In This Issue:

Calendar of Events:

• Saturday, July 11, 2009 - Inside The Dallas Opera on WRR 101.1 FM

• Monday, July 13, 2009 - The Inwood Living Room Series Movie Screening: "Closer"

• Tuesday, July 14, 2009 - COSI FAN TUESDAYS at The Capital Grille

• Thursday, July 16, 2009 - Cosi & Koozies Summer Panel Series - "Multiculturalism: At the heart of MOBY-DICK and MADAME BUTTERFLY"

• Sunday, July 19, 2009 - Cosi & Koozies Wedding Cake and Champagne Tasting

And the Survey Says...

Although, off the top of our heads, it appears that the summer opera festivals are ranked in order of likely summer evening temperatures (and the cooler the better), we'll take them at face value: a good blend of homegrown and overseas festivals that exhibit both great musicianship and high style.

That was the week that was
By Suzanne Calvin

The Dallas Opera hosted the first installment of the "Cosi and Koozies Lecture Series," an outstanding panel discussion on Verdi’s Otello and the problem of domestic violence. It did NOT disappoint. Led by moderator Chris Shull ("Opera Now," "Star-Telegram," "Opera) with popular UNT professor and frequent Dallas Opera lecturer Dr. Stephen Dubberly and Jan Langbein, Executive Director of Genesis Women’s Shelter, the discussion focused on the familiar patterns and "cycles of violence" traceable in Verdi’s moving masterpiece (the building of tensions, the explosion of violence, the reconciliation phase) and how it remains applicable in domestic situations today.

While some in the audience questioned Desdemona’s seeming resignation to her fate, others found more fight in the lady as she attempted to defend herself against Iago’s lies and the fatal jealousy of her husband. In any event, as Ms. Langbein pointed out, women far from home in centuries past had nowhere to turn, no "women’s shelter" to rescue them in the event of family violence.

Dr. Dubberly, on the other hand, delved into the mature musicianship of Verdi revealed in this masterful retelling of Shakespeare. All three panelists agreed that, in her own way, the character of Emilia (Iago’s wife and Desdemona’s servant) is the most interesting in the opera, because of the tightrope she’s forced to walk in her personal life and the courage she shows, in the end.

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From our Stage, to Yours!

The Dallas Opera


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A NEW FOOT ON THE STAGE
By Suzanne Calvin

Associate Director of Production, Mr. John J. Toia

The Dallas Opera is pleased to announce the appointment of John J. Toia to the newly created position of Associate Director of Production, effective August 1, 2009. Mr. Toia will be working in close collaboration with The Dallas Opera’s long-time Director of Production, John Gage, and Technical Director Drew Field as the company prepares for its much-anticipated move into the Margot and Bill Winspear Opera House at the Dallas Center for the Performing Arts for performances beginning on October 23rd.

"Challenges come with every Dallas Opera season," explains Mr. Gage, "However, this year we face a situation of extraordinary magnitude: the opening of a prestigious, state-of-the-art opera house and the creation of two new productions, including an important world premiere."

Adds Gage: "The addition of an experienced colleague to an already skilled production team is a significant advantage for a company stepping, once again, into the global spotlight."

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STAFF PROFILE: DIRECTOR OF PRODUCTION JOHN GAGE

John Gage answers questions for a group of students at The Music Hall at Fair Park.

The stage is just another track and John Gage, TDO’s Director of Production, is the crew chief behind the set. As an avid auto racing fan and member of the Sports Car Club of America, Mr. Gage is attuned to making things run and keeping them in peak condition—including the beautiful productions you’ve seen on The Dallas Opera’s stage for the past eighteen seasons.

Mr. Gage began his career in opera production at the St. Paul Opera (Minnesota) as Stage Manager for their 1972 summer season. Since then, he has served in similar roles with the opera companies of Milwaukee, Miami, Santa Fe and, of course, Dallas.

Mr. Gage first came to The Dallas Opera at the request of Maestro Nicola Rescigno, serving as the Production Stage Manager for three years, beginning in 1978. In May 1980, he assumed the position of General Director of the Florentine Opera company in Milwaukee, leading that company for the next nine years. John then spent several years guiding the Columbus, Ohio, opera company through a financially difficult period, before returning to The Dallas Opera after a twelve year absence. It was then that he assumed the newly created position of Director of Production.

When Mr. Gage isn’t entranced with the glorious sounds of resonant voices and resounding V8 engines, his hobbies (some present, some former) include sailing and skiing. He is also (as you might expect from a Michigan native) a devoted hockey fan.

CAN WE GIVE TILL IT HURTS, WHEN IT HURTS ALREADY?

One of the most notable and laudable characteristics Americans bring to the global table is our unusual willingness to give to charity. Americans of all income levels give more to various charitable and non-profit organizations than their counterparts overseas but, when times get tough, we can’t all be as generous as we would like.

Here’s a new report on charitable giving in 2008 that indicates while such giving was only down overall by about 2 percent, the arts and culture took a hit closer to 6-and-a-half-percent! We know there are lots of worthy causes out there and more people in need than ever. However, we’d appreciate it greatly if you remembered the arts and music and the contributions they make to the quality of your life and our culture.

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