The current TITAS season comes to a close this month with performances by the long-running American dance companies Alonzo King LINES Ballet (June 9) and Parsons Dance (June 30) before the Dallas dance presenter launches its 2018-19 offerings later this summer.
“Where are you going?” asked Dallas’s favorite classical DJ Amy Bishop, as I was heading straight into Meyerson Symphony Center, which would have been great had I been planning to go see Jaap van Zweden in one of his final concerts.
The arts communities of Dallas—like many art communities across the country—are prone to tribalism, which plays out across disciplines, geographies, ethnicities, career stages, education levels, politics, and incomes.
Since we (Nancy Wozny & Tarra Gaines) have an ongoing conversation on what defines an immersive performance, we decided to share some of our adventures and to make some of our endless road trip banter public.
For classically-trained string players, the traditional route to making a living as a professional musician is fairly narrow: win a job in a major orchestra, find a full-time teaching position, or gig like there is no tomorrow.
