Synopsis   |

Cast Bios   |

Fun Facts  |

Composer   |

Music Director, Graeme Jenkins

Where Stars Shine Brightest Although we are always happy to support the careers of local artists, The Dallas Opera attracts international casts from as far away as Russia and China in order to bring North Texas audiences the very best the world has to offer. This is the place where opera legend Plácido Domingo made his U.S. debut. Opera’s greatest stars are always shining at The Dallas Opera!

Salome: Mlada Khudoley*	Herod Antipas: Allan Glassman	Herodias: Judith Forst	Jokanaan: Robert Hayward*

Narraboth: Jonathan Boyd*	Page: Eudora Brown*	First Jew: Joseph Hu	Second Jew: Jay Gardner	Third Jew: Scott Quinn	Fourth Jew: Steven Hall	Fifth Jew: Thomas Forde*
First Nazarene: Mark McCrory	Second Nazarene: John Sauvey*	First Soldier: Charles Robert Austin*	Second Soldier: Matthew Trevino	A Cappadocian: Kyle Logan Hancock*	A Slave: Ava Pine	Stage Director: John Lloyd Davies
Costume Design: Peter J. Hall	Lighting Design: Marie Barrett	Choreographer: Candice Evans

* Dallas Opera Debut
** American Debut

Mlada Khudoley * (Salome)
Soprano – Moscow, Russia

Highlights: roles with the Mariinsky Theater including Renata (Prokofiev’s The Fiery Angel), Salome, Elvira in Don Giovanni, Aida, Sieglinde in Wagner’s Die Walküre, Gutrune in Götterdammerung, Senta in Der fliegende Höllander and Lady Macbeth. Other highlights: Lisa in Pique Dame (Covent Garden, Riga, Bordeaux); Senta in Der fliegende Höllander (LA Opera); title role in Norma (Switzerland); Sieglinde at the “Stars of the White Nights 2001” festival, opposite Plácido Domingo; Senta and Sieglinde (Bolshoi Theater); Die Walküre with Plácido Domingo (Washington National Opera); Abigaille (Warsaw National Opera at the IV International Festival in Beijing (2001); Verdi’s Requiem and Beethoven’s Ninth (Moscow); Elisabeth in Tannhauser (Tokyo Opera); Salome and Donna Anna (Lisbon), Tikvin Monastery Performance of The Invisible City of Kitezh, Valery Gergiev conducting.

After Salome: Abagaille in Nabucco at Opernhaus Graz (Austria).

Allan Glassman (Herod Antipas)
Tenor – Brooklyn, New York

Highlights: title role in Idomeneo (LA Opera); Iskra in Tchaikovsky’s Mazeppa, Don José in Carmen, the Hunchback Brother in Die Frau ohne Schatten, Missail in Boris Godunov and Herod in Salome (Metropolitan Opera); TDO appearances as Steva in 1993’s Jenufa and Tikhon in Katya Kabanova (1997); Samson in Samson et Dalila (Israeli Opera, Opera Pacific); Walter Engelmann in the world premiere of Pasatieri’s Frau Margot and Herod (Ft. Worth Opera); Boris in Katya Kabanova (L’Opéra de Montréal, Florida Grand Opera); Calaf in Turandot (Opera Festival of New Jersey); Cavaradossi in Tosca (Arizona Opera) title role in Otello (Des Moines Metro Opera, Chautauqua Festival, Cedar Rapids Opera Theatre); concert engagements including Don José in selections from Carmen (New Jersey Symphony) to Faust in Mefistofele with the Casals Festival (Puerto Rico).

Judith Forst (Herodias)
Mezzo-soprano – New Westminster, British Columbia

Highlights: the Kabanicha in Katya Kabanova (La Scala debut, The Dallas Opera); the Kostelnicka in Jenufa (The Dallas Opera, Metropolitan Opera, Vancouver); British premiere of Ermione; Herodias (Chicago Lyric debut); Giovanna Seymour in Anna Bolena (Seattle debut, San Francisco, Toronto, Detroit, Washington DC, and in concert in New York where it was televised “Live from Lincoln Center on PBS); Mme de la Haltiere in Massenet’s Cendrillon (Santa Fe Opera); numerous roles at the Metropolitan Opera including Donna Elvira in Don Giovanni, Giulietta in Les contes d’Hoffmann, Countess Adelaide in Arabella, the Kabanicha, and Siebel in Faust; world premieres of Dangerous Liaisons and A Streetcar Named Desire (San Francisco). Ms. Forst made her Dallas Opera debut as Dorabella in Così fan tutte (1984) and has been honored with the “Order of Canada” in recognition of her distinguished contribution to the arts.

After Salome: Prokofiev’s War and Peace for the Canadian Opera Company.

Robert Hayward * (Jokanaan)
Bass-baritone – Redhill, England

Highlights: Jokanaan and Wotan/Wanderer in the Ring (English National Opera); title role in Handel’s Saul (Opera North); Figaro in Le nozze di Figaro (Houston, Minnesota, Cincinnati, San Diego); title role in Don Giovanni (Glyndebourne Touring Opera, Bavarian State Opera); the titles roles of The Flying Dutchman and Mazeppa and Khovansky in Khovanshchina for Welsh National Opera; title role in Il prigioniero for Frankfurt Opera; Belshazzar’s Feast with the Bournemouth Symphony, Messiah (London Philharmonic, Royal Liverpool Philharmonic, the Northern Sinfonia, Hallé Orchestra) and many other major symphonic works.

After Salome: title roles in Macbeth and Falstaff (Opera North); Simone in Zemlinsky’s Florentine Tragedy, Mandryka in Arabella, and Telramund in Lohengrin for Frankfurt Opera.

Jonathan Boyd * (Narraboth)
Tenor – Corning, New York

Highlights: Created role of George Hancock in world premiere of Margaret Garner (Michigan Opera Theater); Lysander in A Midsummer Night’s Dream and the title role in Werther (Teatro Colon); Belmonte in Die Entführung aus dem Serail (Limoges, France); Don Ottavio in Don Giovanni (Florentine Opera, Opera Royal de Wallonie); Tamino in Die Zauberflöte (Portland Opera, Michigan Opera Theatre); Éliézer in Rossini’s Moise et Pharaon (Brussels); Sam in Street Scene (Portland Opera); title role in Roméo et Juliette (Michigan Opera Theatre, Utah Opera, Nashville Opera) and Lee Hoiby’s Romeo and Juliet (New York City Opera, National Symphony at the Kennedy Center).

After Salome: Dvorak’s Stabat Mater at the Kennedy Center, Lysander in A Midsummer Night’s Dream (L’Opera de Nice), Jaquino in Fidelio (Portland Opera), Tamino in The Magic Flute (Seattle Opera).

Eudora Brown * (Herodias’ Page)
Mezzo-Soprano – Place of birth

Highlights: Critically acclaimed professional debut as Beatrice in Santa Fe Opera’s production of Beatrice and Benedict after assuming the role during dress rehearsal; created the role of Barbara in the New York premiere of Robert Ward’s Roman Fever; Nicklausse in The Dallas Opera’s school performances of Les contes d’Hoffmann; Boston Baroque as Narciso and Giunone in Agrippina; Boston Lyric Opera as Zulma in L’Italiana in Algeri; Chicago Opera Theater as Maria Cleofe in Handel’s La Resurrezione (conducted by Jane Glover); appeared as Carmen, Dorabella, Prince Orlofsky, Octavian and Maddalena in opera excerpts performed in Orvieto’s Teatro Mancinelli, Pallazo dei Sette and in Porto Ercole (televised by RAI); soloist for the U.S. premiere of Jo Kondo’s Japanese language opera, Hagoromo at Tanglewood.

Joseph Hu (First Jew)
Tenor – Taipei, Taiwan

Highlights: Malcolm in Macbeth, Nathanael/Cochenille in The Tales of Hoffmann, Abdallo in Nabucco, a Priest in The Magic Flute, Brighella in Ariadne auf Naxos, Chekalinsky in The Queen of Spades and Beppe in Pagliacci (The Dallas Opera); Don Ottavio in Don Giovanni (Eugene Opera); Pong in Turandot, Count Lerma in Don Carlo and Gastone in La traviata (San Diego Opera).

After Salome: Goro in Madama Butterfly (Palm Beach Opera, Opera Memphis); First Philistine in Samson & Delilah, Don Curzio in Le nozze di Figaro, Ruiz in Il trovatore, Goro in Madama Butterfly, Borsa in Rigoletto and Spoletta in Tosca (San Diego Opera).

Jay Gardner (Second Jew)
Tenor – Dallas, Texas

Highlights: Second Noble in Lohengrin; soloist in “Sing for the Cure,” Turtle Creek Chorale (Carnegie Hall premiere); Roméo in Roméo et Juliette and Sam Polk in Susannah (Marjorie Lawrence Opera Theater); appearances with Opera Orvieto (Italy) and Cassalmaggiore Chamber Music Festival; Charlie Dalrymple in Brigadoon (Lyric Stage); the Second Man in Side by Side by Sondheim (Circle Theater); Masterclass at Lyric Stage and featured ensemble member in A Christmas Carol at the Dallas Theater Center. Jay is also an accomplished ceramic artist in collections in Dallas, Chicago, San Francisco, New York City and Dublin, Ireland.

Scott Quinn (Third Jew)
Tenor – Marshall, Texas

Highlights: Tamino in Die Zauberflöte and Nemorino in L’elisir d’amore (Stephen F. Austin University); Frederic in The Pirates of Penzance and Martin in The Tender Land with The Living Opera; concert stage credits include Verdi’s Requiem, Mendelssohn’s Elijah, Schubert’s Mass in C, Mozart’s Requiem and Handel’s Messiah. In 2007, Mr. Quinn was the Sheila Harms Memorial Fellow with The Living Opera. He is also the winner of the National Shreveport Opera Competition and the Charles Maggio Award.

Steven Hall (Fourth Jew)
Tenor – Panama Canal Zone

Highlights: Ambrogio in The Barber of Seville, Gobin in La Rondine, The Officer in Ariadne auf Naxos, Soldier/Spy in Luisa Miller, the Emperor Altoum in the 2003 production of Turandot, and Capitano in Simon Boccanegra (The Dallas Opera); Papageno in The Magic Flute (Ft. Worth Opera Tour); Don Ottavio in Don Giovanni (The Living Opera). Mr. Hall also portrayed Richard Mason in Lyric Stage’s musical adaptation of Charlotte Brontë’s Jane Eyre.

Thomas Forde * (Fifth Jew) Bass – Chicago, Illinois Highlights: Marchese d’Obigny in La traviata (Central City Opera); covered the roles of Sarastro in The Magic Flute and Father Trulove in The Rake’s Progress (Des Moines Metro Opera); Francis Nurse (also covered the role of Reverend Hale) in The Crucible (Utah Festival Opera); Masetto in Don Giovanni (University of Illinois Opera Theatre); various roles for Moores Opera Center including Frank Maurrant in Street Scene, Don Alfonso in Così fan tutte, Prince Gremin in Eugene Onegin and Selim in Il turco in Italia. Upcoming engagements in the fall of 2007 include Zuniga in Carmen and Antonio (covering Figaro) in Le nozze di Figaro (Houston’s Opera in the Heights).

After Salome: Angelotti in The Dallas Opera’s Tosca; The Mandarin in Turandot (also covering Timur) and covering Raimondo in Lucia di Lammermoor (Fort Worth Opera Festival).

Mark McCrory (First Nazarene)
Bass – Dallas, TX

Highlights: The Doctor in Macbeth, Fourth Noble in Lohengrin, The High Priest of Babylon in Nabucco, Perichaud/A Steward dual role in La Rondine, Truffaldino in Ariadne auf Naxos and Second Armored Man in The Magic Flute (Dallas Opera); title role in Le nozze di Figaro (Minnesota Opera, Hawaii Opera Theatre, Opera Festival of New Jersey); title role in Don Giovanni (Madison Opera, Opera Pacific); Marco in A View from the Bridge (world premiere, Lyric Opera of Chicago); and most recently, the Count in Le nozze di Figaro (New Orleans Opera). University of North Texas alum/Lake Highlands grad. Upcoming: The Pirate King in The Pirates of Penzance (Living Opera) and Ferrando in Il trovatore (Kentucky Opera).

After Salome: Don Basilio in Il barbiere di Siviglia (Virginia Opera).

John Sauvey * (Second Nazarene)
Bass – Miami, Florida

Highlights: Marullo in Rigoletto and Betto in Gianni Schicchi (Opera Santa Barbara); Marullo, Dandini in La Cenerentola (Opera Birmingham); title role in Don Giovanni, Escamillo in Carmen (Chicago Chamber Orchestra); Marquis d’Obigny in La traviata, Hermann in Les contes d’Hoffmann and 2nd Commissioner/Jailer/1st Soldier in Dialogues of the Carmelites (Ft. Worth Opera); Masetto (Amarillo Opera) and the Commendatore in Don Giovanni with the Birmingham Symphony. Created the roles of Lord Henry in the world premiere of Hans Schaeuble’s Dorian Gray at UNT and Mr. Behrman in The Last Leaf, which also marked his international debut with Severoceska Filharmonie Teplice. A UNT Winspear Scholarship recipient.

Charles Robert Austin * (First Soldier)
Bass-baritone – Lincoln, Nebraska

Highlights: King Mark in Tristan und Isolde (San Juan, Virginia Opera, Tokyo Philharmonic, Cincinnati Symphony, Minnesota Orchestra); Pogner and Hermann in Die Meistersinger (Cincinnati Symphony, Spoleto Festival); the Mayor in Jenufa (Washington Opera); King Hrothgar in Grendel (L.A. Opera); Daland in Der fliegende Höllander (Opera Pacific); Klingsor in Parsifal and King Henry in Lohengrin (Cincinnati); Wotan in Die Walküre (Washington Opera, Pittsburgh, Metropolitan Opera cover); Duke Bluebeard in Bluebeard’s Castle (Chicago Opera Theatre, Seattle Symphony, Baltimore Symphony cover) Sparafucile and Monterone in Rigoletto and Raimondo in Lucia di Lammermoor (Puerto Rico). This fall, Capt. Jacqeau in War and Peace (Metropolitan Opera cover).

After Salome: Roméo et Juliette (Louisville Orchestra); Bach’s B-Minor Mass (Seattle Symphony); Belshazzar’s Feast (Canton Symphony); Verdi’s Requiem (Dayton Philharmonic).

Matthew Trevino * (Second Soldier)
Bass – Harlingen, Texas

Highlights: Monterone in Rigoletto and Sam in Un ballo in maschera (Opera Santa Barbera); Bartolo in Le nozze di Figaro (Coeur d’Alene); Durufle’s Requiem (Marin Symphony); Silvano in La Calisto, Simone in Gianni Schicchi, Basilio in Il barbiere di Siviglia and Don Alfonso in Così fan tutte (San Francisco Merola and Resident Artist in Education program); Bernstein’s Dybbuk (San Francisco Ballet); and Courcelle’s Mass (Orchestra of New Spain). A prize-winner in The Dallas Opera Guild Vocal Competition.

After Salome: Ramfis in Aida (Nevada Opera); Turandot (Michigan Opera Theatre) and Merry Wives of Windsor with the Bear Valley Music Festival.

Kyle Logan Hancock * (A Cappadocian)
Bass-Baritone – Abilene, Texas

Highlights: Figaro, Bartolo and Antonio in Le nozze di Figaro; title role in The Mikado; Noye in Britten’s Noye’s Fludde; Sarastro in Die Zauberflöte; the Custom-House Sargeant in La bohème at venues including Fort Worth Opera; dell’Arte Opera Ensemble in New York City; The Regal Opera, Colleyville; First Presbyterian Church, Dallas; and the University of North Texas. On the concert stage, as a soloist in Handel’s Messiah; Verdi, Mozart and Fauré’s Requiems; Brahms’ Ein Deutsches Requiem and Ralph Vaughn Williams’ Five Mystical Songs (Woodhaven Presbyterian Church, Irving; The Masterwork Chorus of New Jersey; Coro Lirico of New Jersey). Musical theater roles include the Big Bad Wolf/Prince Charming in Sondheim’s Into the Woods and “Liver Lips” Louie in Guys & Dolls (Theatre Coppell).

Ava Pine (A Slave)
Soprano – Galveston, Texas

Highlights: Anna in Nabucco (Dallas Opera debut); Lady-in-Waiting in Macbeth, Zozo in The Merry Widow, double role of Yvette/Off-stage Voice in La Rondine and First Page in Lohengrin; Berta in The Barber of Seville-School Performances (TDO); Faure’s Requiem (Dallas Symphony Orchestra debut); Handel’s Messiah (Ft. Worth Symphony debut); Amour in Rameau’s Pygmalion (Dallas Bach Society); Rosina in Il barbiere di Siviglia and Zerlina in Don Giovanni (Seagle Music Colony); Mozart’s Mass in C minor (Orpheus Singers of Dallas); Erato in Handel’s Terpsicore (New York Baroque Dance Co.). Upcoming: Frasquita in Carmen, Sophie in Werther and covering Adina in L’elisir d’amore (Chautauqua Opera).

After Salome: Messiah and Bach’s Mass in B-minor (Dallas Symphony Orchestra).

Graeme Jenkins (Conductor)
Music Director of The Dallas Opera – London, England
1985-92 Glyndebourne Touring Opera/Glyndebourne Festival Opera

Highlights: 150 operatic productions of a hundred different works including Billy Budd and Jenufa (Vienna State Opera); Così fan tutte (English National Opera); Baz Luhrmann’s La bohème and Der Meistersinger (Australia); The Cunning Little Vixen and From the House of the Dead (Berlin); Le nozze di Figaro for Theater an der Wien in Vienna; Simon Boccanegra, Der Fliegende Holländer and Il re pastore (Amsterdam); La clemenza di Tito (Copenhagen) and numerous productions for The Dallas Opera including the Ring Cycle, Don Giovanni, Così fan tutte, The Magic Flute and company premieres of Billy Budd, Nabucco, Wozzeck, Katya Kabanova, Mary Queen of Scots and Rodelinda; performances with the Gothenburg Symphony Orchestra and Chorus, Royal Danish Opera Orchestra, Utah Symphony Orchestra and Maestro Jenkins’ debut with the Galicia Symphony Orchestra of Spain, as well as a recent Bartok Celebration Concert with the Monte Carlo Philharmonic. World premieres of works by Tobias Picker (Thérèse Raquin at The Dallas Opera, on the Chandos label) and Stephen Oliver (English National Opera).

After The Merry Widow: Le nozze di Figaro and Don Carlos at Royal Danish Opera; Jenufa and Der fliegende Höllander for Vienna State Opera; a concert conducting the Finnish Radio Symphony Orchestra and Salome at The Dallas Opera.

John Lloyd Davies (Stage Director/Scenic Designer)

Highlights: The Rape of Lucretia and Il re pastore (Covent Garden); Maria de Buenos Aires (Los Angeles); Ariadne auf Naxos (The Dallas Opera); Madama Butterfly (Royal Danish Opera); Albert Herring and The Turn of the Screw (Aldeburgh); Cabaret (Graz); Racine’s Phaedra (Vienna Volkstheater); Les contes d’Hoffmann (Nuremburg); Der Rosenkavalier (Dortmund); Sallinen’s Kullervo (Frankfurt Opera); also designed and lit the world premiere of John Casken’s opera, God’s Liar, at the Alameida in London and La Monnaie in Brussels; over thirty productions at English National Opera; revivals in Frankfurt, Glasgow and Rome; directed the Austrian premieres of Britten’s Death in Venice, Aribert Reimann’s Das Schloss, The House of Usher by Philip Glass and Adès Powder Her Face. Mr. Davies was awarded the Josef Kainz Medal, one of Austria’s major theater prizes for his work in opera and theater in Vienna.

Peter J. Hall (Costume Design)
Bristol, England
Resident Costume Designer for The Dallas Opera

Highlights: Has designed for Luciano Pavarotti, Dame Kiri Te Kanawa, Plácido Domingo, Dame Joan Sutherland, Dame Judi Dench, David Bowie, Dame Maggie Smith and Elizabeth Taylor. He has designed for The Royal Opera House, London; Vienna State Opera; La Scala, Milan; Kirov Opera; St. Petersburg Opera; the Sydney Opera; the Metropolitan Opera and Los Angeles Opera. Recent highlights include Simon Boccanegra (San Francisco); Otello in South Korea and Stiffelio for Teatro Nuovo in Argentina. He has also designed for theater productions at The National Theatre, London and The Royal Shakespeare Company. More than seventy productions designed for The Dallas Opera since Il barbiere di Siviglia in 1962, including costumes for the 2006 production of Ariadne auf Naxos.

Marie Barrett (Lighting Design)
Seattle, Washington

Highlights: Ariadne auf Naxos, The Barber of Seville, Turandot (southwest premiere of new ending by Luciano Berio), The Flying Dutchman, The Magic Flute, El amor brujo and La vida breve (The Dallas Opera); Un ballo in maschera and Die Fledermaus (San Francisco Opera); Salome and La traviata (Fort Worth Opera); The Magic Flute, Katya Kabanova and Vanessa (San Diego Opera); Roméo et Julliette (Houston Grand Opera). Overseas, she has designed for the Netherlands Opera, Opéra Bastille in Paris and at the Maggio musicale in Florence, working with directors Jonathan Miller, Andre Serban and Michael Hampe. Ms. Barrett is also a production manager and has overseen the North American companies of “Riverdance” for ten years.

After Salome: Tosca (The Dallas Opera) and Tannhauser (San Diego Opera).

Candace Evans (Choreographer)
Madison, Wisconsin

Highlights: Portrayed the Duenna in Rodelinda (The Dallas Opera); Choreographer for Ariadne auf Naxos (The Dallas Opera); Acting/Movement Coach for The Dallas Opera Young Artists Program; guest soloist for the Dallas Symphony Broadway Concert; national/international tours including The 3 Redneck Tenors, Threepenny Opera, Guys and Dolls, Macbeth, Private Lives and Side by Side by Sondheim; directed world premiere of Children’s Letters to God and southwest regional premiere of Jane Eyre (Lyric Stage) and Love’s Labours Lost (Dallas Shakespeare Festival); choreographer/assistant direction for Othello, Much Ado about Nothing and Antony and Cleopatra (Dallas Shakespeare Festival); taught for SMU theater and music departments; lecturer for the National Opera Association; has directed/choreographed over 70 musicals, plays, operas and ballets.

* Dallas Opera Debut
** American Debut