELLE Producing Sponsors MARTHA ALLDAY; CECE AND FORD LACY Supporting Sponsors GREG SWALWELL AND TERRY CONNOR; ANONYMOUS IN HONOR OF LUCAS MEACHEM The 2023/2024 Season is dedicated to the memory of James R. Seitz, Jr., longtime board member and supporter. 4

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Performance dates: November 3, 5 (matinee), 8, and 11, 2023

presents Sung in English with projected English titles

Approximate duration: 2 hours including one intermission

THE DIVING BELL AND THE BUTTERFLY Composed by Joby Talbot to a libretto by Gene Scheer

Leonard Foglia is the James R. Seitz, Jr., Stage Director in honor of John Gage

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

Sasha Cooke is the Marnie and Kern Wildenthal Principal Artist

CAST IN ORDER OF VOCAL APPEARANCE

Andrew Bidlack is the Greg Swalwell and Terry Connor Featured Soloist

Additional support for the commission and creation of The Diving Bell and the Butterfly: Carol Franc Buck Foundation Hoblitzelle Foundation Holly and Tom Mayer National Endowment for the Arts OPERA America TACA – The Arts Community Alliance Texas Commission on the Arts

Additional Production Staff: Max Bowman, Associate Projection Designer Taylor Gordon, Assistant Projection Designer Paul Vershbow, Projection Programmer Cory Garrett, Assistant Set Designer Ra Byn Taylor, Sound Designer John Horzen, Animator

The Dallas Opera is a proud member of OPERA America

Jean-Dominique Bauby Abbé Faria Sylvie Céleste Doctor Papinou Sandrine/Mercédès Orderly Théo Claude Lea

LUCAS MEACHEM RICHARD CROFT SASHA COOKE AVA JAFARI* ANDREW BIDLACK KEVIN BURDETTE ANDRIANA CHUCHMAN MARTIN LUTHER CLARK* AUSTIN HOWARTH* DEANNA BREIWICK JOCELYN HANSEN

Conductor Composer Librettist Director Set and Projection Designer Costume Designer Lighting Designer Assistant to the Lighting Designer Wig and Make-Up Designer Associate Director Stage Manager Concertmaster Assistant Conductor Music Preparation

EMMANUEL VILLAUME JOBY TALBOT GENE SCHEER LEONARD FOGLIA ELAINE J. McCARTHY DAVID WOOLARD RUSSELL CHAMPA* KATY ATWELL DAVID ZIMMERMAN KETURAH STICKANN LISA MARIE LANGE AMI CAMPBELL PAOLO BRESSAN CHRISTOPHER DEVLIN KIRK SEVERTSON SOPHIA MUNOZ TRACI TIEMANN BETTS SUSAN RILEY JERI SHAFFER CHRIS GRISWOLD NATALIE MAIN BENJAMIN KULWANOSKI

Movement Consultant Supertitles Assistant Stage Managers

*The Dallas Opera debut

Production Assistant

THE DIVING BELL AND THE BUTTERFLY

DIVING BELL AT LAST LEE CULLUM dives into the making of The Diving Bell and the Butterfly, based on the true story of Jean-Dominique Bauby—“Jean-Do” for short. French boy.” Certainly, it illuminates an opera to which Dumas never dreamed of attaching himself. The Abbé, sung by tenor Richard Croft, brings wisdom and consolation to the stricken Jean-Do.

From left to right: Ian Derrer, Joby Talbot, Lucas Meachem, Gene Scheer, and Leonard Foglia

If ever there were an impossible opera, it’s The Diving Bell and the Butterfly. As stage director Lenny Foglia puts it, it’s “about a guy who can’t speak or walk and can only open and close one eyelid.” His agent admonished, “You always choose the hard ones.” But Lenny had done Moby-Dick with librettist Gene Scheer in Dallas and joined forces with him along with composer Joby Talbot to create Everest at the Winspear—both highly acclaimed—so this collaboration was an easy if somewhat insane decision. It began to seem less daunting when Joby and Gene decided to pursue the imaginative, butterfly side of Jean-Dominique Bauby’s death-in-life stroke at 42, not the diving-bell body that made his active mind a prisoner. What we get, as a result, Lenny points out by phone, is “not flashbacks or things that he recalls, but always from the present, always flights of his mind” that free him from locked-in syndrome and “keep him going.” This approach gets Jean-Do, heretofore the charismatic editor-in-chief of Elle magazine, out of his hospital bed for a life in motion, visible to no one but his

own inner self. It means that baritone Lucas Meachem, singing Jean-Do, is on stage for the whole of the opera and wonders where on the set he can hide a bottle of water. Stamina he has and stamina he will need, along with enormous concentration, since Joby’s composition requires Lucas to blink that one good eye when using it to write a book, in time with the music. To further complicate the picture, Lenny must cope with Abbé Faria, a character from The Count of Monte Cristo by Alexandre Dumas. According to Joby Talbot, the Abbé was re-created in the opera “for Jean-Do to be in dialogue with.” It’s not an idea from nowhere. Before the stroke, JeanDo had signed a contract to write a version of Monte Cristo with a woman as the title character. Indeed, this was his favorite novel, and it became the source from which Jean-Do conjures a voice, however imaginary, to keep him company. The Count of Monte Cristo also means a lot to Emmanuel Villaume, music director of The Dallas Opera and conductor of Diving Bell, who considers it a touchstone for “every

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Pivotal to the piece is Sylvie, JeanDo’s wife, portrayed by mezzo-soprano Sasha Cooke. Though their decadelong relationship had ended six months before when she realized he was having an affair, Sylvie nonetheless tries to get through to him, hoping to find something to hold onto. Sasha Cooke has a way of playing the wife or quasi-wife of difficult, gifted men. Before coming to Dallas for Diving Bell she did Laurene Powell Jobs in The (R)evolution of Steve Jobs at the San Francisco Opera. These are not weak women. In both instances, they survive to shape the story. Indeed, Sasha has the first big aria in Diving Bell, and sings it wearing red. Sylvie, Faria and all those who keep Jean-Do functioning work in an atmosphere invented by set and projection designer Elaine J. McCarthy, who contributed mightily to the breakthrough success in Dallas of Moby-Dick and Everest. Revolving around three visual worlds—the realm of Monte Cristo, the make-believe aura of the butterfly, the concrete surroundings of the hospital and the beach as well as Jean-Do’s house—she goes for a palette that ranges from sepia to gold to extravagant color, and it’s all experienced through the prism of shattered mirror walls. Lenny calls it “an infinity room, a room in which there is no ending.” Never ending also is praise for librettist Gene Scheer. “He leaves the room for the music,” says Sasha Cooke. “His genius lies in his understanding this is not a play,” adds Emmanuel Villaume. “Gene Scheer is true to the

writing…He captures original writing,” Elaine J. McCarthy points out. All this is so, of course. In Moby-Dick he is indeed true to Melville. In Everest he no doubt offers a faithful account of the dozens of interviews done for the opera. In Diving Bell, however, he goes beyond Bauby’s book and gives Jean-Do a depth he did not permit himself to show in the account he did of his ordeal. Gene takes to full bloom the lyricism of this ill-starred editor and gives us a glimpse of the writer he might have become had he lived another 40 years. Gene also brings Sylvie to life in all her contradictions. And yes, to me this is a play, if by that you mean a triumph of opera theater.

Composer Joby Talbot with Lucas Meachem

Even so, words in opera depend entirely on music. As Emmanuel insists, “Music picks up where words leave off. Music…expresses what words cannot.” This is nowhere more apparent than in the incandescent trio Joby Talbot has written for Sylvie plus the two women helping Jean-Do with his book, both sopranos. They echo, of course, the famous trio in Strauss’s Der Rosenkavalier and also, more recently, The Hours by Kevin Puts. In the mature artistry of Joby Talbot, the effect is truly an apotheosis. The Diving Bell and the Butterfly is going to be wonderful, I tell Elaine McCarthy on the phone. Her response: “I suddenly think so.”

Costume Designer David Woolard

Journalist Lee Cullum has edited the editorial page of a major Dallas newspaper and been a regular commentator on what is now the PBS NewsHour. More recently, she hosted CEO, a series of interviews with business leaders on KERA-TV. While much of her work has been in politics and public policy, her avocational love is for the arts, and she has devoted much of her attention to them in recent years.

PHOTOS: K Y LE FLU BACKE R, PATRICK KE LLE R

Composer Joby Talbot with Director Leonard Foglia

THE DIVING BELL AND THE BUTTERFLY

DIRECTOR’S NOTE

THE DIVING BELL AND THE BUTTERFLY

P H OTOS: KYLE F LUBAC KE R , PAT R I C K KE LLE R

I loved to travel. Fortunately, I have stored away enough pictures, smells, and sensations over the course of the years to enable me to leave Berck [the hospital] far behind on days when the leaden sky rules out any chance of going outdoors...I turn to the vivid memory of tastes and smells, an inexhaustible reservoir of sensations. Once I was a master at recycling leftovers. Now I cultivate the art of simmering memories. You can sit down to a meal at any hour, with no fuss or ceremony. Naturally, at times he falls into despair when describing his “diving bell”: For me, the visual element of any production is always inspired by the score. Like the tail of a kite, I attach myself to the music and take flight. The music was inspired by the librettist whose words set the composer on his journey. And for The Diving Bell and the Butterfly, both were inspired by the book that gave this author a reason to persevere. The original source for each of us is always where it begins and ends. There is one short mention in the book that seemed directed at me, though. Jean-Dominique Bauby imagined his story being put on the stage. He writes: The PRESSURE COOKER could be the title of the play I write based on my experiences here. I’ve thought of calling it THE EYE and, of course, THE DIVING BELL. You already know the plot...a family man in the prime of his life learning to live with locked-in syndrome brought on by a serious cerebrovascular accident. Ambitious, somewhat cynical, therefore a stranger to failure, he takes his first steps into distress, sees all the certainties that buttressed him collapse, and discovers that his nearest and dearest are strangers. Bauby’s clear-eyed view of his situation as well as himself is what makes his story so compelling and stageworthy. I have worked to depict the specifics of his life at the hospital, of course, as well as his emotional journey but most importantly, in this production, the flights of his mind. His mind and especially his imagination have informed how I have chosen to present his story on the stage:

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Not only was I exiled, paralyzed, mute, half dead, deprived of all pleasures, and reduced to the existence of a jellyfish, but I was horrible to behold. But he doesn’t leave it (or us) there. The next sentence is this: There comes a time when the heaping up of calamities brings on uncontrollable nervous laughter—when, after a final blow from fate we decide to treat it all as a joke. The task I assigned myself was to create an environment that has no boundaries for a man so cruelly confined in his diving bell. The butterfly that is his mind must be able to travel great distances while his body lies inert, and we need to take the journey with him. Thus, the physical production you see. Finally, there is just one moment that he describes in his “play”: ...inert since the curtain rose, he throws aside the sheets and blankets, jumps from the bed, walks around the eerily lit stage, [then] you hear his inner voice: “Damn! It was only a dream!” He never stopped imagining his moment of release. Even if it was only for a moment. Even if it was only a dream.

—Leonard Foglia, director

ABOUT THE ARTISTS Emmanuel Villaume

Joby Talbot

CONDUCTOR

COMPOSER

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: Wimbledon, London Dallas Opera: Everest (2014/2015, debut), Everest (2016/2017) Career highlights: Joby Talbot’s diverse catalogue includes full-length narrative ballets (Alice’s Adventures in Wonderland, 2011; The Winter’s Tale, 2014) and contemporary dance works (Chroma, 2007); small- and largescale choral and vocal works (The Wishing Tree, 2002; Path of Miracles, 2005; A Sheen of Dew on Flowers, 2019); orchestral pieces (Sneaker Wave, 2004; Chacony in G Minor, 2011; Worlds, Stars, Systems, Infinity, 2012); concerti (Desolation Wilderness, 2006; Ink Dark Moon, 2018); and scores for the screen (The Lodger, 1999; The Dying Swan, 2002; Vampyr, 2018). Like Water for Chocolate, Mr. Talbot’s third narrative ballet with Christopher Wheeldon, premiered in June 2022 at the Royal Ballet in London and was also presented by partner commissioner American Ballet Theatre at ABT’s Segerstrom Center for the Arts in Costa Mesa (March 2023) and also at the Metropolitan Opera House in New York (June 2023). Mr. Talbot completed a master of music degree in composition at the Guildhall School of Music and Drama under Simon Bainbridge.

Gene Scheer

Leonard Foglia

LIBRETTIST

DIRECTOR

From: New York, New York Dallas Opera: Moby-Dick (2009/2010, debut), Everest (2014/2015), Moby-Dick (2016/2017), Everest (2016/2017) Career highlights: Gene Scheer has collaborated with composer Jake Heggie on projects including Intelligence, which opened Houston Grand Opera’s 2023/2024 season; Three Decembers at Houston Grand Opera, starring Frederica von Stade; the lyric drama To Hell and Back (Philharmonia Baroque Orchestra), featuring Patti LuPone; and Camille Claudel: Into the fire, a song cycle premiered by Joyce DiDonato and the Alexander String Quartet. Mr. Scheer worked as librettist with Tobias Picker on An American Tragedy, which premiered at the Metropolitan Opera in 2005; with Steven Stucky on the oratorio August 4, 1964, for the Dallas Symphony Orchestra (Grammy nomination 2012 for Best Classical Composition); and with Jennifer Higdon on Cold Mountain for the Santa Fe Opera (International Opera Award for the Best World Premiere, 2015, Grammy nomination for Best Classical Composition). Also a composer in his own right, Mr. Scheer has written a number of songs for singers such as Renée Fleming, Sylvia McNair, Stephanie Blythe, Jennifer Larmore, Denyce Graves, and Nathan Gunn.

From: Boston, Massachusetts Dallas Opera: Moby-Dick (2009/2010, debut), Everest (2014/2015), Moby-Dick (2016/2017), Everest (2016/2017) Career highlights: Besides the world premiere operas Leonard Foglia has directed for The Dallas Opera, he also directed the world premieres of It’s a Wonderful Life, Cold Mountain, The End of the Affair, Three Decembers, Stonewall, A Coffin in Egypt (also librettist), Cruzar la Cara de la Luna/To Cross the Face of the Moon (also librettist), El Pasado Nunca Se Termina/The Past Is Never Finished (also librettist), and El Milagro del Recuerdo/The Miracle of Remembering (also librettist). His production of Dead Man Walking has been seen across the United States and Europe. On Broadway, he directed Master Class, Wait Until Dark, Thurgood (filmed for HBO), The People in the Picture, On Golden Pond, and The Gin Game. His Off-Broadway credits include Let Me Down Easy (filmed for PBS) and Notes from the Field (filmed for HBO).

THE DIVING BELL AND THE BUTTERFLY

Elaine J. McCarthy

David Woolard

SET AND PROJECTION DESIGNER

COSTUME DESIGNER

From: Woburn, Massachusetts Dallas Opera: Moby-Dick (2009/2010, debut), 5 productions since Career highlights: Elaine J. McCarthy’s opera credits include It’s a Wonderful Life (world premiere, Houston Grand Opera); Mazeppa and War and Peace (co-productions of the Mariinsky Theatre and the Metropolitan Opera); Dead Man Walking (New York City Opera); and Cold Mountain (world premiere, Santa Fe Opera). Her career spans 23 years in nearly every area of live performance. Broadway highlights include Wicked, Spamalot, Impressionism, The People in the Picture, Assassins, Man of La Mancha, Into the Woods, Thurgood, and Judgment at Nuremberg. Her Off-Broadway credits include Frequency Hopping (set and projections), Distracted (set and projections), Embedded, The Stendhal Syndrome, Once in a Lifetime, The Thing About Men, and Notes from the Field, and many others. In 2020, Ms. McCarthy received the Distinguished Achievement Award for Digital Media given by the United States Institute for Theatre Technology.

From: Houston, Texas Dallas Opera: L’italiana in Algeri (2008/2009, debut), Death and the Powers (2013/2014), Everest (2014/2015), La Wally (2014/2015), Everest (2016/2017) Career highlights: David C. Woolard received Tony Award nominations for The Rocky Horror Show and The Who’s Tommy. He has designed over 20 shows on Broadway and over 200 shows around the world. Highlights include Broadway productions of West Side Story and Damn Yankees and the opera premieres of Jennifer Higdon and Gene Scheer’s Cold Mountain (Santa Fe Opera), Iain Bell and Mark Campbell’s Stonewall (Rose Theater at Jazz at Lincoln Center), and Jake Heggie and Gene Scheer’s It’s a Wonderful Life (Houston Grand Opera). In addition to his Tony nominations, Mr. Woolard has won a Drama Desk Award and the Henry Hewes Design Award, both for The Orphans’ Home Cycle at the Signature Theatre, and was nominated for an Olivier Award for The Who’s Tommy. He has dressed many personalities including Jane Fonda, Betty Buckley, Liz Mikel, Quentin Tarantino, and Billy Crystal, among others.

Russell Champa

David Zimmerman

LIGHTING DESIGNER

WIG AND MAKEUP DESIGNER

From: Berkeley, California Dallas Opera: debut Career highlights: Russell Champa’s credits include Joby Talbot’s Everest (Kansas City Lyric Opera), Romeo and Juliet (Huntington Theater), and contemporary dramas and comedies on Broadway, including In the Next Room or The Vibrator Play (Lyceum Theatre/Lincoln Center Theater), China Doll (Gerald Schoenfeld Theatre), and Julia Sweeney’s much-acclaimed one-woman show God Said “Ha!” (Lyceum Theatre/Lincoln Center Theater). Off-Broadway productions include About Alice (Theater for a New Audience); Log Cabin, The Qualms, The Patron Saint of Sea Monsters, and Completeness (all for Playwrights Horizons); and Transfers (MCC Theater). His dance work includes ThreshHolds (Pilobolus Dance Theater). Other New York work includes productions for The Public Theater, Classic Stage Company, Second Stage Theater, Manhattan Theatre Club, New York Stage and Film, the Promenade Theatre, and The Juilliard School. Regional work includes Steppenwolf Theatre, Long Wharf Theatre, Hartford Stage, Trinity Repertory Company, California Shakespeare Theater, and many others.

From: Dallas, Texas Dallas Opera: The Barber of Seville (2006/2007, debut), 48 productions since Career highlights: Mr. 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).

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Lucas Meachem

Richard Croft

JEAN-DOMINIQUE BAUBY

ABBÉ FARIA

From: Raleigh, North Carolina Dallas Opera: Madama Butterfly (2016/2017, debut), The Barber of Seville (2021/2022), Così fan tutte (2022/2023) Career highlights: Grammy Award–winning baritone Lucas Meachem, dubbed the “rock star of opera” by Opera Pulse, continues to captivate audiences worldwide with his “earnest, appealing baritone” (The New York Times). His solo album, Shall We Gather (Rubicon), was described by The New Yorker as “a plea for togetherness in a divided country,” praising his voice as ”a substantial and propulsive lyric baritone with pillowy edges.” After a summer at San Francisco Opera, Mr. Meachem appears this season with the Chicago and Baltimore Symphony Orchestras; stars as Don Giovanni with the Los Angeles Opera; performs the role of Sharpless twice in Madama Butterfly, first with the Metropolitan Opera, followed by Madrid’s Teatro Real; and returns to Staatsoper Hamburg. Born in North Carolina, Lucas Meachem studied music at Appalachian State University, the Eastman School of Music, and Yale University before becoming an Adler Fellow with the San Francisco Opera.

From: Hartwick, New York Dallas Opera: La clemenza di Tito (1999/2000, debut), Don Giovanni (2002/2003), Così fan tutte (2003/2004), Cenerentola (2004/2005), Il barbiere di Siviglia (2005/2006) Career highlights: American tenor Richard Croft is internationally renowned for his performances with leading opera companies and orchestras around the world. His repertoire ranges from Handel and Mozart to the music of today’s composers. Highlights include Captain Vere in Billy Budd for Deutsche Oper Berlin; Handel’s Jephtha at Dutch National Opera; Idomeneo with the Orquestra Metropolitana de Lisboa; the title role of Mozart’s Idomeneo at La Scala, Theater an der Wien, Théâtre des Champs-Élysées, Ravinia Festival, Festival d’Aix-en-Provence, and Mozarteum’s Mozartwoche in Salzburg; Hyllus in Handel’s Hercules at the Canadian Opera Company and Lyric Opera of Chicago; Jupiter in Handel’s Semele at the Théâtre des Champs-Élysées; the title role in La clemenza di Tito with the Wiener Staatsoper; and with the Metropolitan Opera, Ferrando in Così fan tutte, Belmonte in Die Entführung aus dem Serail, Almaviva in Il barbiere di Siviglia, Don Ottavio in Don Giovanni, and M. K. Gandhi in in a new production of Philip Glass’s Satyagraha, which was broadcast on the Met’s Live in HD series.

Sasha Cooke

Deanna Breiwick

SYLVIE

CLAUDE

From: College Station, Texas Dallas Opera: The Aspern Papers (2012/2013, debut), Everest (2014/2015) Career highlights: Grammy Award–winning mezzo-soprano Sasha Cooke sang Laurene Jobs in Mason Bates’s The (R)evolution of Steve Jobs at San Francisco Opera to open her 2023/2024 season, which also includes Donna Elvira in Don Giovanni at Houston Grand Opera and performances in concerts and recitals internationally. Recent highlights include Thirza in the rarely performed The Wreckers at Houston Grand Opera under Patrick Summers; Jake Heggie’s Intonations, a recital at San Francisco Performances presented by Music of Remembrance; Mozart’s Requiem with the Concertgebouw Orchestra conducted by Klaus Mäkelä and later with Nashville Symphony; and Mahler’s Symphony No. 3 with Orchestra dell’Accademia Nazionale di Santa Cecilia conducted by its music director, Sir Antonio Pappano. She has performed with the Metropolitan Opera, San Francisco Opera, Los Angeles Opera, Seattle Opera, Gran Teatre del Liceu, Israeli Opera, and English National Opera; in concert with more than 70 orchestras; and in recital at Carnegie’s Zankel Hall, the Kennedy Center, Wigmore Hall, and many others.

From: Seattle, Washington Dallas Opera: OperaPops! (2020/2021, debut) Career highlights: Recent highlights for American soprano Deanna Breiwick include her debut at San Francisco Opera performing Sister Constance in Dialogues of the Carmelites; a return to the Bayerische Staatsoper in Munich for Adele in Die Fledermaus; and debuts at the Gran Teatre del Liceu in Barcelona as Drusilla in L’incoronazione di Poppea, the Atlanta Opera as Cunegonde in Candide, and with Philharmonia Baroque Orchestra as Oriana in concert performances of Handel’s Amadigi di Gaula. Previously at the Bayerische Staatsoper, Ms. Breiwick performed Nannetta in Falstaff, Oscar in Un ballo in maschera, and the Italian Singer in Capriccio. She returned to the Metropolitan Opera as Najade in Ariadne auf Naxos, reprised Drusilla with Opernhaus Zürich, and performed Amore in Gluck’s Orfeo ed Euridice with Seattle Opera.

THE DIVING BELL AND THE BUTTERFLY

Kevin Burdette

Andriana Chuchman

PAPINOU

SANDRINE/MERCÉDÈS

From: Knoxville, Tennessee Dallas Opera: Everest (2014/2015, debut), 5 roles since Career highlights: Kevin Burdette was featured as Stefano in Adès’s The Tempest with the Metropolitan Opera, the DVD of which, on Deutsche Grammophon, was awarded the Grammy Award for Best Opera Recording and a French Diapason d’Or. His 2023/2024 season includes Bottom in A Midsummer Night’s Dream with Atlanta Opera, Bartolo in Il barbiere di Siviligia with Seattle Opera, and his role debut as Frank Maurrant in Street Scene with Central City Opera. Recent engagements include his house debut at La Scala as Adès’s Stefano; his role debut as Sondheim’s Sweeney Todd with both Austin Opera and the Chautauqua Opera Company; a return to Atlanta Opera as Voltaire/Pangloss in Bernstein’s Candide, a work in which he has also performed roles for Barcelona’s Gran Teatre del Liceu and Santa Fe Opera; Señor Russell in Adès’s The Exterminating Angel and Spinelloccio in Gianni Schicchi with the Metropolitan Opera; Quince in Britten’s A Midsummer Night’s Dream and Sulpice in La fille du régiment at Santa Fe; and his role debut as Claggart in Britten’s Billy Budd with Central City Opera.

From: Winnipeg, Manitoba, Canada Dallas Opera: Show Boat (2015/2016, debut) Career highlights: This season, Andriana Chuchman makes role debuts as Violetta in La traviata at Opera Omaha, Juliette in Roméo et Juliette at the Lyric Opera of Kansas City, and Donna Anna in Don Giovanni at Houston Grand Opera. She has appeared with the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Houston Grand Opera, Los Angeles Opera, Washington National Opera, Glimmerglass Festival, Opera Omaha, Glyndebourne Festival Tour, and the Hamburg State Opera. In her native Canada, she has appeared with the Canadian Opera Company, Manitoba Opera, and Edmonton Opera. Her roles include Giulietta in I Capuleti e i Montecchi, Marie in La fille du régiment, Adina in L’elisir d’amore, Cleopatra in Giulio Cesare, Susanna in Le nozze di Figaro, Gretel in Hansel and Gretel, Valencienne in The Merry Widow, Eurydice in Orphée et Eurydice, and Lauretta in Gianni Schicchi. In contemporary opera, she has won acclaim as Mary in Jake Heggie’s It’s a Wonderful Life, Pat Nixon in John Adams’s Nixon in China, and Kumdha in Adams’s A Flowering Tree.

Andrew Bidlack

Jocelyn Hansen

DOCTOR

LEA

From: Denver, Colorado Dallas Opera: The Lighthouse (2011/2012, debut), 5 roles since Career highlights: Featured by Opera News as one of its “top 25 brilliant young artists” (October 2015), tenor Andrew Bidlack has been featured as Tony in West Side Story with Atlanta Opera, Lyric Opera of Kansas City, and Latvia’s Liepāja Symphony Orchestra; Rob Hall in Joby Talbot’s Everest at Calgary Opera; Nikolaus Sprink in Kevin Puts’s Silent Night at Arizona Opera; and Beppe in Pagliacci at the Metropolitan Opera. The role of Greenhorn in Jake Heggie’s Moby-Dick brought him to Chicago Opera Theater, where he also appeared in Everest and Rachmaninoff’s Aleko. At New York City Opera, Mr. Bidlack sang Andy in Iain Bell’s Stonewall (world premiere), and performed Private John Ball in Bell’s In Parenthesis (world premiere at Welsh National Opera with further performances at the Royal Opera Covent Garden). Other recent highlights include Augustin Moser in Die Meistersinger von Nürnberg, Lampionaio in Manon Lescaut, and Schmidt in Werther for Oper Frankfurt.

From: Fort Dodge, Iowa Dallas Opera: Rigoletto (2022/2023, debut) Career highlights: Jocelyn Hansen joined MIOpera in the summer of 2022 as Baroness Elsa Schrader in The Sound of Music. In 2000, she finished a two-year tenure as an Outreach Artist with The Dallas Opera, singing the roles of Laurette in Doctor Miracle and Manuelita in Pépito. She performed the roles of Nellie Forbush in South Pacific and Cinderella’s Stepmother in Into the Woods with the Ohio Light Opera and has also performed Pamina in The Magic Flute and Soeur Constance in Dialogues of the Carmelites. On the concert stage, she was the soprano soloist in Handel’s Messiah with the Fort Worth Symphony Orchestra and the Amarillo Symphony, and in Broadway a la Carte with the Abilene Philharmonic.

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Ava Jafari

Austin Howarth

CÉLESTE

THÉO

From: Plano, Texas Dallas Opera: debut Career highlights: Ava Jafari, eleven years old, is a classically trained treble singer from the Greater Dallas Choral Society. From an early age, she has made numerous appearances in such Dallas-area halls as the Morton H. Meyerson Symphony Center, the Winspear Opera House, and the Charles W. Eisemann Center for Performing Arts. Ava studies cello, piano, voice, drama, and dance, and has been a member of the Chamberlain Ballet Company for five years. She performs the role of Young Clara with the Chamberlain Ballet in The Nutcracker this month. Last June, Ava trained in the musical theater summer intensive at the Joffrey Ballet School in New York City, where she appeared as an ensemble member in an Off-Broadway production of Hamilton. She made her debut ensemble performance with The Dallas Opera in the 2022 production of Humperdinck’s Hansel and Gretel. Ava attends Greenhill Middle School in Dallas.

From: Dallas, Texas Dallas Opera: debut Career highlights: Eleven-year-old Austin Howarth is a classically trained treble singer from the Greater Dallas Choral Society. He is active in music, drama, soccer, and baseball. He made his debut ensemble performance with The Dallas Opera in the 2022 production of Humperdinck’s Hansel and Gretel. In 2023, he appeared as Pugsley Addams in the Dallas Children’s Theater production of The Addams Family. Since 2021, Austin has appeared in several performances annually at the Morton H. Meyerson Symphony Center in Dallas as a member of the Children’s Chorus of Greater Dallas and now the Greater Dallas Choral Society. Austin attends William B. Travis Academy for the Talented and Gifted (TAG) in Dallas, where he is a member of the TAG leadership team.

Martin Luther Clark ORDERLY From: Marshall, Texas Dallas Opera: debut Career highlights: This season, Martin Luther Clark returns to the Lyric Opera of Chicago for Luis Griffith in Champion and sings the title role in Candide (Madison Opera) and a solo recital at his alma mater, the University of North Texas. In future seasons, he will return to the role of CJ in The Factotum (Portland Opera) after creating the role at the Lyric Opera of Chicago last season and will make his Houston Grand Opera debut. Last season, he sang Tenor 3 in X: The Life and Times of Malcolm X (Detroit Opera, Opera Omaha) and Rapunzel’s Prince in Into the Woods (Tulsa Opera) and also completed his tenure in Lyric Opera of Chicago’s Ryan Opera Center. In the summer, he returned to the Aldeburgh Music Festival to sing works of Britten.

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COMPOSER’S NOTE

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The blockage meant that the allimportant pons was now completely deprived of its oxygen supply. For as long as the embolism held, two million of Jean-Do’s brain cells were dying every minute.

Deep inside your head, at the base of your brain, where your spinal cord enters your skull, there is a one-inch section of brainstem called, simply enough, the pons. The name derives from the Latin word for “bridge,” because every single motor fiber from your entire body converges here before continuing on into your brain—it is the bridge between your body and your mind. It’s well protected, shielded by layers of bone and tissue in the safest place possible. But there’s a flaw in the design: the blood vessels that supply your oxygen-hungry brain with the twelve gallons of blood per hour it requires to function have to pass through this same, perilously congested, bottleneck, too. On the afternoon of Friday, December 8, 1995, a thrombus, or clot, was adrift in the bloodstream of JeanDominique Bauby. Forty-three years old, a loving father, a bon viveur, a renowned intellect, and a celebrated magazine editor, Jean-Do was popular, successful, and brilliant. But none of that was of any consequence now. As he climbed behind the wheel of the brand-new BMW he was test-driving that day, the thrombus, traveling up the basilar artery into the bottleneck, got stuck. There is no worse place in the human body for this to happen.

He was still a young man. His children at the time were seven and nine. Like many men of his age and status, his personal life was something of a mess: he’d recently split up with the mother of his children and was in a relationship with a work colleague. It was all still quite raw and difficult. I imagine JeanDo was confident that things would sort themselves out in due course. Anyone who’s ever gone through a separation where kids are involved knows how painful and traumatic it is, but JeanDo loved his kids, and they loved him. Everyone says he was an excellent dad. He was on the way to the theater with his son when the stroke happened. So far, so terribly, terribly sad. The worst possible thing has happened to a wonderful person. His family and friends are devastated, and life will never be the same again, for any of them. It’s almost unbearable to try to imagine it all. But what happens next is incredible: blink by dogged blink, in a Herculean effort of defiant willpower, Jean-Do writes his book. And when you read it, you find it to be a work of supreme optimism, a celebration of the human spirit with not a trace of self-pity. Despair lurks on the edge of sight but is batted away in a poetic song of praise to the wonder and beauty of life and love. There are moments in the story that are agonizingly poignant, but Jean-Do always moves past them, beyond, into the realm of imagination, of memory, of dreams, of hope, of love.

where his vocabulary is expanding by the hour. He’s experimenting with new ways of stringing words together, trying out different emphases, cracking jokes. He’s desperate to be understood. When you get what he’s saying, he’s thrilled; when you don’t, he’s devastated. The human impulse to communicate is scarily strong. Denied the ability to fulfill that impulse—something we all take entirely for granted—unable, as he says in the book, to even ruffle his children’s hair, Jean-Do nevertheless manages to speak to us, as if from the very depths of the deepest ocean trench, to help us appreciate the wondrous thing that it is to be a human being.

I would like to express my thanks to Sylvie de la Rochefoucauld and Céleste and Théo Bauby for allowing us to make this opera and for their support along the way, to The Dallas Opera for bringing it to fruition, and to Dr. Keith Cerny for having first suggested the idea. The piece is dedicated to the memory of librettist Gene Scheer’s father, Ramon Scheer (1928–2022).

—Joby Talbot, composer

As I write this, I am thinking of my youngest son, Peter, who will turn two later this month. He’s at that stage

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LIBRETTIST’S NOTE

Our opera tells the story of JeanDominique Bauby, the celebrated editor of Elle magazine. Husband and father, he’s a major contributor to the cultural and intellectual scene in Paris and throughout France. But his life shatters when a devastating stroke leaves him paralyzed and unable to speak—“locked in”—like a diver at the bottom of the sea. Yet Bauby’s spirit is indomitable, and he finds a way—by blinking with the only muscle he can still control—to “write” a book about his extraordinary life. Although physically incapacitated, Bauby has a brilliant mind that can wander and fly like a butterfly, freeing him to travel through time and space where nothing is impossible. Confronted with the brutal reality of his condition, Jean-Dominique must find meaning in what remains. Ultimately, it is his love for his children and his love for life itself, which allow him to persist. As he employs his powerful imagination and reflects on the life he has lived, he finds the strength to leave a lasting and meaningful legacy for those he loved.

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My own inspiration for The Diving Bell and the Butterfly emerged when, a few years ago, I went to Paris to meet with Jean-Dominique Bauby’s family. About two hours into a four-hour dinner, Céleste, JeanDominique’s daughter, said to me that she understood why Joby Talbot and I wanted to turn her father’s memoir into an opera. This story of Jean-Dominique languishing with “locked-in syndrome” and almost completely unable to move, at first blush, seemed like an unusual subject for an opera. But Céleste understood that Jean-Dominique’s heroic effort to leave a testament about his life and identity was the heart of a remarkable journey that music could illuminate. By the end of the evening, Céleste, her brother Théo, and their mother Sylvie all had only one question: “How can we help?” Over the next few days, I spent many hours with them discussing their memories of what happened and finding out more about JeanDominique. I explained that though we are not creating a documentary, but rather an imaginative work of art, any details that they could offer about Bauby’s life would be invaluable and allow the opera to feel especially truthful and resonant.

Cristo?” When I said yes, she laughed and exclaimed, “That’s absolutely wonderful!” She instantly got the reference to the Dumas novel and was well aware that Jean-Dominique, obsessed with the story, had been working hard on an adaptation of the classic novel at the time of his stroke. So, as the opera opens, with JeanDominique lost in a coma, we see what he imagines in his mind as he lies unconscious in his hospital bed in Berck-sur-Mer. The reason this book spent years on the international best seller list is because Jean-Dominique’s story speaks so movingly of our deepest need to connect to the world and each other. To me, this piece feels especially relevant now. Living through the Covid pandemic has certainly reminded us of our own urgent need to find a way to connect and celebrate those we love. His life-affirming story also poignantly reminds us that there is no time to waste.

—Gene Scheer, librettist

A few days after the dinner, I returned to Sylvie’s apartment to continue asking her questions and listen to her talk about her life with “Jean-Do.” Finally, she asked me a question: “So, where might the opera begin?” Nervously, I said to her: “In the Château d’If.” She replied, “You mean, the dungeon in The Count of Monte

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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.

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.

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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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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

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HORN Katie Wolber The Linda VanSickle Principal Horn Chair Jackson Prasifka* Heather Test^ Stacie Mickens^ Shelby Nugent TRUMPET John Holt Principal Rick Bogard

ASSOCIATE MUSICIANS VIOLIN Kathy Johnson Inga Kroll Ellen Lovelace PERCUSSION Michael E. McNicholas Brad Wagner KEYBOARDS Christopher Devlin Kirk Severtson

TROMBONE Tony Baker Acting Principal The Cece and Ford Lacy Principal Trombone Chair Timothy Owner^ 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 MUSIC LIBRARIAN Shannon Highland

^ Substitute * On Leave

P H OTO: KYLE F LUBAC KE R

In the Spotlight: Hart Institute for Women Conductors Don’t miss free livestreamed sessions November 13–16! On January 28, four superb rising conductors will take the podium to lead The Dallas Opera Orchestra and a host of incredible singers in the Winspear Opera House for a onenight-only Showcase Concert of thrilling operatic selections. What makes this event unique is that all the conductors are women—participants in The Dallas Opera’s Linda and Mitch Hart Institute for Women Conductors. This year’s participants include Maria Benyumova (Germany), Micah Gleason (USA), Shira Samuels-Shragg (USA), and Jingqi Zhu (China). The Institute is an immersive program created in 2015 to address the underrepresentation of women as leaders in opera, primarily on the podium. It is the only program of its kind anywhere in the world, and since its inception, more than 500 women from over 40 countries have applied. The Institute offers customized training and support to help advance the careers of women every season. The Institute begins November 13–16 with virtual sessions between this year’s participants and an international panel that includes Hart Institute alumnae conductors Karin ˇ Hendrickson, Natalie Murray Beale, and Stephanie Rhodes Russell; Serge Dorny, general director of the Bayerische Staatsoper; David Lomelí, TDO artistic consultant and chief artistic officer of the Santa Fe Opera; Quodesia Johnson, TDO company culture consultant and Opera America equity consultant; Robyn Short, DLS, founder and CEO of Workplace Peace Institute; and others. We invite you to tune into as many of the virtual sessions as you can. In January, participants will travel to TDO for an intensive 10-day residency, where they will continue their training

with resident Master Faculty, including TDO’s Mrs. Eugene McDermott Music Director Emmanuel Villaume; TDO Principal Guest Conductor Nicole Paiement; conductor and HIWC alumna Elizabeth Askren; conductor Paolo Bressan; and internationally recognized guest faculty including Deborah Borda, Louis Langrée, and Serge Dorny. The residency culminates in the Showcase Concert. Save the date—January 28, 2024, at 7:30 p.m.—for an exciting program of overtures, arias, and ensemble pieces that run the gamut of the operatic canon.

Tune In!

This season, The Dallas Opera is opening its Hart Institute for Women Conductors so that the public can experience the daily virtual sessions free of charge. You can tune in to TDO’s YouTube channel at the times below to view the livestreams for an interactive experience that allows you to ask questions, or you can experience them live or on demand on TDO’s digital platform, digital.dallasopera.org. There will be one livestream per day during the week of November 13–16. Topics include Dignity and Creativity, Artistic Leadership and Curation in Opera, and Exploring Career Pathways for Conductors, among others. All times are CST. Mon. November 13, 2–3 p.m. Tues. November 14, 9–10 a.m. Wed. November 15, 2–3 p.m. Thu. November 16, 2–3 p.m. Visit dallasopera.org/hart for the latest information and links to sessions.

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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 Salmerón, 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 Stephanie Ray, Database Coordinator

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

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 David Hess, Operations Team Assistant 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 Chris Griswold Natalie Main Caitlynn Sandoval Jennifer Shaw Miranda Wilson

Production Assistant Ben Kulwanoski Leah Anderson

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Resident Design Staff

Tommy Bourgeois, Properties Designer and Costume Design Consultant Aaron Johansen, Resident 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

Costume Shop

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

Stitchers

Jan Allison Laci Roberts Blanca Salazar Rosa Serrano Nancy Steward

Cutter/Draper Steven Lewis

Painter/Dyer Susan Mayes

LEGAL

FORVIS, Auditor Haynes and Boone, LLP, Legal Counsel

MUSIC DIRECTOR EMERITUS Graeme Jenkins

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 Abba Sims

Wardrobe

Ginger Boyd, Wardrobe Mistress Denise Olemeda, Assistant Wardrobe Mistress

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 Gail O’Bannon 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*

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 Ronald Mankoff

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

Robert Maris 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.+

$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 Anonymous Cindy and Charlie Feld Dr. and Mrs. Mark S. Geyer The Haley Family The Ruth LeVan Fund Thomas Maddrey Mr. and Mrs. Michael E. Phillips Ann Stuart, Ph.D. Betty and Steve Suellentrop Sarah L. Titus + Deceased

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. Dallas Tourism and Public Improvement District 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 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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THE DIVING BELL AND THE BUTTERFLY

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

PRE-SHOW MIXERS

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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

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

NEW MEMBERSHIP PROGRAM AND LECTURE SERIES CHOOSE YOUR LEVEL:

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Opportunity to add party invites for $65/person

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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

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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

THE DALLASOPERA OPERA | 2023/2024 SEASON THE DALLAS OPERA 2022 2023SEASON SEASON THE | ||2022 | |2023 THEDALLAS DALLAS OPERA 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. 1935–2023

Mark Wagenhurst 1962–2023

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 Ken Travis Jane A. Wetzel Kimberly and Brian Williams Dr. A. Gordon Worsham

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 Mary Henderson 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. 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. Tinsley Silcox and Joseph Guzman Mrs. David R. Stone The Vice Family Foundation Donna and Joe Worsham

ANNUAL FUND DONORS GRAND IMPRESSARIO ($1,000,000+) Margot B. Perot and the Perot Family 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 Martha Peak Rochelle Estate of Mr. James R. Seitz, Jr. Betty and Steve Suellentrop Martha McCarty Wells DIRECTOR SOCIETY ($75,000+) Martha Allday Linda and Mitch Hart 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 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 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 Pat and Jed Rosenthal Dr. and Mrs. Thomas H. Smith Ann Stuart, Ph.D. Greg Swalwell and Terry Connor Ms. Sandy Tucker Kathy and John Ward Jill and Malcolm Winspear 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 Karen and Jim Wiley Raguet Worsham PLATINUM CIRCLE ($10,000+) Anonymous Terry Barrett and Krista Tinsley Alice W. Bass Bryan and Robin Benak Joanne L. Bober J. Andrew Brock Parker Crook Estate of Lois M. Durden Frances and David Ertel

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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 Joanna and John Hampton Adrea D. Heebe Patricia and David May Mr. and Mrs. Ronald Morrill Sarah R. Gannon and John Seddelmeyer 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

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

THE DIVING BELL AND THE BUTTERFLY

ANNUAL FUND DONORS (CONT’D) 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 and Barbara Buchman Alicia Burkman Tassio and Milene Carvalho Chrysta Castaneda 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 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. John R. Taylor, Jr. Mr. and Mrs. W. Bradford Todd Jerre van den Bent Inge and Sam Vastola Mr. and Mrs. Dennis Walo 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 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 Mr. Steve Bottum Jack and Mary Bush Kelly A. Carter Mr. and Mrs. Elliot R. Cattarulla

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

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 Fanchon and Howard Hallam Mr. and Mrs. James E. Harrison Louis Harrison Mr. and Mrs. Keith Harville Drs. Ted and Shannon Hayes M.D. 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 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 & Larrie Weil Andrea and Loren Weinstein Dr. Muriel Yu 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 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

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ANNUAL FUND DONORS (CONT’D) Fred M. Penn and Dean Corbitt Pat and John Priest Ray and Martha Quigley Dick Rawlings Mr. & 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, MD Janet P Smith Dr. Mabelle Sonnenschein Ms. Kristina Staley Rev. Christopher Thomas Dr. William Wadley Karen and Howard J Weiner Carl Weisbrod

+ Deceased

GENERAL DIRECTOR’S SELECT CLUB:

THE DIVING BELL AND THE BUTTERFLY The General Director’s Select Club supports an exceptional opera each season. Dedicated supporters gain the opportunity to contribute directly to the production while diving deeper into its artistic development.

Joanne L. Bober Carole Braden Roger L. Carroll Scott Chase and Debra Witter Mrs. Robert S. Coit Cindy and Charlie Feld Sarah R. Gannon and John Seddelmeyer Susan and Mark Geyer Dr. and Mrs. John M. Haley Adrea D. Heebe Ellen Key Marnie and Kern Wildenthal

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THE DIVING BELL AND THE BUTTERFLY

P HOTO : PAT RI C K KEL L ER

Thank you to our generous donors for their instrumental support of this world premiere production of The Diving Bell and the Butterfly.

Expanding the Art Form: The Diving Bell and the Butterfly By Laura Chandler

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 for generations beyond its premiere. You are part of history because you are here to experience The Diving Bell and the Butterfly, TDO’s seventh mainstage world premiere. The creative team behind this opera—composer Joby Talbot, librettist Gene Scheer, director Leonard Foglia, designer Elaine J.

McCarthy and costume designer David Woolard—are among the very best in the business. 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. 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.

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 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. Thank you for being here to share in the joy of creation and to celebrate the growth of the art form we love.

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

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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P H OTOS : CO U RTE SY O F T H E DA LL AS O P ERA A RC H I VE S

“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 and Romeo and Juliet, which have aced the test of time, we must remember that even these favorities were once new. We couldn’t enjoy them today if an opera entrepreneur hadn’t commissioned Puccini and Gounod to write them.

2023/2024 SEASON 2023/2024 SEASON

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

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

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2023/2024 SEASON

UPCOMING PERFORMANCES

JAN 21, 2024

LAWRENCE BROWNLEE

THE ROBERT E. AND JEAN ANN TITUS FAMILY RECITAL MYRA HUANG, PIANIST

RICHARD STRAUSS

ELEKTRA

FEB 9, 11, 14, 17, 2024

JAN 28, 2024 THE LINDA AND MITCH HART INSTITUTE FOR WOMEN CONDUCTORS

SHOWCASE CONCERT CHARLES GOUNOD

ROMEO AND JULIET

MAR 1, 3, 6, 9, 2024

Tickets at dallasopera.org or 214.443.1000 Margot and Bill Winspear Opera House

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

P H OTOS: SH E RVI N L A I NEZ , K Y L E FLU BAC K ER, RO B ERT KU S EL , LY NN L A NE

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