The Latest

  • Dallas Opera: Carmen

    Dallas Opera: Carmen

    Dallas Opera: Carmen

    Dallas Opera: Carmen

    Even in the opening phrases of the Overture Friday night at the Winspear Opera House, conductor Emmanuel Villaume’s command of the nuance and unique musical language of Bizet signaled an outstanding performance in the making. Villaume made the orchestra 'sing' with the inflections of the French language, while meticulously exploring Bizet’s subtle counterpoint and instrumental colors.
    - Texas Classical Review
    Even in the opening phrases of the Overture Friday night at the Winspear Opera House, conductor Emmanuel Villaume’s command of the nuance and unique musical language of Bizet signaled an outstanding performance in the making. Villaume made the orchestra 'sing' with the inflections of the French language, while meticulously exploring Bizet’s subtle counterpoint and instrumental colors.
    - Texas Classical Review
    Even in the opening phrases of the Overture Friday night at the Winspear Opera House, conductor Emmanuel Villaume’s command of the nuance and unique musical language of Bizet signaled an outstanding performance in the making. Villaume made the orchestra 'sing' with the inflections of the French language, while meticulously exploring Bizet’s subtle counterpoint and instrumental colors.
    - Texas Classical Review
    Even in the opening phrases of the Overture Friday night at the Winspear Opera House, conductor Emmanuel Villaume’s command of the nuance and unique musical language of Bizet signaled an outstanding performance in the making. Villaume made the orchestra 'sing' with the inflections of the French language, while meticulously exploring Bizet’s subtle counterpoint and instrumental colors.
    - Texas Classical Review
  • Dallas Opera: Carmen

    Dallas Opera: Carmen

    Dallas Opera: Carmen

    Dallas Opera: Carmen

    On the podium, Emmanuel Villaume effectively uses Bizet’s music to express the drama. Using minimal but highly expressive motions, he reveals Bizet’s astounding use of the orchestra to become a character in the unfolding drama. Frequently, he uses even the briefest of orchestral statements to underline the meaning of the words. He also effectively uses connecting passages, no matter how short, to carry the audience from one thought to the next, either commenting on or preparing for the next emotion. Working without the crutch of a baton, Villaume’s hands conveyed exactly how every phrase should be played.
    - Theater Jones
    On the podium, Emmanuel Villaume effectively uses Bizet’s music to express the drama. Using minimal but highly expressive motions, he reveals Bizet’s astounding use of the orchestra to become a character in the unfolding drama. Frequently, he uses even the briefest of orchestral statements to underline the meaning of the words. He also effectively uses connecting passages, no matter how short, to carry the audience from one thought to the next, either commenting on or preparing for the next emotion. Working without the crutch of a baton, Villaume’s hands conveyed exactly how every phrase should be played.
    - Theater Jones
    On the podium, Emmanuel Villaume effectively uses Bizet’s music to express the drama. Using minimal but highly expressive motions, he reveals Bizet’s astounding use of the orchestra to become a character in the unfolding drama. Frequently, he uses even the briefest of orchestral statements to underline the meaning of the words. He also effectively uses connecting passages, no matter how short, to carry the audience from one thought to the next, either commenting on or preparing for the next emotion. Working without the crutch of a baton, Villaume’s hands conveyed exactly how every phrase should be played.
    - Theater Jones
    On the podium, Emmanuel Villaume effectively uses Bizet’s music to express the drama. Using minimal but highly expressive motions, he reveals Bizet’s astounding use of the orchestra to become a character in the unfolding drama. Frequently, he uses even the briefest of orchestral statements to underline the meaning of the words. He also effectively uses connecting passages, no matter how short, to carry the audience from one thought to the next, either commenting on or preparing for the next emotion. Working without the crutch of a baton, Villaume’s hands conveyed exactly how every phrase should be played.
    - Theater Jones
  • Dallas Opera: Carmen

    Dallas Opera: Carmen

    Dallas Opera: Carmen

    Dallas Opera: Carmen

    The real stars of the show may be music director Emmanuel Villaume and the Dallas Opera Orchestra. Villaume has this music in his blood, and he gauges timing, dynamics and shape to perfect dramatic effect. The orchestra gave him all the precision and nuance he could have wished, with particularly eloquent wind and horn contributions.
    - Dallas Morning News
    The real stars of the show may be music director Emmanuel Villaume and the Dallas Opera Orchestra. Villaume has this music in his blood, and he gauges timing, dynamics and shape to perfect dramatic effect. The orchestra gave him all the precision and nuance he could have wished, with particularly eloquent wind and horn contributions.
    - Dallas Morning News
    The real stars of the show may be music director Emmanuel Villaume and the Dallas Opera Orchestra. Villaume has this music in his blood, and he gauges timing, dynamics and shape to perfect dramatic effect. The orchestra gave him all the precision and nuance he could have wished, with particularly eloquent wind and horn contributions.
    - Dallas Morning News
    The real stars of the show may be music director Emmanuel Villaume and the Dallas Opera Orchestra. Villaume has this music in his blood, and he gauges timing, dynamics and shape to perfect dramatic effect. The orchestra gave him all the precision and nuance he could have wished, with particularly eloquent wind and horn contributions.
    - Dallas Morning News
  • Dallas Opera: The Flying Dutchman

    Dallas Opera: The Flying Dutchman

    Dallas Opera: The Flying Dutchman

    Dallas Opera: The Flying Dutchman

    Emmanuel Villaume was astonishing in the pit. Having observed him for years, there is a steady upward trend from fine conductor to one of the best of our time. Every motion is meaningful and conveys useful information to the performers, yet his conducting technique feels free and not over-studied. The result is a performance that allows the performers latitude to express themselves within his overall conception.
    - Theater Jones
    Emmanuel Villaume was astonishing in the pit. Having observed him for years, there is a steady upward trend from fine conductor to one of the best of our time. Every motion is meaningful and conveys useful information to the performers, yet his conducting technique feels free and not over-studied. The result is a performance that allows the performers latitude to express themselves within his overall conception.
    - Theater Jones
    Emmanuel Villaume was astonishing in the pit. Having observed him for years, there is a steady upward trend from fine conductor to one of the best of our time. Every motion is meaningful and conveys useful information to the performers, yet his conducting technique feels free and not over-studied. The result is a performance that allows the performers latitude to express themselves within his overall conception.
    - Theater Jones
    Emmanuel Villaume was astonishing in the pit. Having observed him for years, there is a steady upward trend from fine conductor to one of the best of our time. Every motion is meaningful and conveys useful information to the performers, yet his conducting technique feels free and not over-studied. The result is a performance that allows the performers latitude to express themselves within his overall conception.
    - Theater Jones
  • Dallas Opera: The Flying Dutchman

    Dallas Opera: The Flying Dutchman

    Dallas Opera: The Flying Dutchman

    Dallas Opera: The Flying Dutchman

    Music director Emmanuel Villaume had a good grasp of pace and drama and imparted helpful clarity. The playing was vivid and accomplished.
    - Dallas Morning News
    Music director Emmanuel Villaume had a good grasp of pace and drama and imparted helpful clarity. The playing was vivid and accomplished.
    - Dallas Morning News
    Music director Emmanuel Villaume had a good grasp of pace and drama and imparted helpful clarity. The playing was vivid and accomplished.
    - Dallas Morning News
    Music director Emmanuel Villaume had a good grasp of pace and drama and imparted helpful clarity. The playing was vivid and accomplished.
    - Dallas Morning News
  • Dallas Opera: The Flying Dutchman

    Dallas Opera: The Flying Dutchman

    Dallas Opera: The Flying Dutchman

    Dallas Opera: The Flying Dutchman

    Villaume, who has frequently proved his sensitivity and insight in the Italian and French repertoire, immediately showed himself also at home with the grand gestures and lyricism of this German romantic score. Though the music is unmistakably Wagner, the style is still rooted in Beethoven and early romanticism, and the composer had not yet developed the full-blown chromaticism and leitmotif technique that would characterize his mature operas. Villaume showed a clear understanding of the momentum of this slow-to-unwind score as well as a sure insight into the language of Wagner’s poetry as part of the musical texture.
    - Texas Classical Review
    Villaume, who has frequently proved his sensitivity and insight in the Italian and French repertoire, immediately showed himself also at home with the grand gestures and lyricism of this German romantic score. Though the music is unmistakably Wagner, the style is still rooted in Beethoven and early romanticism, and the composer had not yet developed the full-blown chromaticism and leitmotif technique that would characterize his mature operas. Villaume showed a clear understanding of the momentum of this slow-to-unwind score as well as a sure insight into the language of Wagner’s poetry as part of the musical texture.
    - Texas Classical Review
    Villaume, who has frequently proved his sensitivity and insight in the Italian and French repertoire, immediately showed himself also at home with the grand gestures and lyricism of this German romantic score. Though the music is unmistakably Wagner, the style is still rooted in Beethoven and early romanticism, and the composer had not yet developed the full-blown chromaticism and leitmotif technique that would characterize his mature operas. Villaume showed a clear understanding of the momentum of this slow-to-unwind score as well as a sure insight into the language of Wagner’s poetry as part of the musical texture.
    - Texas Classical Review
    Villaume, who has frequently proved his sensitivity and insight in the Italian and French repertoire, immediately showed himself also at home with the grand gestures and lyricism of this German romantic score. Though the music is unmistakably Wagner, the style is still rooted in Beethoven and early romanticism, and the composer had not yet developed the full-blown chromaticism and leitmotif technique that would characterize his mature operas. Villaume showed a clear understanding of the momentum of this slow-to-unwind score as well as a sure insight into the language of Wagner’s poetry as part of the musical texture.
    - Texas Classical Review