If you take it at face value, it’s an epic tale of gods and gnomes, fighting over a gold ring that confers supreme power over the world. But there’s a more compelling way to look at The Ring of the Nibelung, Richard Wagner’s four-opera cycle.
Life, love, and death. Each of these states of being is intrinsically tied to a process of transformation, molecular to ethereal, scientific to spiritual.
“I came out of the womb and knew I wanted to be an artist. It’s all I know.” Growing up in Port Arthur, Texas, Evita Tezeno was surrounded by female relatives who were quilters and seamstresses.
The Bishop Arts neighborhood of Dallas has enjoyed a surge in popularity these past few years, but many of its diners, drinkers, and shoppers probably aren’t aware that just a mile away sits the area’s namesake theater company.
The Dallas Opera will treat its audiences next season to two of opera’s all-time favorites, but the real news belongs to the season’s other two slots: They’ll hold a pair of landmark works the company has never staged.
The exhibition title, Surrealism and Us, references the essay “1943: Surrealism and Us” by Suzanne Césaire (1915-1966), a Martinique writer, feminist, and anti-colonialist. Césaire believed that the concepts, aesthetics, and power of Surrealism could encourage self-determination and independence.