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The Plaza contains squares of lawn and wildflower planting, with the Donor Pool as the focus. This black granite water feature is set into the paving, with a film of water glistening above the names of the project’s donors, which are channelled into the stone in stainless steel letters. The new Winspear Opera House in Dallas redefines the essence of an opera house for the twenty first century, breaking down barriers to make opera more accessible for a wider audience. Responding to the Dallas climate, a generous solar canopy extends from the building, revealing below a fully glazed sixty foot high lobby. This establishes a direct relationship between inside and outside, enhancing transparency. Beneath the canopy, which forms an integral part of the environmental strategy - a shaded pedestrian plaza creates a major new public space for Dallas, defined by the masterplan for the Performing Arts District.
Event & Venue
When Covid struck and performances were canceled abruptly, Meachem was one of the first classical musicians to live stream a recital from the opera stage, just days after lockdown on March 23, 2020. In a recent profile with Opera News, Meachem revealed that, in March 2020, he felt at loose ends. With debut performances of Rodrigo in Don Carlos at Dallas Opera indefinitely postponed, he and his wife, pianist Irina Meachem, arranged a live-streamed program from the Winspear Opera House.
James Conlon
He returns in February 2022 for performances including Beethoven’s Eighth Symphony and the final scene of Wagner’s Die Walküre, with guest artists Christine Goerke and Greer Grimsley. The BSO season concludes in June 2022 with Mr. Conlon conducting an orchestra co-commission from Wynton Marsalis, Rachmaninoff’s Rhapsody on a Theme of Paganini with Beatrice Rana, and Shostakovich’s Seventh Symphony (“Leningrad”). As Artistic Advisor, in addition to leading these performances, Mr. Conlon will help ensure the continued artistic quality of the orchestra and fill many duties off the podium, including those related to artistic personnel—such as filling important vacancies and attracting exceptional musicians. The venue is a 21st-century reinterpretation of the traditional “horseshoe” shaped opera house, engineered specifically for opera and musical theatre, with stages equipped for ballet and other types of dance. The Winspear is designed by Foster + Partners under Pritzker prize-winning architect Norman Foster and Deputy Chairman Spencer de Grey. Theater work includes Frankenstein (Olivier and Knight of Illumination awards); Miss Saigon, From Here to Eternity (West End); and productions for the National Theatre, RSC, Old Vic, Royal Court and Barbican.
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The Center’s stages are a launching pad for world premieres and an incubator for the city’s emerging arts groups. This is where you can see the award-winning work of its five resident companies, along with its two programming partners. The Winspear Opera House was designed by Foster + Partners under Pritzker prize-winning architect Norman Foster and Deputy Chairman Spencer de Grey. Renowned for its outstanding acoustics, intimate 2200-seat performance hall and iconic architecture, it is one of the nation’s premier performing art venues.
Forgotten Space + Stu Allen Celebrating The Gratef...
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After studying in Shandong and Shanghai, she was a member of the opera studio at the Teatro Comunale di Bologna. Guanqun Yu has worked with conductors such as Zubin Mehta, James Levine, Michele Mariotti and Cornelius Meister. In 2010 she made her debut in Vienna in Honegger’s Jeanne d’Arc under the baton of Bertrand de Billy. Guanqun Yu is also familiar with the French repertoire singing Micaëla in Carmen and Mathilde in Guillaume Tell – a role which brought her a great personal triumph in a new production at Hamburg State Opera. Additional credits include the Israeli Symphony Orchestra, California Philharmonic, Capitol Records, Abbey Road Studios and the soundtrack of the film Rolled.
To date, Conlon has conducted more than 500 international performances of Verdi’s repertoire. Conlon closes his LA Opera season honoring the 100th anniversary of Puccini’s death, conducting Turandot, Puccini’s final opera composed in 1924. In previous seasons, Ms. Zhang performed with Switzerland’s Verbier Festival as Pamina in The Magic Flute, Opera National Bordeaux and Guangzhau Opera House as Zerlina in Don Giovanni, Philadelphia Orchestra in L’Enfant et les Sortilèges, Tianjin Grand Opera as Lucia in The Rape of Lucretia and Harbin Symphony Orchestra as Marzelline in Fidelio. Additional roles performed include the title role in Lucia di Lammermoor, Susanna in The Marriage of Figaro and Juliette in Roméo et Juliette. Previous concert appearances include Mozart’s Exsultate, jubilate with the New Jersey Symphony, Glière’s Concerto for Coloratura Soprano and Orchestra with Camerata Notturna, and solo recitals with pianist Ken Noda at Lincoln Center’s Bruno Walter Auditorium and Miami’s Wertheim Performing Arts Center. Celebrated by Opera News as a “masterful musician” with an “instrument of striking finish, smooth and solid throughout its range,” Meachem’s recent performances include Sharpless in Madama Butterfly at Royal Opera House, Marcello in La Bohème at the Metropolitan Opera, and the title role in Nabucco at Oper im Steinbruch.
Also inside the Winspear Opera House is Nancy B. Hamon Hall, an intimate 200-seat performance space that beautifully hosts a variety of programming; and the PNC Members Lounge, exclusively for patrons at specific membership levels. The Margot and Bill Winspear Opera House welcomes audiences to enjoy world-class performances in a stunning facility without having to travel far from home. Truly a jewel in the Dallas landscape and a striking testament to excellence in design, the Winspear is home to bucket-list moments for patrons of all kinds.
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An Evening with Bernadette Peters Visit Dallas - Visit Dallas
An Evening with Bernadette Peters Visit Dallas.
Posted: Wed, 07 Feb 2024 06:49:55 GMT [source]
You can find Shen Yun merchandise in most theater lobbies during intermission as well as before and after the performance. There are about short dance pieces in each performance, which offer variety in terms of both pacing and style. Some pieces feature stories from ancient Chinese history or mythology, others from contemporary China, while still others feature dance styles and costumes from different dynasties, regions, and ethnic groups. The sound of the wind muffled the strains of the lovely Steinway Grand playing inside.
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.
An 84-foot (26 m) wide section of the glass façade is retractable to a height of 23 feet (7.0 m), literally opening up the Grand Lobby, Cafe and Box Circle-level Restaurant to Performance Park. Designed as a 21st-century reinterpretation of the traditional opera house, the Winspear seats 2,200 (with a capacity of 2,300) in a traditional horseshoe configuration. Explore the Culture Calendar, a resource to connect arts patrons with venues, performances, and arts exhibitions in neighborhoods all across the city.
Ancient stories and legends, ethnic and folk traditions, villains and heroes will come to life on stage through classical Chinese dance, live music, and stunning digital backdrops. You can expect an experience like no other, one that not only entertains, but also enriches and inspires. Additional highlights of his season include returning to the Chicago Symphony Orchestra to lead Mendelssohn’s Elijah, and conducting Wagner’s Lohengrin at Deutsche Oper Berlin. He also returns to Switzerland’s Bern Symphony, where he is Principal Guest Conductor, to lead three programs including Schubert and Beethoven symphonies, a celebratory New Years Day concert, and a season finale with Shostakovich’s Symphony No. 5. Since his debut that year with La Traviata, he has conducted 67 different operas and more than 455 performances to date with the company. Your before-the-show experience has never been more delicious with brand new dining options at the Winspear Opera House!
Winspear’s classical design is well-loved by theatergoers and production companies alike. There, you can watch many dance performances from past seasons, Shen Yun Symphony Orchestra concerts, our original operas, classical Chinese dance technique collections, instructional videos, behind-the-scenesfootage, videoshorts, and much, much more. Bilingual emcee hosts briefly introduce each piece to provide you with helpful background so that you can appreciate the experience more fully. You will be taken on a journey to magnificent eras in Chinese history, as well as to periods from China’s recent past.
Perhaps “saving civilization” is a task best practiced close to home, by making a genuine effort to support, appreciate, and understand the messages and meaning of the arts in our own lives. If we can manage to do this, we won’t have to bend over backwards to sell our ideas to others….They’ll sell themselves. Twenty years since Veneer, his uncompromisingly candid, game-changing debut, Jose González celebrates its anniversary with selected US special solo shows. Giovanni hears the voice of the Commendatore, whom he killed, warning Giovanni of impending retribution. The ghost of the Commendatore accepts Don Giovanni’s invitation and arrives to send him to hell. Masetto and his bride, Zerlina, are to be married in a peasant wedding, but Giovanni sets out to seduce Zerlina.
