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Mr. Conlon’s first season as Artistic Advisor of the Baltimore Symphony Orchestra includes three weeks of concerts, starting with an October 2021 program of music by historically marginalized composers. He returns in February 2022 for performances including Beethoven’s Eighth Symphony and the final scene of Wagner’s Die Walküre, with guest artists Christine Goerke and Greer Grimsley. The BSO season concludes in June 2022 with Mr. Conlon conducting an orchestra co-commission from Wynton Marsalis, Rachmaninoff’s Rhapsody on a Theme of Paganini with Beatrice Rana, and Shostakovich’s Seventh Symphony (“Leningrad”). As Artistic Advisor, in addition to leading these performances, Mr. Conlon will help ensure the continued artistic quality of the orchestra and fill many duties off the podium, including those related to artistic personnel—such as filling important vacancies and attracting exceptional musicians. When Covid struck and performances were canceled abruptly, Meachem was one of the first classical musicians to live stream a recital from the opera stage, just days after lockdown on March 23, 2020.
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She resists, but hearing Cavaradossi’s cries of pain, eventually tells Scarpia that Angelotti is in the well in the garden of Cavaradossi’s villa. The Sacristan re-enters with choristers, celebrating the news that Napoleon has apparently been defeated at Marengo. The celebrations cease abruptly with the entry of Scarpia, his henchman Spoletta and several police agents.
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The Foundation’s annual competition, which utilizes social media in its application process to raise awareness for new compositions, centers around a yearly theme that highlights an important demographic of classical music. The horizontal thrust of the Winspear’s massive solar canopy provides a nice contrast to the verticality of the Wyly Theatre by REX/OMA across Flora Street. Stretching 463 by 378 feet, the canopy surrounds the red-glass drum that encloses the building’s auditorium, stage, fly tower, and cooling towers. A steel structure with anodized-aluminum louvers set at various angles to follow the sun’s path, it offers solar protection for a public plaza and the 60-foot-high glass walls wrapping around the building’s lobby. In good weather, sliding glass panels running the entire length of the east side of the lobby open so visitors in the restaurant and café can sit or mingle outside. The Grand Portico, radiating from the opera house on all sides, provides shade over 3 acres (12,000 m2) of the Performance Park.
Lucas Meachem
Falling in Love With "Once" the Musical - People Newspapers
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The opera house is named for the late Margot and Bill Winspear, who in their lifetimes were devoted supporters of the opera art form and The Dallas Opera. Their generous gift helped enable the construction of the AT&T Performing Arts Center. Also inside the Winspear Opera House is Nancy B. Hamon Hall, an intimate 200-seat performance space that beautifully hosts a variety of programming; and the PNC Members Lounge, exclusively for patrons at specific membership levels.
Guanqun Yu is winner of the Belvedere singing competition and winner of the renowned Operalia competition. After studying in Shandong and Shanghai, she was a member of the opera studio at the Teatro Comunale di Bologna. Guanqun Yu is also familiar with the French repertoire singing Micaëla in Carmen and Mathilde in Guillaume Tell – a role which brought her a great personal triumph in a new production at Hamburg State Opera.
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For half a century, cultural institutions have served as linchpins for urban renewal and expansion. So in addition to its success as a superior home for opera and its ability to adapt to other genres, the Winspear will be judged on how well it can overcome the elitist isolation of an earlier era and connect with the city around it. The sound of the wind muffled the strains of the lovely Steinway Grand playing inside. I felt very small and insignificant gazing down at these monumental structures stretching past Cathedral Guadalupe and the Nasher Sculpture Center to the DMA. Yet, in the next moment, I was moved by the thought that in a world with many uncertainties and troubles, the people of North Texas continue to believe in the future; a future for ourselves and our children and grandchildren made brighter and better by the inclusion of music, theater and art.
A former Bayreuth Scholar, Greg has given talks at Regent's University, London and St John's College, Cambridge as well as interviewing, hosting and appearing on panels for the Royal Opera, Covent Garden. He has worked in conservatories and young artist programs in Australia, the United Kingdom, Germany, Italy and the United States. He has received notable awards, recently earning an encouragement award at the Arizona District Laffont Competition. In 2021, he was named the winner of the Graduate Concerto Competition at the University of Michigan. Studies at Michigan, he was selected as a national finalist in the 2019 National Association of Negro Musicians convention. In his undergraduate studies at Northern Arizona University, he was selected as a finalist for two consecutive years in the Rocky Mountain District for MONC auditions.
She developed her deep understanding of the terms of audience engagement through two decades of collaborations in theater, designing The Lehman Trilogy (National Theatre, London; NYC; LA); Hamlet with Benedict Cumberbatch at the Barbican; A Number, Girls and Boys, The Nether (Royal Court); Chimerica, The Hunt (Almeida); Faith Healer (Donmar). Her work in opera includes Don Giovanni, Salome, Les Troyens and Mahagonny at the Royal Opera House, Covent Garden, and Carmen at the Bregenz Festival in Austria. Large scale productions include the London and Rio Olympic ceremonies and Super Bowl halftime shows with Dr. Dre, Kendrick Lamar and The Weeknd. She has created some of the most renowned stage sculptures in collaborations with Beyonce, The Weeknd, Kanye West, U2, Jay Z, Florence and the Machine, Imogen Heap, Petshop Boys, Miley Cyrus and Billie Eilish, seen by mass audiences in stadiums and arenas around the world. Conlon is deeply invested in the role of music in civic life and the human experience. At LA Opera, his popular pre-performance talks blend musicology, literary studies, history, and social sciences to discuss the enduring power and relevance of opera and classical music.
Danish choreographer Signe Fabricius is well sought-after for her work within the fields of opera, musicals, theater and film. In opera, she has had engagements with Malmö Opera, Royal Opera House in London, Teatro Real in Madrid, Vienna State Opera, Finnish National Opera, and the Bregenz Festival. She frequently works at both the Royal Danish Theater and Royal Danish Opera in Copenhagen. Conlon holds four honorary doctorates, was one of the first five recipients of the Opera News Awards, and was distinguished by the New York Public Library as a Library Lion. He received a 2023 Cross of Honor for Science and Art (Österreichische Ehrenkreuz für Wissenschaft und Kunst) from the Republic of Austria, and was named Commendatore Ordine al Merito della Repubblica Italiana by Sergio Mattarella, President of the Italian Republic.
Cesare Angelotti, former consul of the Roman Republic and now an escaped political prisoner, runs into the church and hides in the Attavanti private chapel – his sister, the Marchesa Attavanti, has left a key to the chapel hidden at the feet of the statue of the Madonna. The painter Mario Cavaradossi arrives to continue work on his picture of Mary Magdalene. The Sacristan identifies a likeness between the portrait and a blonde-haired woman who has been visiting the church recently (unknown to him, it is Angelotti’s sister the Marchesa).
Ms. Zhang was the Grand Prize winner of the 2019 Verbier Festival “Prix Yves Paternot”, a finalist in the 2019 Queen Sonja International Music Competition, and took second place at the 2020 Opera Index Competition. While in the Metropolitan Opera’s Lindemann Young Artist Development Program, Ms. Zhang made her Metropolitan Opera debut as the Bloody Child in Macbeth, followed by Barbarina in The Marriage of Figaro. While attending the Merola Opera Program, she performed as Anne Trulove in The Rake’s Progress, and at the Chautauqua Institute, she was seen as Pamina in The Magic Flute. Ms. Zhang earned her master’s degree from the Mannes School of Music, where she was a recipient of the George and Elizabeth Award, and completed her bachelor’s degree at the Shanghai Conservatory of Music. A native of Jackson, Mississippi, Ms. Townsend holds a professional studies certificate in opera from the Curtis Institute of Music, a master of music from the Juilliard School, and a bachelor of arts in music from Millsaps College.
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