Event / Program Detail

September 18th, 2012 at Dallas City Performance Hall

2520 Flora Street, Dallas, Texas 75201 (map it)

Main Event at 8:00 PM

Mozart: Overture, Marriage of Figaro

Falla: Suite, El Amor Brujo

Laura Mercado Wright, soprano

Introducción y escena (‘Introduction and scene’)
En la cueva (‘In the cave’)
Canción del amor dolido (‘Song of suffering love’)
El aparecido (El espectro) (‘The apparition’)
Danza del terror (‘Dance of terror’)
El círculo mágico (Romance del pescador) (‘The magic circle’)
A media noche: los sortilegios
Danza ritual del fuego (‘Ritual fire dance’)
Escena (‘Scene’)
Canción del fuego fatuo (‘Song of the will-o’-the-wisp’)
Pantomima (‘Pantomime’)
Danza del juego de amor (‘Dance of the game of love’)
Final – las campanas del amanecer (‘Finale – the bells of sunrise’)

Beethoven: Symphony No. 7

Poco sostenuto – Vivace
Allegretto
Presto
Allegro con brio

After Party Around 9:30 PM

Ticket holders can meet the performers over complimentary appetizers at Fedora, just across the street, immediately following the event. Open seating will be available, inside the restaurant and outside on the patio.

Parking

Convenient parking for $5 is available across the street at One Arts Plaza.

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Dining & Hotels

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Directions

Dallas City Performance Hall is located downtown in the Arts District.

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Tickets By Phone

 214.449.1294

9:00am – 5:00pm, Monday – Friday
Voicemails accepted.

Online

Pricing

Reserved Seating: $19-49

Regular through VIP, Select Your Seat

At the Door

Tickets can be purchased at the box office in the lobby, which opens 90 minutes before the event start time. Cash and major credit cards are accepted.

What People Are Saying

  • "McKay and the musicians wove through the complex textures and often counter-intuitive wanderings of this score with admirable devotion and precision."

    Wayne Lee Gay D Magazine
  • "...the Dallas Chamber Symphony and the Bruce Wood Dance Company...make an ideal cultural ambassador for the city to major urban centers in the United States and beyond."

    Wayne Lee Gay D Magazine
  • "McKay and the musicians wove through the complex textures and often counter-intuitive wanderings of this score with admirable devotion and precision."

    Wayne Lee Gay D Magazine
  • "Best Way to Watch A Silent Film 2014: ...they showed us that there’s nothing quite like watching a movie to the sound of a live orchestra."

    The Editor D Magazine
  • "The mostly young ensemble of two dozen strings responded with performances as eager and expressive as they were accomplished."

    Scott Cantrell The Dallas Morning News
  • "For this symphony the educational outreach is far-reaching."

    Teresa Frosini CBS 11 News
  • "…the orchestra here demonstrated a continually improving precision and comfort in a room that can be unforgiving. The Warlock Suite provided ample opportunity for McKay to show off a wonderful ability to evoke the special atmosphere, at once modern and archaic, that the composer created here."

    Wayne Lee Gay D Magazine
  • "Renaissance harmonies abounded, tinged with just the right spice of 20th Century dissonance and bi-tonality. It was brought out at just the right level by McKay."

    Wayne Lee Gay D Magazine
  • "The pointed intentionality of last night's programming, which initially looked like a musical mishmash, was to breathe new life into the old. And the structure of it was brilliant: 'Here's something you'll know. Here's something you should know. And here's something fun, so you leave feeling elated.'"

    Jamie Laughlin The Dallas Observer
  • "The Dallas Chamber Symphony is nothing if not ambitious."

    Katie Womack Dallas Observer
  • "This combination of old and new elements helped transport the audience to a different time and place without over-doing musical clichés."

    Katie Womack The Dallas Observer
  • "The audience was drawn into the film from the start, bursting into laughter and interacting with the story audibly."

    Katie Womack The Dallas Observer
  • "On Tuesday night, the Dallas Chamber Symphony proved they know exactly how to create a well-executed, interactive and entertaining live music/film screening experience."

    Katie Womack The Dallas Observer
  • "They have some incredible talent in their midst."

    Katie Womack The Dallas Observer
  • "There were a lot of excited whispers and shoulder grabs as people stood up to leave. I rarely see crowds so invigorated after classical productions."

    Jamie Laughlin The Dallas Observer
  • "If we want to keep classical music relevant, we need to fuse it naturally with our other passions. It should be an accompaniment to our lives, not just a fancy auditory meal gobbled up occasionally while wearing fine clothes. The Dallas Chamber Symphony is making that happen."

    Jamie Laughlin The Dallas Observer
  • "Shows like this reinforce that I'm on board; I'll see anything this group and its artistic director Richard McKay tries…"

    Jamie Laughlin The Dallas Observer
  • "Dallas Chamber Symphony has, along with the presentation of a fresh and widely varied repertoire of standard and non-standard works, carved a notable niche on the local scene…"

    Wayne Lee Gay D Magazine
  • "The orchestra and conductor McKay deserve hearty accolades for this ongoing silent cinema project, with hope that it will continue to enrich the local scene in upcoming seasons."

    Wayne Lee Gay D Magazine
  • "McKay had a great sense for the tempo and character of the piece, which was clearly chosen to show off Takagi's technical and artistic skill."

    Katie Womack The Dallas Observer
  • "As they had been all night, phrases were beautifully shaped. Throughout the performance there was palpable emotion in the playing and ultimately that intangible -- artistic sensibility -- is what made this concert a success."

    Katie Womack The Dallas Observer
  • "The conductor’s long-term vision is precisely the kind of eclectic and occasionally challenging classical group Dallas really needs."

    Peter Simek D Magazine
  • "Everything from the first note was locked in rhythmic precision, and difficult passages were clear, focused, and musical..."

    John Norine TheaterJones
  • "The ensemble is extremely adroit in their presentation as well as programming."

    John Norine TheaterJones

ABOUT THE ARTISTS

Laura Mercado Wright, soprano

laura-mercado-wrightIn 2011 Ms. Mercado-Wright performed the world-premiere of Charles Wuorinen’s cantata It Happens Like This, a role she will reprise in 2015 at Carnegie Hall with The MET Chamber Ensemble under the baton of Maestro James Levine.

As a member of the Grammy® Award-winning vocal ensemble Conspirare, she has performed as a soloist on numerous occasions, and can be heard on the Harmonium Mundi label recording of two upcoming releases: Joby Talbot’s Path of Miracles and The Poet Sings: Pablo Neruda.
Her recent work as one of four soloists on the recording project Elegia, by Mexican composer Gabriela Ortiz, was nominated for a Latin Grammy® in 2013. She also has received critical acclaim for her 50th anniversary performance of Luciano Berio’s Circles at the Tanglewood Music Festival, and her role as Saint Theresa II in Fours Saints in Three Acts with the Mark Morris Dance Group at the Brooklyn Academy of Music.

Ms. Mercado-Wright made her debut with the Boston Pops Orchestra in 2010 in An Evening of Cole Porter, sharing the stage with Broadway greats Jason Danieley and Kelli O’Hara, under the baton of Keith Lockhart.
She has appeared in performance with the Tanglewood Music Festival, Ensemble Signal, Convergence Ensemble, Austin New Music Co-op, Voices of Change, Fort Worth Opera, Santa Fe Concert Association, Fort Worth Symphony, Plano Symphony, Voces Intimae, The Chamber Music Society of Fort Worth, Cliburn at the Modern, Utah Festival Opera, Austin Symphony Orchestra, and the Slee Sinfonietta.

Operatic roles include Rosina in Il Barbiere di Siviglia, Sesto in Giulio Cesare, Amastre in Xerxes, Niklaus in Les Contes D’Hoffman, Cherubino in Le Nozze di Figaro, Dorabella in Cosi fan tutte, Second and Third Lady in Die Zauberflöte, Hansel in Hansel and Gretel, Meg Page in Falstaff, and both Meg and Jo in Mark Adamo’s Little Women.
In the world of new and experimental music, Ms. Mercado-Wright has participated in several world premieres in the past few years, including pieces from composers Gabriela Ortiz, Shawn Allison, Lembit Beecher, Jorge Soza, Vincent Manlove, Travis Weller, Brent Fariss, Andrew Stotlz, Sarah Dutcher, Graham Reynolds, and Pulitzer Prize winners Charles Wuorinen, Kevin Puts and Caroline Shaw.

She holds the Bachelor of Music degree from the University of North Texas and the Master of Music degree from the University of Maryland, magna cum laude, and has studied voice with Linda Di Fiore, Delores Ziegler, Rebecca Folsom and Lynn Eustis.

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