In Otello, the company's first Winspear production, American Heldentenor Clifton Forbis took the title role and gave a solid assumption of the Moor. Two peculiarities: the stage has no prompter's box, and unfortunately the company chose not to install seatback titles, a disappointment for such a modern house and forward looking company. The orchestra filled the house with ease and sounded full and rich even on the main level. The acoustics inside the house are, simply put, the best I've ever witnessed: the softest pianissimo could be heard from all seating levels, and the squillo of the singers on opening night was piercing - voices of all sizes will be pleased with the house's acoustics. The UK based firm Foster and Partners led the design team, creating among other features a modified canopy-sunscreen to protect from the Texas heat a transparent exterior illuminating the house's red glass interior a horseshoe style auditorium seating 2,200. Inside and out, the Winspear is a marvel. On October 23rd, the Winspear Opera House, part of the city's new AT&T Center for the Performing Arts, opened its doors with a new production of Verdi's Otello, ushering in a new beginning for the city and its opera lovers. AtaneliĪfter a long journey lasting several decades, the people of Dallas now have a dedicated home for opera. Tim Albery (director), Anthony Baker (sets/costume designer), Thomas C.
The Dallas Opera Orchestra and Chorus, Alexander Rom (chorus master), Graeme Jenkins (conductor) Clifton Forbis*/Allan Glassman (Otello), Alexandra Deshorties (Desdemona), Lado Ataneli (Iago), Sean Panikkar (Cassio), Raymond Aceto (Lodovico), Elizabeth Turnbull (Emilia), Scott Quinn (Roderigo), Mark McCrory (Montano)
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