Your Guide to the 2013-2014 Season

A MESSAGE FROM

General Director and CEO Keith Cerny I’m delighted that you want to know more about the Dallas Opera’s 2013-2014 “By Love Transformed” Season, and our new season guide aims to deliver! Whether you have questions about what you’ll encounter after you arrive, where to park, when to applaud, or whether these world-class singers really perform without microphones—we have all the answers, along with the stories of each opera, and both tips and tidbits that may enhance your Dallas Opera experience. Whether this is your first time at the opera or your hundredth, we want to meet or exceed your every expectation. This year, I’ve worked with our artistic teams and staff to create a season the whole world will be talking about! It includes marvelous productions of muchloved classics, sophisticated rarities, quality family productions, stupendous simulcasts, and a thrilling contemporary opera with something new to say about the human condition. Please join us, and be transformed by these unforgettable encounters.

A MESSAGE FROM

Music Director Emmanuel Villaume How marvelous it is to be a part of the Dallas Opera! Although I have had the privilege of conducting in many of the world’s great opera houses over my career, I’m so pleased to be able to call Dallas and the Winspear—named “America’s finest opera house” by Opera magazine—my new home. As music director, I will be working closely with Keith and other members of the Senior Staff to develop future seasons that will surprise, stimulate, entertain and engage you. Opera doesn’t remain stationary on a pedestal; it is a living, breathing kaleidoscope of music, drama and emotion. I have been privileged to spend most of my life around this art form, and I can promise you a uniquely satisfying experience— beyond any other in the classical performing arts. I am genuinely looking forward to this season, not merely because I will be returning to the Dallas Opera to conduct a dazzling cast in Carmen, but because it will be my first opportunity to get to know the people of North Texas, where I’ll be putting down roots at last! If this is your first visit to the Dallas Opera, please accept my personal invitation to explore each of our season productions and, afterwards, let us know what you think. Because our opera company is, first and foremost, your opera company—something we strive never to forget.

Sincerely,

Gratefully,

Keith Cerny General Director and CEO The Dallas Opera

Emmanuel Villaume Mrs. Eugene McDermott Music Director in honor of Graeme Jenkins The Dallas Opera

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OCT. 25 27m 30 NOV. 2 8 10m She’s the woman no man can resist and, as performed by mezzo-soprano Clémentine Margaine in her American debut, who would want to say “non”? Hailed as “Best Newcomer” in the 2011 French Classical Music Awards, Margaine will have her hands full with two head-turning, heart-melting Don Josés: tenors Brandon Jovanovich, who sang Pinkerton to great acclaim in his most recent appearance here in 2010, and Bruno Ribeiro making his company debut. This truly phenomenal cast, from Mary Dunleavy in the role of Micaëla to Dwayne Croft as Escamillo the Toreador, will bring on the sizzle—as well as the steak! Featuring a classic Jean-Pierre Ponnelle set design from the San Francisco Opera, this production conducted by Dallas Opera Music Director Emmanuel Villaume and directed by Bliss Hebert will make all the other good/bad girls of opera seem tame, if not lame, in comparison. Don’t miss our first Carmen in the Winspear Opera House because, unlike our tempestuous title character, you may live to regret it.

RECOMMENDED LISTENING

CARMEN GEORGES BIZET

There are numerous recordings of this incredibly popular work. Favorites include EMI (#66717) with Maria Callas and Nicolai Gedda, conducted by Georges Prêtre; Decca (#414489) with Tatiana Troyanos and Plácido Domingo, conducted by Sir Georg Solti. There is also a wonderful 1984 film of the opera conducted by Lorin Maazel and directed by Italian director Francesco Rosi, starring Julia Migenes and Plácido Domingo.

DID YOU KNOW?

Whenever the character of Carmen sings in this opera, she is always accompanied by dance music: the habanera, seguidilla, gypsy dance. Even the socalled “card aria” is a slow dance of death.

THE SEARCH FOR THE LAST CHORD

Bizet’s Symphony in C, written when he was just 17, was discovered in a Paris archive in 1933 after being mislaid for more than 75 years. 4

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FEBRUARY 12 14 15 16m Science fiction and poignant family drama combine in one of the 21st century’s most stunning, cutting-edge operas. This visually spectacular robot pageant by MIT Media Lab’s Tod Machover comes to the stage of the Winspear Opera House in a production directed by 2013 Tony Award winner for Best Direction of a Musical Diane Paulus, designed by Alex McDowell (Steven Spielberg’s Minority Report) and conducted by Nicole Paiement (The Lighthouse). It tells the story of a terminally ill billionaire, sung by Robert Orth, who downloads his consciousness into “The System” and proceeds to use all his powers to persuade his loved ones to join him there. Without bodies, without the possibility of touch, sex, suffering, and death—are we still genuinely human? Explore these existential questions and much more in a piece Variety described as “playful, lyrical and…mesmerizing.” Also starring Joélle Harvey as Miranda, Patricia Risley as Evvy, and Hal Cazalet in his Dallas Opera debut as Nicholas.

RECOMMENDED LISTENING/VIEWING

TOD MACHOVER

DEATH and the POWERS 6

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While there is no commercial recording of Death and the Powers available, there’s a terrific CD of an earlier opera by Tod Machover, Resurrection, available on Albany Records (#495196). It is conducted by Patrick Summers and stars Joyce DiDonato and Scott Hendricks very early in their careers.

DID YOU KNOW?

When singer Robert Orth vanishes into “The System,” he will be wired offstage from head to toe with sensors designed to gauge his physical reactions and emotional state, all of which will be reflected in the digital images of his character created throughout this thrilling live performance.

THE SEARCH FOR THE LAST CHORD

More than 40 computers are required to run this production, as well as two surround sound formats utilizing over 140 individual speakers to create a unique sonic environment. Better strap yourself in.

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MARCH 21 23m 26 29

APRIL 6m

Before Hitchcock filmed Vertigo, Korngold created Die tote Stadt, the tale of one man’s dark obsession with the woman he loved and lost. Featuring state-of-the-art projections and composed by a prodigy who evolved into one of the great masters of music for the Golden Age of Cinema (The Adventures of Robin Hood, Deception, The Sea Hawk), Die tote Stadt features an extraordinary cast that includes Jay Hunter Morris in the role of Paul, fresh from his triumphs as Ahab in the San Francisco Opera revival of MobyDick and as Siegfried in the Met’s new Ring Cycle; Mardi Byers as Marietta; and Morgan Smith, the poignant voice of reason in the Dallas Opera’s world-premiere production of Moby-Dick, as Fritz. Paul’s fierce grip on the memory of his dead wife will be challenged by the equally determined Marietta. Can he let go of his fantasy in order to live again? Designed and directed by Mikael Melbye and conducted by Sebastian Lang-Lessing, this production will leave you wondering, “Where has this opera been all my life?”

RECOMMENDED LISTENING/VIEWING

DIE TOTE STADT ERICH WOLFGANG KORNGOLD

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A 1975 recording of the work that stars Carol Neblett and René Kollo, conducted by Erich Leinsdorf, was originally released on RCA but is now out of print. Used copies are still available through Amazon. A more recent version on the Orfeo D’Or label (#634042) stars Torsten Kerl and features conductor Donald Runnicles and the Vienna Philharmonic.

DID YOU KNOW?

The librettist of this opera, Paul Schott, doesn’t really exist. The name is a pseudonym for Korngold himself and his father, Julius, a Viennese music critic.

THE SEARCH FOR THE LAST CHORD

Korngold was awarded two Oscars for his Hollywood film scores but his classical compositions have been used in major films as well. Music from this opera appears in the Coen Brothers cult favorite, The Big Lebowski. OPERA 2013–2014 SEASON

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MARCH 28 30m

APRIL 2 5 11 13m

Disguises and false identities abound as men, young and old, vie for the hand of the beautiful Rosina in one of the funniest and most frenetic operas ever composed! Rossini’s delightful 19th-century romp centers on “Figaro, Figaro, Figaro,” a scheming barber and jack-of-all-trades, sung by Dallas Opera favorite Nathan Gunn, who plots with Count Almaviva to release Bartolo’s ward from her gilded cage. The all-star ensemble includes this year’s Richard Tucker Award winner, mezzo-soprano Isabel Leonard, in her much-anticipated Dallas Opera debut as the gorgeous-yet-spunky Rosina. It also marks the welcome return of the inimitable Donato DiStefano, a comic veteran of previous Dallas Opera productions of Barber and La Cenerentola, in a role he has sung all over the world: Dr. Bartolo. Conducted by Giuliano Carella, this Chicago Lyric Opera production also features a stunning set design by John Conklin inspired by the work of Surrealist artist René Magritte.

RECOMMENDED LISTENING/VIEWING

The

BARBER of SEVILLE GIOACHINO ROSSINI

Try the classic recording with Teresa Berganza and Luigi Alva on DGG (#457733) conducted by Claudio Abbado. For fans of Cecilia Bartoli, the recording on Decca (#425520) with Leo Nucci and conducted by Giuseppe Patane is hard to beat. There is also a video of the opera with Miss Bartoli and Gino Quilico, both of whom starred in the Dallas Opera production of this opera in 1993.

DID YOU KNOW?

The famous aria “Largo al factotum” is a cartoon favorite, used in the Bugs Bunny classic, “The Rabbit of Seville,” and the SpongeBob SquarePants episode “Choir Boys.” It also served as the soundtrack to the cartoon being dubbed by Robin Williams in the opening scene of Mrs. Doubtfire.

THE SEARCH FOR THE LAST CHORD

While his operas continue to be performed throughout the world, there are two annual festivals devoted entirely to Rossini: one in his hometown of Pesaro, Italy—the other in Knoxville, Tennessee. 10

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FAMILY SEASON 2013–2014

OCTOBER 26 OCTOBER

APRIL APRIL5 5

What grown-up doesn’t already know the story of Jack and the Beanstalk? But have you ever heard it set to the music of Sir Arthur Sullivan of “Gilbert and Sullivan” fame? The Dallas Opera’s new family production combines a very familiar fairy tale with the music of the man who brought you The Pirates of Penzance and The Mikado. Add laugh-out-loud text—in English— by bass-baritone John Davies, who knows what tickles a child’s funny bone, a simple storybook look created by Dallas Opera resident designer Tommy Bourgeois, and sharp-eyed direction by Education Director for Dallas Children’s Theater Nancy Schaeffer, and you have something as priceless as a hen who lays golden eggs! Performed with piano accompaniment and narration by Dallas Opera Music Director for Education and Family Programs Mary Dibbern, and brought to life by upand-coming locally-based opera singers! Presented in artistic collaboration with

WHERE HAVE I HEARD THAT BEFORE?

The music for Jack and the Beanstalk is taken from many of Gilbert and Sullivan’s enormously popular operettas, including H.M.S. Pinafore, The Yeoman of the Guard, Ruddigore, Patience, Iolanthe, The Gondoliers, and Princess Ida.

DID YOU KNOW?

• Check copy for accuracy • DCT logo

Why did John Davies (himself a singer) pick the music of Sir Arthur Sullivan? He explains it as “highly accessible, lots of fun and always healthy to sing.”

DATES AND TIMES

Saturday, October 26th and Saturday, April 5th 12:30pm — The lobby will open for Kids’ Book Club and fun activities including crafts and costumes 2:00pm — Jack and the Beanstalk (40 minutes)

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FAMILY SEASON 2013–2014

NOVEMBER 9

APRIL 12

Our newest production — a hilarious, fully staged one-act romantic comedy about a well-to-do country girl and the farmhand who loves her from afar. Both wish for a magic potion: the beautiful Adina to win a husband, and Nemorino to capture Adina’s heart, but only one is an easy target for the unscrupulous Dr. Dulcamara and his traveling patent medicine show. Will Adina fall for Nemorino or run away with the dashing soldier who has her in his sights? Is the Elixir of Love “quack medicine,” or the cure that will conquer all? Featuring the Dallas Opera Orchestra conducted by Anthony Barrese.

WHERE HAVE I HEARD THAT BEFORE?

Enrico Caruso’s recording of “A Furtive Tear” from this opera is heard several times in Woody Allen’s 2005 crime drama, Match Point, including the opening and closing credits.

RECOMMENDED LISTENING

There is an English-language version available on the Chandos label (#3027) with Mary Plazas and Barry Banks, conducted by David Parry. For those who prefer Donizetti in the original language, it is hard to find a more delightful performance than the one with James Levine conducting the Metropolitan Opera Orchestra, starring Luciano Pavarotti and Kathleen Battle.

DID YOU KNOW?

The composer loathed the original cast: “We have a German prima donna, a tenor who stammers (and) a buffo with the voice of a goat.” Nevertheless, the premiere was a huge success and the comedy remains today in opera’s top twenty.

DATES AND TIMES

Saturday, November 9th and Saturday, April 12th 12:30pm — The lobby will open for fun activities including crafts and costumes 2:00pm — The Elixir of Love (50 minutes)

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FAMILY SEASON 2013–2014

FAMILY CONCERT

NOVEMBER 3

FEBRUARY 1

Where else can a family of four enjoy a spectacular orchestra and engaging young singers in a world-class venue for $5 per ticket? The Dallas Opera Family Concert with Maestro Anthony Barrese presents opera’s greatest hits by Mozart, Jacques Offenbach, Dominick Argento, Charles Gounod, Carlisle Floyd and Léo Delibes with insights provided by the conductor. You’ll recognize many of these lovely arias from movies and television, and it’s a fantastic way to introduce opera to the kids and grandkids!

WHERE HAVE I HEARD THAT BEFORE?

Just one of the songs you’ll enjoy—“The Flower Duet” from the 1883 opera Lakmé—has been heard around the world on ads for British Airways and Ghirardelli Chocolate and in movies ranging from Meet the Parents to The American President as well as shows like Nip/Tuck.

DID YOU KNOW?

Offenbach, who wrote the cheeky “Can-Can,” was a cello virtuoso before becoming a composer, playing for the likes of the Russian czar as well as Britain’s Queen Victoria and her consort, Prince Albert.

DATES AND TIMES

Sunday, November 3rd and Saturday, February 1st 12:30pm — The lobby will open for fun activities 2:00pm — Family Concert (about 1 hour)

The Dallas Opera 2013-2014 Family Season is presented by

with additional support from

David Pershall sings in our Family Concert, Feb. 2013.

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We’re Here for You

Subscriber Benefits

Thank you for your support of the opera! We hope you have an unforgettable experience with us this season.

Your ticket to the opera is just the beginning! Enjoy these great benefits with your season subscription.

Please review dates, times, and seats on your tickets.

If you are a subscriber, take advantage of these benefits by calling our ticket office at 214.443.1000, or go online to dallasopera.org/mysub.

Phone

214.443.1000 Monday–Friday 9am–5pm; select Saturdays Sept–May, 10am–2pm

TICKET EXCHANGE PRIVILEGES

WA D E S T.

You can exchange tickets from your subscription for a performance on a different date. Walk-up AT&T Performing Arts Center Information Center 2353 Flora St.A R T S P L A Z A yy Exchanges must be made for another performance of the Monday–Friday 10am–5pm; same opera, and before the date printed on your tickets. All exchanges made the day of a performance carry an select Saturdays Sept–May, 10am–2pm additional fee of $10/ticket. Subscribers are responsible for any additional cost incurred by changing dates or seating location. All tickets exchanged within seven days of the performance will be held at Will Call. Please bring original tickets when claiming new seats. Original tickets are void and no longer valid once exchanged.

Will Call Winspear Opera House West end of lobby (Meyerson side) 2403 Flora St. Open 90 minutes before performance Email

[email protected] R O U TH ST.

Online

If you are a subscriber, manage your subscription online anytime at dallasopera.org/mysub

REPRINT YOUR TICKETS Winspear Opera House

Meyerson Symphony Center

ST.

YOUR GUIDE TO THE DALLAS

yy All reprinted tickets will be waiting for patrons the day of the performance at Will Call. If possible, have your patron ID on hand for the reprint request. Your original tickets are void and no longer valid after a reprint is requested. R O S S AV E .

Strauss Square

Lost your tickets or need reprints? Request reprints online or by phone. F LO R A S T.

Will Call

PEARL

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Information Center

 ACCESS ROAD

RO D G ER S

ACCESS ROAD 

WO O DA L L

J A C K E VA N S S T.

BUY ADDITIONAL TICKETS

City Subscribers save 20% on all additional single tickets. Performance Hall yy For web purchases, subscribers must log into the same account under which their subscriptions were purchased. Single tickets are not eligible for exchange privileges. All sales are final and nonrefundable.

DONATE YOUR TICKETS

If you are unable to exchange or give your tickets to a friend, donate them back before the performance for a tax credit — online, by phone at 214.443.1005, or at Will Call. � All ticket donations are final and cannot be reversed.

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Become a Donor

Volunteer

Support the Dallas Opera and enhance your opera experience. Become a donor!

Give back to the community while meeting people who share your interest in the arts. Volunteer with the Dallas Opera!

Behind each of our performances and education programs is the generosity of our wonderful donors. Convenient and flexible payment plans are available, and you’ll enjoy extra benefits. We wouldn’t be where we are today without donors like you!

ASSOCIATE $50-$99 • Donor-only discount on single tickets

AFFILIATE $100-$249 • Invitation to private post-performance talk back session

SUSTAINER $250-499 • Backstage Tour

GUARANTOR $500-$999 • Playbill donor listing at least once per season

GRAND BENEFACTOR $1,000–$2,999 • Attend a dress rehearsal

INNER CIRCLE $3,000 • Exclusive access to aisle and box level seats • Priority ticket services • Invitations to cast parties, exclusive insider donor events, intermission receptions, and dress rehearsals • Complimentary parking in Lexus Red Parking

Find the level that’s right for you! For a full list of donor benefits, please visit

dallasopera.org/give or call 214.443.1062.

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YOUR GUIDE TO THE DALLAS

PERFORMANCES Live opera: it’s singing, it’s music, it’s thrilling, but it’s also keeping track of paper clips and tickets. Volunteers are needed to help in our box office during Will Call, for the Joy and Ronald Mankoff Pre-Opera Talks, and in the Guild Boutique before performances and at intermissions.

SPECIAL EVENTS Special Events cover a wide range of social, networking, and adult education activities from elegant formal dinners to decidedly casual affairs— such as last year’s live simulcast at Cowboys Stadium. Volunteers are needed for check-in, crowd management, and to act as all-purpose concierges.

EDUCATION Help introduce young people to the arts! We take opera into schools and community centers, and we provide mainstage productions at the Winspear. Not only will it increase students’ social and intellectual skills, but frankly, it’s so much fun! The sense of anticipation and excitement among our young audiences, and their eagerness to understand the art form, create a unique opera experience you will never forget! Help us enable students from across North Texas to get the most out of their special day at the opera. Education volunteers are required to attend orientation and training. If you are interested in applying to be a volunteer, please visit dallasopera.org/volunteer to complete our volunteer form. We will be in touch with you as opportunities arise, or in the case of Education volunteers, to let you know about plans for the next scheduled orientation.

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Community Events The Dallas Opera is pleased to provide a variety of ways to enhance your opera experience! Visit dallasopera.org/events for our full event schedule.

JOY AND RONALD MANKOFF PRE-OPERA TALKS Increase your knowledge and enjoyment of opera with our free Pre-Opera Talks. The informative and interactive 30-minute lectures feature opera experts from all over the metroplex. Pre-Opera Talks start one hour before each performance (except for the Linda and Mitch Hart Season Opening Night Performance of Carmen) and are free to ticket holders.

COMMUNITY PERFORMANCES The Dallas Opera loves to partner with our fellow Arts District neighbors. You might find us playing in Klyde Warren Park, staying late beside the artwork at the DMA, or learning about the universe at the Perot Museum of Nature and Science. We might even turn up at your local library!

INSIDE THE DALLAS OPERA ON WRR CLASSICAL 101 Locally produced monthly radio broadcast on WRR Classical 101, hosted by Suzanne Calvin. Topics will vary as the Dallas Opera explores past, present and upcoming performances and special events.

GUILD OPERA INSIGHTS Go behind the scenes at a free lively panel discussion with the cast and production team. Previous guests have included opera superstars like Nathan Gunn, Susan Graham, and Sir Thomas Allen. These fun and informative conversations are moderated by Dallas Opera Artistic Director Jonathan Pell.

CONVERSATIONS AT THE OPERA Composing Conversations

This free discussion series features some of the world’s most noteworthy composers and is designed to showcase all types of opera, from grand to chamber. It will introduce you to the work of these great talents and undoubtedly ignite your interest in opera.

Dallas Opera Perspectives

The brainchild of Dallas Opera General Director and CEO Keith Cerny, this free series features in-depth discussion of current issues affecting opera, contemporary audiences, and the greater performing arts community today. These events seek to bring together the most knowledgeable voices in their fields in a genuine quest for answers.

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FAQs HOW SHOULD WE DRESS? Business attire is the norm for opera, but anything goes, from jeans to your favorite evening gown! You’ll see more formal attire on opening night and at Saturday night performances; the mid-week performance and Sunday matinees tend to be a bit more casual. However, the rule of thumb is simple: Dress for the experience you want to have. If it makes you feel like a million bucks, wear it; after all, for some people, part of the fun is dressing up!

WHAT IF WE’RE LATE? We regret to inform you that there is no late seating for any performance. This is a courtesy to both the singers and other members of the audience. If you arrive after the opera has begun, you can watch the performance on a closed-circuit television monitor, located in Hamon Hall, until first intermission. This season, evening performances begin at 7:30pm (except for the Linda and Mitch Hart Season Opening Night Performance of Carmen at 8:00pm), and matinées at 2:00pm.

IS THE PERFORMANCE IN ENGLISH? Not unless it was originally composed in English. The Dallas Opera traditionally performs operas in their original languages. English translations called supertitles are projected above the stage throughout every performance. The supertitles are used even when the opera is sung in English. You’ll never be left in the dark!

WHAT ABOUT ONCE WE’RE SEATED? First and foremost, relax! It’s time to let go of the stresses and strains of the day and reward yourself. Take a few moments to look over the program book and read the synopsis and articles designed to enhance the opera-going experience.

HOW LONG WILL THE PERFORMANCE LAST? It depends on the production. In general, you can expect an opera to last between two-and-a-half and three hours, including intermissions. Works by certain composers, like Richard Wagner, can run longer.

WHEN IS THE INTERMISSION? Generally there are one or two intermissions, which again depends on the production. See the program or our website for details for each opera.

WHEN SHOULD WE APPLAUD? For an opera singer, the only thing better than giving a great performance is to be acknowledged by an appreciative audience. However, your applause needs to wait until the performer has finished singing. If in doubt, hold your applause until the people around you begin to clap. If you are extra enthusiastic about what you’ve just heard, feel free to shout “Bravo!” if the singer is a man, “Brava!” for a lady, and “Bravi!” for a group. Of course, there is always applause at the end of each act and opportunities for curtain calls, stamping, whistling and standing ovations at the end of each opera. Go for it!

IS IT OKAY TO LAUGH? Yes, certainly, if it’s funny!

WHAT IF WE HAVE TO STEP OUT DURING THE PERFORMANCE? Please try to do so as discreetly and quietly as possible, for the sake of other patrons. And be aware that once you have left the auditorium, we cannot allow you to return until the next intermission; however, you are welcome to sit and view the performance on a closed-circuit monitor in Hamon Hall.

Please don’t forget to turn off your cell phone.

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On Your Way

Arts District Map

HOW DO WE GET TO THE WINSPEAR? The Margot and Bill Winspear Opera House is located at 2403 Flora St., Dallas, TX 75201. Find detailed directions at dallasopera.org/directions.

WA D E S T.

ARTS PLAZA

WHERE DO WE PARK?

Meyerson Symphony Center

R O S S AV E .

Will Call Strauss Artist Square

L EO N A R D S T.

F LO R A S T.

Information Center

YOUR GUIDE TO THE DALLAS

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Winspear Opera House

Wyly Theatre

CROCKETT ST.

ST.

 OLIVE ST.

Park

Most operas last an entire afternoon or evening. While a variety of food and drinks are served at the Winspear, it’s a good idea to eat beforehand, if you have the time. For more substantial fare, we can recommend several local restaurants that have given outstanding support to the Dallas Opera: Salum and Komali on Cole Ave; Ocean Prime and The Capital Grille in nearby Uptown; and Jorge’s, Fedora, and Tei An in One Arts Plaza, one block east.

City Performance Hall

J A C K E VA N S S T.

PEARL

Wa rre n

WHERE CAN WE EAT?

Booker T. Washington High School for the Performing and Visual Arts

Klyde

Congratulate yourself! You’ll be cool, calm and collected when the curtain goes up. The Joy and Ronald Mankoff Pre-Opera Talks take place in Hamon Hall one hour prior to each performance (except for the Linda and Mitch Hart Season Opening Night Performance of Carmen). Be sure to take a stroll in the Grand Lobby or check out the activity in Sammons Park. People-watching is a traditional part of opera-going!

FR EE WAY

IF WE ARRIVE EARLY, WHAT TO DO?

R O D GE RS

Yes! Whether you’re coming from far North Dallas or the other side of the Trinity River, you can arrive at the Winspear by DART rail, exiting at the Pearl Street DART station just a few short blocks south.

ACCESS ROAD 

CAN WE USE PUBLIC TRANSIT?

R O U TH ST.

W O O DA L L

Limited parking beneath the Winspear is available in the Lexus Red Garage. At opera performances, self parking is $15 and valet parking is $25. Reserved parking is available as a benefit to our Inner Circle members. Limited handicap parking spaces are also available for the $15 self-parking rate. Parking is also available at One Arts Plaza and other nearby spaces.

One Arts Plaza

Nasher Sculpture Center

Crow Collection of Asian Art

HARWOOD ST. 

Dallas Museum of Art S T. PAU L S T. 

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2 013-2014 S E A S O N SEASON SPONSORS

The official airline of the Dallas Opera

The official vehicle of the Dallas Opera

The Elsa von Seggern Foundation

CONNECT WITH US dallasopera @thedallasopera thedallasopera 214.443.1000 dallasopera.org