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    Opera news

    The Dallas Opera debuts new Netflix-like subscription streaming service

    Stephanie Allmon Merry
    Apr 26, 2021 | 5:33 pm
    The Magic Flute at Dallas Opera
    Dallas Opera's 2019 production of The Magic Flute is available for streaming.
    Photo courtesy of The Dallas Opera

    Like most arts organizations, The Dallas Opera has been forced to rethink how it produces and presents works to audiences amid the COVID-19 pandemic. On April 26, it took a new step to bridge the gap between traditional concert hall and at-home entertainment with the launch of thedallasopera.TV, a new subscription streaming platform.

    According to a release, the new website brings together new original opera films created specifically for a virtual audience with all of TDO's existing video content — "which ranges from full opera productions for audiences of all ages to musical conversations and original opera-themed sit-com style episodes to artist-hosted series that spotlight their interests and careers, educational series, and more."

    “We are so thrilled that thedallasopera.TV is launching today,” says Ian Derrer, The Dallas Opera’s Kern Wildenthal General Director and CEO, in the release. “To watch this project go from idea to reality in less than a year has been amazing to see, and we’re so proud of the content that we have ready to offer our global audience. This platform truly helps redefine our company as a leader in digital content, as well as on the opera house stage. We are breaking new ground in the field while continuing to preserve the great traditions of live opera.”

    Subscriptions to thedallasopera.TV cost far less than other streaming services you subscribe to and watch once or twice (raise your hand if you, too, purchased a year of Disney+ to watch Hamilton once) — $4.99 per month with a free seven-day trial. In addition, premium content — Originals — will be offered periodically by pay-per-view.

    Content is made up of four categories: Originals, Stages, tdo network, and OperaKids — all available via an app for mobile devices (iOS and Android), on smart TVs via Fire TV and Roku, and on the website for desktop/laptop users.

    Here's an overview of the content, as outlined in the release:

    Two Originals available immediately: That Which We Love, a recital by acclaimed mezzo-soprano Isabel Leonard, and Vanished, a three-part art film starring countertenor John Holiday and tenor Russell Thomas with music by Gluck, Monteverdi, and Janáček assembled into a new narrative.

    A third original, The Heart of the Song, featuring conversation with and performances by tenors Javier Camarena, Rolando Villazón, and David Lomelí, will be released on May 25 for a limited time. (Rental fee is $11.99. Available May 25-31 only.)

    Stages content is included with thedallasopera.TV subscriptions, and will feature “greatest hits” from The Dallas Opera, including full-length operas, concerts, recitals, and archival video streams and radio broadcasts. Streaming now are the company’s 2019 production of Mozart’s The Magic Flute; “The John Holiday Experience,” a recital by recent finalist on The Voice, recorded April 9 at the Winspear Opera House; a celebration of the first five years of The Dallas Opera Hart Institute for Women Conductors, and more.

    TDO network, launched in February 2020, has amassed a viewership of nearly 157 million followers from 50 countries in the past year with its ever-evolving collection of whimsical, topical, and informative original content hosted by artists and social media influencers. Access to all tdo network content is included with thedallasopera.TV subscriptions.

    OperaKids offers programming for children, as well as educational resources for parents and children, all produced by The Dallas Opera’s education department and included in the monthly subscription price. Two family operas are available now — Jack and the Beanstalk and Dr. Miracle — as is Kids Opera Boot CampTM, "an interactive look behind the scenes at the opera, where viewers can learn from a series of five video lessons what it takes to make an opera, how to make an opera set, and how to learn music like an opera singer."

    Content on the platform can be streamed and viewed anywhere, 24/7/365.

    “What we’ve learned over the course of the past year without live performances is that there is a thirst for quality online content, and we are so happy to lead the way in producing that for our eager fans around the world,” says David Lomelí, a tenor, TDO’s Artistic Consultant, and creative force behind the initiative, in the release. “Statistics show that viewers ages 18-34 and 34-45 are online for more than 10 hours each day, and our efforts to reach that demographic — through unique and creative offerings — have proven successful, growing in just a year from 2,000 unique views in March 2020 to more than 150 million unique views today on our Facebook channel.

    "Our hope is that this streaming model will reach even more.”

    opera
    news/arts

    Dance Off

    Texas ballet company turns Timothée Chalamet dig into genius promotion

    Brianna Caleri
    Mar 13, 2026 | 1:12 pm
    Timothée Chalamet
    Courtesy
    undefined

    It was a shot fired from Austin that rang out around the art world: In a recent CNN/Variety Town Hall featuring actors Timothée Chalamet and Matthew McConaughey, Chalamet offered an assessment of ballet and opera that immediately went viral.

    During the onstage conversation at the University of Texas at Austin, Chalamet said, "I don't want to be working in ballet or opera, or you know, things where it's like, 'hey, keep this thing alive, even though like no one cares about this anymore.' All respect to the ballet and opera people out there. I just lost 14 cents in viewership."

    Chalamet immediately seemed to experience a twinge of regret, awkwardly adding, "But um...damn, I just took shots for no reason." He also sang a note and hid his face behind the cards he was holding.

    Stars of the art forms, from Andrea Bocelli to Misty Copeland, immediately began to leap (jeté, if you will) to the the defense of opera and ballet.

    In a genius marketing move, Austin's hometown ballet company is taking the unique opportunity to turn a hot topic into a promotion for its next production: Ballet Austin is inviting anyone named Timothée, Timothee, or Timothy to claim a free ticket to its upcoming world premiere of Marie Antoinette: Vampire Queen of Versailles, running March 27-29 at the Long Center for the Performing Arts.

    "Timothée… you were in Austin? We were literally down the street," a Ballet Austin post says. "Austin has brisket. Austin has music. Austin also has ballet."

    All Timothées and folks with similar names will have to do to claim a ticket is send a message to Ballet Austin on social media and show identification. Everyone else who wants to see the supernatural show where "the line between victim and villain blurs" will have to purchase a ticket ($25-$125) at balletaustin.org.

    Ballet Austin Marie Antoinette: Vampire Queen of Versailles Ballet Austin isn't afraid to add some edge to classic stories. Photo courtesy of Ballet Austin

    Even if Chalamet's words were dismissive, he's obviously not wrong about the relative distribution of public interest between the classical arts and major films like Marty Supreme, the late 2025 film he stars in and is busy promoting. The film's commercially successful release set a record for A24, an already renowned studio.

    Chalamet brought up ballet and opera in service of a larger point about pacing in movies. He said he exists in a middle ground as a consumer between wanting to be drawn in early and being more patient as a film progresses. Ultimately, he juxtaposed Barbie and Oppenheimer with the classical arts, pointing out that if the masses want to go see a film, they will "be loud and proud about it" organically, without needing performers to advocate for the seriousness of the art form.

    Coincidentally, there couldn't be a better counterpoint to this argument than Marie Antoinette: Vampire Queen of Versailles.

    As the title suggests, the story follows historical figure Marie Antoinette as she chooses to become a vampire, seeking "power, immortality, and vengeance," according to a press release. It takes a somewhat silly premise and gives it dramatic gravitas, with an original score by Austin composer Graham Reynolds, who is known outside of classical circles and sometimes composes for movie soundtracks.

    "For Ballet Austin, the moment is an opportunity to remind audiences that ballet isn’t fading away," says a release about the new promotion. "It’s evolving, drawing new audiences and continuing to thrive in creative cities like Austin."

    If Chalamet really does fall in the middle of instant and delayed artistic gratification, this sounds like the perfect production to draw him in.

    And perhaps Ballet Austin should add people named Matthew to their promotion, since McConaughey threw the younger star a bone after his momentary walk-back, saying, "That's not a shot — I hear what you're saying."

    ---

    Stephanie Allmon Merry contributed to this story.

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