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    Big voice, big heart

    Dallas theater community remembers passionate and beloved performer Jeff Kinman

    Elaine Liner
    Jan 10, 2013 | 10:30 am
    • Singer, actor and voice coach Jeff Kinman gave his final public performance lastMarch in Uptown Players’ annual fundraising show, Broadway Our Way.
      Photo by Mark Oristano
    • There will be a memorial for Jeff Kinman on January 12, 11 am, at KalitaHumphreys Theater.
      Photo by Mark Oristano

    Singer, actor and voice coach Jeff Kinman gave his final public performance last March, knocking out a powerful solo in Uptown Players’ annual fundraising show, Broadway Our Way, at Kalita Humphreys Theater. He looked frail, but he threw his beautiful tenor into every note of the ballad “Fly, Fly Away,” from the musical Catch Me if You Can.

    He made it through the two-weekend run of the show, but it was the last time Dallas audiences saw Kinman on a stage. He died in the early hours of December 28 at Legacy Founders Cottage, the Oak Cliff hospice where he spent the last two weeks of his life.

    This Saturday, January 12, at 11 am, there will be a public memorial service for Jeff Kinman at Kalita Humphreys Theater. Many of Kinman’s Dallas musical theater co-stars are scheduled to sing, including Denise Lee, Stephanie Riggs, Ashley Puckett Gonzales and Sara Shelby-Martin.

    “He had a dry sense of humor that was matched with a feisty wit, and he topped it all off with impeccable taste,” says actress Ashley Hollon White.

    Kinman designed the service’s set list himself: “Don’t Let the Sun Go Down on Me,” “To Make You Feel My Love,” “Everything Is Possible,” “Songbird” and “Someone Will Sing All the Time.” His partner of nine years, musical director and composer Adam C. Wright, will accompany the singers; actor Brian J. Gonzales will emcee. (In late 2011, Kinman sang at a benefit at Dallas Children’s Theater to raise money for Gideon’s Feet, a local charity started by Brian and Ashley Gonzales to provide care for North Texas artists in need.)

    Kinman’s friends and colleagues say they aren’t surprised that he left specific instructions for a show he couldn’t be in. Perfectionism, in performance, in how words were spoken and sung, was part of his personality.

    “Jeff had a knack for sarcasm and a reputation for a no-nonsense approach to everything around him,” says actress Ashley Hollon White. “He was honest and direct, with a heart of pure gold. He had a dry sense of humor that was matched with a feisty wit, and he topped it all off with impeccable taste.”

    “He loved singing and performing, and he loved all of us who shared that love with him,” says Cathy O’Neal, a union stage manager who worked on many of the shows Kinman did in area theaters over the past decade. “Offstage, he had a smart, wicked sense of humor. Jeff was a stickler for correct word choice and grammar.”

    Actress, singer and voice teacher Wendy Welch sang with Kinman in Broadway Our Way two years ago and visited him during his last days in the hospice. “It was a dream to harmonize with that gorgeous voice,” says Welch, “feeling the nuances and straight tones together, finding ‘one voice.’ Jeff's voice was stunning, a gift.

    “He approached friendship with the same honesty, sensitivity, love and support as he did his work,” says actress Wendy Welch. “He leaves a void that no one will ever fill.”

    “He had the utmost respect for the artists with whom he worked, and he embraced the collaborative process with passion and fury. He loved it. I was also proud to call him my friend. He approached friendship with the same honesty, sensitivity, love and support as he did his work. He leaves a void in our theater community that no one will ever fill, and I will forever be grateful for knowing him.”

    Kinman, a Dallas native and graduate of Bryan Adams High School, was 47 when he died of complications from HIV. He had performed many times in Uptown Players’ shows at Kalita Humphreys and at the company’s former home at the Trinity River Arts Center.

    He sang and acted in musicals at Lyric Stage, Theatre Three, Theatre Arlington, Flower Mound Performing Arts Theatre and others. He was an active member of Actors Equity. He founded his own voice studio in 2011 and coached singers with the same passion he gave to his own performances.

    It was obvious to those who’d seen him in so many roles over the years that he was in poor health in last spring’s Broadway Our Way. But even struggling to get through that show’s strenuous group numbers, which included climbing up and down a large staircase on the stage, he kept smiling, singing and dancing. (This year’s Broadway Our Way runs January 18-27 at Kalita Humphreys Theater.)

    Last spring Kinman sang these lyrics in that song from Catch Me if You Can, by composers Marc Shaiman and Scott Whittman:

    Fly, fly, fly away
    We didn’t get to say goodbye, goodbye
    No need to tell me why, my baby
    Maybe it’s because you’ll fly back home to me one day.

    His performance was transcendent on opening night, and nobody else in the cast received a louder or more heartfelt ovation. It was a perfect moment for Kinman. It felt like a gift from him to his audience, a special pairing of singer and song, of lyrics and authentic emotion. It was as if Kinman was singing for his life. He always sang like that.

    ---

    Kinman’s family requests that any donations be made in his honor to Legacy Founders Cottage.

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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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