(Both are now voice teachers in Texas.) New to the cast - and the HGO Suzanne Mentzer, only a decade ago a leading Octavian, sing supporting roles. In the cast singers of note edged off stage by today’s quest for newĬheryl Parrish, loved for many performances of Despina and Gilda, and John Packard, the first Joe and now an internationally recognized baritone, The knowledge that the HGO performances mark her last appearance on the opera Mezzo as his personal Muse, together with that the tug at the heart prompted by Weight of her still superb singing is the fact that Heggie has long prized the repeating her SFO role - sings Joe’s mother. This staging gains through the return to the cast of Frederica von Stade who In addition to the long collaboration between Heggie and Summers, in the pitįor the Dallas premiere of the composer’s Moby Dick last season, The lonely despair that darkens this story. Network of friendships that reaches beyond the stage and contrasts warmly with Indeed, the Houston staging takes DMW full circle, underscoring a Much he has grown in a decade distinguished by further Heggie achievements. HGO music director Patrick Summers conducted the SFO premiere ofĭMW and has been with it constantly. World poor in compassion, chilled by loneliness and loathe to grant It is now rather an essay - a careful balance of ideasĪnd emotions - on the quest for compassion - and love - in a No longer an argument about capital punishment - if this ever was itsĬentral concern. Of Sister Helen Prejean’s encounter with death-row damned Joe De Rocher.įor here the work - and the bare-bones libretto by Terrence McNally - is More important is the universality the HGO staging brings to the true story Operas in decades - perhaps since Porgy and Bess. San Francisco Opera, Dead Man Walking has been seen in Dresden and Staged by more than a handful of American companies since its 2000 premiere at
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