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    Opera News

    The Dallas Opera drops curtain on 2020 performances due to COVID-19

    Lindsey Wilson
    Jun 5, 2020 | 2:45 pm
    Dallas Opera presents Orfeo ed Euridice
    Orfeo ed Euridice has been cut from the 2020-21 season.
    Photo by Cory Weaver

    There will be no performances in 2020, The Dallas Opera has decided. The COVID-19 pandemic has forced the cancellation of nine performances — or 38 percent of the season — one replacement title, and one cut to the previously announced 2020-21 roster of operas.

    Ian Derrer, the Kern Wildenthal general director and CEO of The Dallas Opera, has said that the entire season will be consolidated into the spring of 2021, with four opera productions presented instead of the original five. Verdi's Don Carlo will replace Wagner's Lohengrin, and Gluck's Orfeo ed Euridice will be eliminated.

    "This virus is a serious threat to all the hallmarks of grand opera, which include amassing huge forces on stage and in the pit, bringing large crowds together in our theaters, assembling casts from all over the world, and listening to singers, sometimes in passionate embrace, filling the hall with powerful voices and glorious sound without the use of microphones," Derrer says in a release.

    "Our mission at The Dallas Opera has always been to give our audiences thrilling, world-class opera, but the COVID-19 pandemic has forced us to re-position our operations, at least for the near future. Safety concerns for our audiences, artists, and staff; travel restrictions for artists; new social distancing needs both onstage and in the theater — the myriad uncertainties and restrictions caused by this pandemic have led us to the difficult decision that we cannot open in October 2020 as originally scheduled," he continues.

    The 2020/2021 season, which was to have opened on October 9, 2020, will now begin on March 5, 2021, with the world premiere of The Diving Bell and the Butterfly. Composed by Joby Talbot with libretto by Gene Scheer, the opera will perform two additional performances: March 13 and a matinee on March 7.

    Verdi's Don Carlo is next, with performances March 27 (matinee), March 31, and April 3 (matinee).

    The Marriage of Figaro by Mozart, which was originally planned to be the season opener, continues on April 9, April 11 (matinee), April 14, and April 17.

    As planned, Tosca's Puccini will close the season with performances on April 16, April 18 (matinee), April 21, April 24, and May 2 (matinee).

    The traditional fall concert and gala dinner, this season titled Viva Diva! and featuring Grammy Award-winning mezzo-soprano Joyce DiDonato, has been moved from November 6, 2020, to May 10, 2021.

    Full series subscribers will have the opportunity to replace their fifth opera with seats to Viva Diva!, donate the prorated value of their fifth-opera tickets to TDO's fundraising efforts (an emergency relief fund has a goal of raising $4 million by September 30, 2020), apply the credit to their 2021/2022 season tickets, or receive a refund.

    The productions of the family performance series are also affected. Instead of two performances each, one in the fall and one in the spring, Doctor Miracle and Jack and the Beanstalk will each perform once in March. Bizet's Doctor Miracle is scheduled for March 6, 2021, and John Davies and Sir Arthur Sullivan's Jack on March 14, 2021.

    Regarding repertoire changes, Derrer said that both he and music director Emmanuel Villaume were committed to bringing Wagner's rarely performed Lohengrin to Dallas audiences.

    "But given the large number of forces required to produce this monumental masterpiece and unpredictable travel restrictions for our international artists, we are postponing its presentation until we can assure our audiences of the highest artistic experience," Derrer explains. "Also, with so much of Verdi's magnificent Don Carlo already rehearsed, a cost saving for TDO — and with many original cast members — it seemed appropriate to give Don Carlo a second chance, knowing that Orfeo ed Euridice can easily be programmed in a future season."

    The company has also been forced to introduce layoffs and make further staff cutbacks. Five administrative staff members will be laid off, six full-time positions will become part-time or seasonal, and two positions will be furloughed. TDO’s full-time administrative and artistic staff has been reduced from 40 to 26, with previously announced salary reductions remaining in place.

    TDO has already suffered the loss of $1.6 million in projected revenue from canceled performances in the 2019/2020 season, and ticket revenue for the 2021 season will be reduced because of the constriction of the season.

    The company is in contract negotiations with two of its major unions: the American Federation of Musicians (AFM), which represents the orchestra; and the American Guild of Musical Artists (AGMA), which represents principal artists, chorus, dancers, and production staff.

    A new fundraising initiative will follow in October 2020. An extension of the current DOER campaign, it will be "a three-year effort to solidify TDO's financial foundation for stable and continued growth, and will position the company to weather future unexpected events."

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    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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