Houston’s DACAMERA swings back into action this fall with a program dubbed “Awakenings.” It sets up the group’s new season in more ways than just chronologically.
For a while, many dancers and choreographers had no other outlet: The pandemic shutdowns cut them off from live audiences, so they showcased their work to online viewers on video.
The challenge is so great that no U.S. orchestra has pulled it off in recent decades: a concert-hall presentation of Richard Wagner’s four-opera epic, The Ring of the Nibelung. But the Dallas Symphony Orchestra is taking it on.
After taking the helm at The Cliburn, which runs the Van Cliburn International Piano Competition in Fort Worth, Jacques Marquis looked back across the contest’s winners and noticed a pattern.
Launched in 1993 as a showcase for a single performer, it has evolved into an annual contest that offers $40,000 in prize money to aspiring musicians aged 18 to 32.
As everybody knows, the University of Texas at Austin has transformed its hometown thanks to its role as a hotbed of research. There’s more to that than churning out innovations in computers and technology.
For all the glories of Carmen, La Boheme, Aida and the like, opera companies sometimes want to tackle a work that’s out-of-the-ordinary: Call it a statement opera. The urge came upon The Dallas Opera before the pandemic.