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    Sadder Math

    New survey shows the devastating impact COVID-19 has on Dallas arts and culture

    Lindsey Wilson
    Aug 28, 2020 | 1:49 pm
    Caroline Bowman in the national tour of Frozen
    The national tour of Frozen was canceled due to COVID-19.
    Photo by Deen Van Meer

    Nearly two months after a trio of Dallas arts advocacy organizations conducted a survey to see how much the COVID-19 pandemic has affected the Dallas nonprofit arts and culture community, they're back with another one — and the results are staggering.

    The latest survey shows that coronavirus losses have doubled to $67.77 million, with 1,219 jobs lost since the March 13 shutdown.

    That is $34.12 million — more than double the $33.65 million in losses reported in the first survey period through May 31. Some of the increase is due to the larger number of participating organizations (91 compared to the original 57), but 86 percent of that increase was from the 52 groups who participated in both surveys, and $29.5 million in just the past two months.

    "All of these organizations are just struggling to hold on," said Terry D. Loftis, TACA president and executive director, in a release. So far, TACA has distributed $592,500 in emergency COVID relief grants to 70 groups. "The philanthropic community is certainly working to step up and help, but these losses are staggering. And given the rate they are growing, we've got a huge challenge to overcome."

    This second survey was once again conducted by the Arts Community Alliance (TACA), Dallas Arts District (DAD), and Dallas Area Cultural Advocacy Coalition (DACAC).

    While many businesses in Dallas have reopened, capacity limits and social distancing have kept arts and cultural organizations from resuming live, in-person experiences. This has meant canceling or postponing thousands of programs, performances, and classes.

    Survey results show more than 2,155,000 in lost or deferred attendance, and the revenue losses show the 91 organizations have lost, on average, 25 percent of their budgets since March 13.

    The human toll is climbing, as well; 1,219 people have been furloughed or laid off through July 31, up from 649 at the end of May. Full-time staff members made up 189 of these, while 1,030 were part-time.

    These new job losses had been anticipated as funds from the forgivable Payroll Protection Program loans under the federal CARES Act began running out in June and July. These funds had allowed organizations to keep paying employees for two months. Fifty groups said their loans had expired, forcing cuts in their workforce.

    Some of those remaining staff members also saw their pay get cut. At least a third of the groups have implemented salary reductions to reduce expenses.

    "It's really pretty simple. Everyone is trying to find enough cash so we can live to fight another day," says Joanna St. Angelo, president of the grassroots arts advocacy group DACAC. "We are turning to donors, patrons, foundations, and corporations. Perhaps the federal government will include the arts in another stimulus package, or maybe the city can find just a little bit more. We are checking under every couch cushion to see what we can find."

    The groups participating in the survey reflect the vibrant diversity of the Dallas arts community today: dance, theater, music, visual arts, performing arts centers, literary arts, and more. Some are based downtown and in the Dallas Arts District, but many more are located throughout the city. They include the city's historic institutions and new and emerging groups, with 24 identifying as ALAANA (African, Latinx, Asian, Arab, Native American) and seven that focus on LGBTQ experiences.

    Of the 91 organizations, 52 participated in both surveys and 34 new organizations participated for the first time. Five completed the first survey only but their losses are included in the total.

    Despite the daunting numbers, the survey indicates some optimism for reopening soon. Of the respondents, 38 percent have plans to safely reopen by the end of the year while 42 percent say they are targeting the first two quarters of 2021.

    "This community is creative and resilient, two things that are critical to surviving a crisis like this," says Lily Weiss, executive director of the Dallas Arts District, in a release. "I'm convinced we will find ways to get back in front of our audiences and out into the community — and do it safely.

    "The arts will play an important role in the recovery of our economy and healing of our community, and I'm optimistic Dallas will find the resources to help us do that. There's too much at stake."

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    A good listen

    Dallas Symphony and Fabio Luisi release landmark Wagner 'Ring Cycle' set

    Associated Press
    Jun 10, 2026 | 2:00 pm
    Fabio Luisi conducting the Dallas Symphony Orchestra
    Photo courtesy of Dallas Symphony Orchestra
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    Fabio Luisi wanted his Ring Cycle to be heard and not seen.

    Wagner’s four-opera epic Der Ring des Nibelungen, approaching the 150th anniversary of its premiere in 1876, has been reinterpreted and deconstructed by directors finding various meanings in the conflicts among gods, humans, giants and dwarfs.

    While most new recordings are on video, Luisi led his Dallas Symphony Orchestra in concert performances that were released on 13 compact discs by Delos on May 22 and are available on streaming services.

    “Wagner conceived this as a total immersion in visual and acoustic, but I could focus really only on the music, and this was the point actually — not to be distracted by staging and not to have to cope with maybe strange ideas of staging,” Luisi said. “I think the music tells everything.”

    Luisi became DSO music director in 2020 and broached the idea while dining two years later with (the now late) Morton H. Meyerson, a longtime board member.

    “Fabio came back from lunch sort of giddy but sort of sheepishly saying: `Do you think that this would ever be possible?” recalled Kim Noltemy, the Dallas CEO at the time. “So, I said, well, let’s give it a try. So, we called around to see if there were people who wanted to support it and did a budget.”

    After securing a waiver from the orchestra allowing for the needed rehearsals and performance length, recordings were made during four concerts from May 1-5 and six more from Oct. 5-20. Each opera was performed two or three times.

    Americans in cast fill big roles
    American singers featured prominently, with Mark Delavan as Wotan, Lise Lindstrom as Brünnhilde and Sara Jakubiak as Sieglinde, part of a cast that included Christopher Ventris (Siegmund), Daniel Johansson (Siegfried), Deniz Uzun (Fricka), Tómas Tómasson (Alberich), Michael Laurenz (Mime) and Stephen Milling (Hagen).

    Delavan sang Wotan at New York’s Metropolitan Opera in 2013 after Luisi took over from an ailing James Levine in Robert Lepage’s much-maligned production staged on a 45-ton set of 24 rotating planks.

    “We’re accessible and they know that we’re hungry and we have a chip on our shoulders,” Delavan said. “What conductors like about American singers is their technique is sound. Even a European conductor would say: Well, I’m going to give up some of the communication skills, only one degree of separation with the language, but I’m going to get a solid technique, and I’m going to get pretty good acting chops.”

    Lindstrom has been in Atlanta to sing in its production of “Götterdämmerung,” the concluding night of the tetralogy, leading to what is being billed as the first complete Ring Cycles in the America South in 2029.

    “The wonderful thing about it is the intimacy between the orchestra and us, because we’re not separated by a chunk of stage or a chunk a scenery or a chunk of concept,” she said of the Dallas performances. “And for people like me, who have had the opportunity to perform the role before, I have all those iterations to rely on for my portrayal that I can sort of filter myself through.”

    A younger Luisi listened to famous renditions
    Luisi, 67, first heard a Ring recording in Georg Solti’s famous studio set with the Vienna Philharmonic from 1958-65. He also admires Karl Böhm’s live recording from the 1967 Bayreuth Festival and Marek Janowski’s 1980-83 studio version with the Staatskapelle Dresden.

    He first conducted Ring when he was music director of Dresden’s Semperoper from 2007-10. Luisi’s Dallas performances include more legato and softer sound than his rendition a decade earlier at the Met. He tries to keep an arc from the first notes of “Das Rheingold” to the final strains of “Götterdämmerung.”

    “I have a deeper understanding about the meaning of this piece,” he said. “I consider the ring to be a big Bruckner symphony. So we have the introduction, then we have the first movement, this is “Walküre,” which happens to be a slow movement, and then we have the scherzo, which is “Siegfried,” of course, and then the long, long, last movement. There is a unity.”

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