Houston Grand Opera (HGO) is an American opera company located in Houston, Texas. Founded in 1955 by German-born impresario Walter Herbert and three local Houstonians, [1] the company is resident at the Wortham Theater Center. This theatre is also home to the Houston Ballet. In its history, the company has received a Tony Award, two Grammy Awards, and three Emmy Awards, the only opera company in the world to win these three honours. Houston Grand Opera is supported by an active auxiliary organization, the Houston Grand Opera Guild, established in October 1955. [2]
In 1955, the German-born impresario Walter Herbert and Houstonians Elva Lobit, Edward Bing, and Charles Cockrell founded the company. [1] Its inaugural season featured two performances of two operas, Salome (starring Brenda Lewis in the title role) and Madama Butterfly . David Gockley succeeded Walter Herbert as general director in 1972. During Gockley's tenure, the company began regularly commissioning and producing new works, primarily from American composers. Gockley remained as general director until 2005.
Anthony Freud succeeded Gockley as general director in 2005, and held the post until 2011. Following Freud's departure, joint leadership was shared between Patrick Summers, who had been music director at HGO since 1998, and Perryn Leech, who joined the company in 2006 and became chief operating officer in 2010. Summers took the titles of artistic director and music director, and Leech became managing director. For the 2017–2018 season, HGO performed at the 'HGO Resilience Theater', a temporary space created in an exhibit hall at the George R. Brown Convention Center, after the Wortham Theater Center was closed due to flooding from Hurricane Harvey in August 2017. [3] Leech stood down as managing director of the company in December 2020. [4]
In June 2021, the company announced the appointment of Khori Dastoor as its next general director and CEO, effective January 2022. Dastoor is the first woman ever named to the posts. [5]
The Houston Grand Opera Orchestra consists of 49 part time professional musicians and plays all Houston Grand Opera performances. The orchestra is a member of the Regional Orchestra Players Association and is a per service orchestra.
No music director was appointed during the Walter Herbert years (1955–72) until 1971, when longtime assistant conductor and chorus master Charles Rosekrans was named. Later music directors/principal conductors include Chris Nance (1974–77), John DeMain (1977–94), and Vjekoslav Šutej (1994–97). Patrick Summers has been the music director since 1998. With the 2019–20 season, Eun Sun Kim became principal guest conductor, the first female conductor ever to hold the post.
The Houston Grand Opera Chorus has been led since 1988 by chorus master Richard Bado, an alumnus of HGO's young artist training program, the Houston Grand Opera Studio.
Houston Grand Opera's young artist development program, the Houston Grand Opera Studio, was founded in 1977 to help young artists make the transition between their academic training and professional careers. The HGO Studio primarily trains young singers and pianist/coaches but has also trained aspiring conductors in a residency program of up to three years. An annual competition, now called the Eleanor McCollum Competition for Young Singers, was inaugurated in 1989 to help identify a pool of potential international artists for the Studio, which is currently directed by Brian Speck. Studio alumni include sopranos Jan Grissom, Marquita Lister, Ana María Martínez, Edrie Means, Erie Mills, Albina Shagimuratova, Heidi Stober, Rachel Willis-Sørensen, and Tamara Wilson; mezzo-sopranos Jamie Barton, Joyce DiDonato, Denyce Graves, Susanne Mentzer, and Marietta Simpson Archived 2017-11-01 at the Wayback Machine ; tenors Bruce Ford, Carroll Freeman and Norman Reinhardt; baritones Richard Paul Fink, and Scott Hendricks; bass-baritones Greer Grimsley, Ryan McKinny Archived 2018-06-28 at the Wayback Machine , and Eric Owens; and bass Eric Halfvarson. Other alumni include HGO Chorus Master Richard Bado, composer/conductor David Hanlon, former Lyric Opera of Kansas City Artistic Director Ward Holmquist, conductor/arranger/composer James Lowe, conductor/pianist Eric Melear, conductor Evan Rogister, and conductor/pianist Craig Terry.
The HGO Young Artists Vocal Academy, established in 2011 and administered by the HGO Studio, is a one-week intensive program for undergraduate vocal music students. Participants selected for the program receive training that includes daily voice lessons and coachings as well as classes in characterization, movement, diction, and score preparation.
HGOco (see below) offers training to high school juniors and seniors.
In 2007, HGO established HGOco, an initiative designed to create partnerships between the company and the community. HGOco's first project, the ongoing Song of Houston initiative, creates new works focused on people and groups in Houston—the most culturally diverse city in the United States, according to a report of the Kinder Institute for Urban Research and the Hobby Center for the Study of Texas. [6]
For its first commissioned work in 2007, The Refuge, by Christopher Theofanidis and Leah Lax, HGOco identified seven statistically significant immigrant communities in Houston and the creators began interviewing residents of those communities. The libretto was created from the actual words of some of the residents, and the premiere included performances by members from these communities. [7]
In 2009, HGOco received the Leading Lights Diversity Award in Arts and Culture from the National MultiCultural Institute (NCMI) for Song of Houston.
As of May 2018, HGOco has premiered 22 new works, including eight short chamber operas focusing on various Asian communities in Houston, which were commissioned and premiered during a four-year series titled East + West. Recent HGOco premieres include Laura Kaminsky and Mark Campbell/Kimberly Reed's Some Light Emerges, about Houston philanthropist and humanitarian Dominique de Menil and her quest to create the Rothko Chapel; Gregory Spears and Royce Vavrek's O Columbia, realized through the collaboration of Houston-based NASA astronauts, scientists, and engineers; and David Hanlon and Stephanie Fleischmann's After the Storm, about the impact that Hurricane Ike and the Great Storm of 1900 had upon Galveston and the Gulf Coast. Song cycles have also been created in cooperation with workers in the Houston Ship Channel, the veterans community, and the Houston Livestock Show and Rodeo.
HGOco also administers:
HGO has been commissioning and premiering new works since 1974. These include full-length operas for the main stage and chamber works with a community focus or for children/families.
The relationship between HGO and composer Carlisle Floyd is the longest ongoing relationship of any composer with an organization. HGO has commissioned five works from Floyd: Bilby's Doll (1976), Willie Stark (1981), The Passion of Jonathan Wade (new version, 1991), Cold Sassy Tree (2000), and Prince of Players (2016). Floyd lived in Houston for a two-decade period after relocating in 1976 from Tallahassee, Florida, to accept the M.D. Anderson Professorship at the University of Houston School of Music (now the Moores School of Music). In 1977, he cofounded the Houston Grand Opera Studio, HGO's young artist training program, which was initially a joint program between HGO and the University of Houston, and was an active participant in training Studio artists. [8]
The John Adams opera Nixon in China debuted at the Wortham Theater Center in 1987. It was co-commissioned by the Houston Grand Opera, the Brooklyn Academy of Music, Netherlands Opera and the Washington Opera.
HGO has commissioned and premiered 15 chamber operas created for children/families. These chamber works are staged and are approximately 45 minutes long.
HGO has presented seven American premieres. Among them, the most significant are the first staged version of Handel's Rinaldo in 1975 (a concert version had been given in 1972 by the Handel Society of New York), starring Marilyn Horne in the title role and Samuel Ramey as Argante; Rossini's La donna del lago in a new critical edition in 1981, and more recently, Weinberg's The Passenger , a long-suppressed Holocaust opera composed in 1968 and performed by HGO in 2014. Besides presenting the American premiere in Houston, HGO was also invited to bring the production to the Park Avenue Armory as part of the 2014 Lincoln Center Festival.
During the 2017–18 season, HGOco began a web-only series of 15-minute operas titled Star-Cross'd, based on true stories with a Romeo and Juliet theme. The series pilot, "Boundless," by composer Avner Dorman and librettist Stephanie Fleischmann, was released online April 20, 2018. Two more episodes are scheduled for release during 2019. [9]
In 2010, HGO commissioned and premiered the world's first "mariachi opera", [10] composed by the late José "Pepe" Martínez, the longtime music director of the ensemble Mariachi Vargas de Tecalitlán, with a libretto by Leonard Foglia. This work, titled Cruzar la Cara de la Luna/To Cross the Face of the Moon, has been performed at the Théâtre du Châtelet in Paris and by a number of opera companies in the United States.
In addition to commissioning and premiering new works, HGO has played a role in bringing certain existing works to the attention of the opera world. HGO presented a "triumphant" [11] and "groundbreaking" [12] production of Porgy and Bess in 1976 that restored portions of the work that had been cut for previous productions (including some made by composer George Gershwin himself for the New York premiere in 1935), thus allowing the public to experience the original vision for the work and making it clear that it was indeed an opera. After the Houston premiere, the production, featuring Donnie Ray Albert as Porgy and Clamma Dale as Bess and conducted by John DeMain, toured to Broadway and won a 1977 Tony Award for Most Innovative Production of a Revival. [13] The complete recording won the 1977 Grammy Award for Best Opera Recording. [14]
Scott Joplin's Treemonisha , which comprises a variety of musical styles even though it is often called a "ragtime opera," received its first fully staged performances at Houston Grand Opera in 1976 with a score HGO commissioned from ragtime expert Gunther Schuller. Treemonisha also toured to Broadway and was recorded.
In 1984, Houston Grand Opera began using supertitles on all non-English productions, becoming one of the first opera companies in the United States to do so. [15]
HGO was one of the first opera companies in the United States (and possibly the first) to offer descriptive services for patrons with vision loss. It has offered descriptive services since the 1987–88 season, the inaugural season in the Wortham Theater Center. The service is offered free of charge and by request for any performance with 48 hours notice.
In 1989, HGO became the first performing arts organization in Houston and the second major U.S. opera company to establish its own archives and resources center. The archives/resource center is named for the late Genevieve P. Demme, a longtime trustee and historian of Houston Grand Opera Association.
On November 10, 1995, Houston Grand Opera became the first performing arts company in the United States to simulcast a live performance to an audience in another location. (The Royal Opera, Covent Garden, was the only other company at the time to have staged a similar event.) The performance of Rossini's La Cenerentola featuring mezzo-soprano Cecilia Bartoli that was taking place inside the Wortham Theater Center's Brown Theater was projected in real time onto a large screen mounted on the outside of the theater building. The event was free to the public. The audience was seated on the Ray C. Fish Plaza outside the theater, which prompted HGO to call the event a Plazacast. HGO held free public Plazacasts each year through the 2004–05 season (HGO's 50th season). In April 2005, the company simulcast both a performance of Gounod's Romeo and Juliet and its 50th anniversary gala concert.
In May 1998, Houston Grand Opera unveiled its Multimedia Modular Stage, a large steel structure with moving lights, projection screens for live-feed video and still images, and a big sound system. It was designed for large outdoor venues but could be adapted for other locations. HGO used it several times for outdoor performances in Houston and on tour, and once for an indoor production of Stephen Sondheim's A Little Night Music in 1999. Its last use in Houston was the night of June 8, 2001, in a production of Carmen at Houston's Miller Outdoor Theatre. That night, Tropical Storm Allison struck Houston, where the storm's worst flooding occurred. The two remaining performances in Houston were canceled, although the production went on tour as scheduled on June 15 and 16 to the Mann Center in Philadelphia. The effects of the storm, along with the impact of 9/11 and the collapse of Enron just months afterward, led to the retirement of the Multimedia Modular Stage, which was costly to assemble and disassemble.
In the fall of 2000, HGO devised and implemented a system of plasma and projection screens mounted in the Grand Tier and Balcony sections of the larger of the two halls in the Wortham Theater Center. This system—designed to provide close-up views of the action on stage and improve sightlines in the unusually steep Grand Tier and Balcony areas—was called OperaVision and received mixed appraisals from opera patrons. OperaVision was discontinued at the end of the 2004–05 season.
Porgy and Bess is an English-language opera by American composer George Gershwin, with a libretto written by author DuBose Heyward and lyricist Ira Gershwin. It was adapted from Dorothy Heyward and DuBose Heyward's play Porgy, itself an adaptation of DuBose Heyward's 1925 novel Porgy.
Carlisle Sessions Floyd was an American composer primarily known for his operas. These stage works, for which he wrote not only the music but also the librettos, typically engage with themes from the American South, particularly the Post-civil war South, the Great Depression and rural life. His best known opera, Susannah, is based on a story from the Biblical Apocrypha, transferred to contemporary rural Tennessee, and written for a Southern dialect. It was premiered at Florida State University in 1955, with Phyllis Curtin in the title role. When it was staged at the New York City Opera the following year, the reception was initially mixed; some considered it a masterpiece, while others degraded it as a 'folk opera'. Subsequent performances led to an increase in Susannah's reputation and the opera quickly became among the most performed of American operas.
Jake Heggie is an American composer of opera, vocal, orchestral, and chamber music. He is best known for his operas and art songs as well as for his collaborations with internationally renowned performers and writers.
Little Women (1998) is the first opera written by American composer Mark Adamo to his own libretto after Louisa May Alcott's 1868–69 tale of growing up in New England after the American Civil War, Little Women. The opera also includes text by John Bunyan, Johann Wolfgang von Goethe, and Alcott herself.
Hope Clarke is an American actress, dancer, vocalist, choreographer, and director. Clarke performed as principal dancer with the Katherine Dunham Company and the Alvin Ailey American Dance Theater in the 1960s; as an actress on stage, film, and television, 1970s–1980s; and as choreographer and director from the 1980s onwards. She served on the Tony Awards Nominating Committee for the 2011–12 Broadway season. Clarke made history in 1995 when she became the first African American, as well as the first African-American woman, to direct and choreograph a major staging of the opera-musical Porgy and Bess. Clarke's production of the George Gershwin classic was staged in celebration of the work's 60h anniversary, and it toured not only major American cities but Japan and Europe as well. Clarke drew critical acclaim for her commitment to staging the show as a monument to African-American community and pride, giving a more hopeful, positive aura to a story that has been criticized for its stereotypes. As for the director herself, the success of Porgy and Bess is just the latest accolade in a long career devoted to dance and drama.
Leonard Foglia is an American theatre director, librettist, and novelist.
Three Decembers is a chamber opera in two acts by Jake Heggie to a libretto by Gene Scheer which is based on the unpublished play Some Christmas Letters by Terrence McNally. Created with a role for Frederica von Stade, the work premiered on 29 February 2008 at the Houston Grand Opera (HGO). It commissioned the work in association with the San Francisco Opera and Cal Performances.
Margaret Lloyd is an American soprano who is particularly known for her performances in contemporary operas and concert works. She has sung in the world premieres of several operas, most notably portraying the role of Lightfoot McClendon in the premiere of Carlisle Floyd's Cold Sassy Tree at the Houston Grand Opera in 2000. She has also sung in the world premieres of several works by composer Michael Torke.
David Gockley is an American opera company administrator. He served as general director of Houston Grand Opera from 1972 to 2005 and San Francisco Opera from 2006 to 2016. He is a student of Margaret Harshaw.
Khorshed Dastoor better known as Khori Dastoor is an American arts executive. She is the General Director and CEO of Houston Grand Opera (2021–present) and the former General Director of Opera San José (2019-2021).
Jonita Lattimore is an American operatic soprano and a faculty member of Roosevelt University's Chicago College of Performing Arts. She is a lyric soprano from Chicago's South Side who has performed a wide range of operatic roles, as well as oratorio performances with major orchestras both internationally and domestically.
Robert Mosley was an American operatic bass-baritone. Part of the first generation of African-American opera singers to achieve wide success, he performed in numerous opera productions, recitals, and in concerts from the 1950s through the 1990s. In 1957 he won the Metropolitan Opera National Council Auditions. He drew particular acclaim for his portrayal of Porgy in George Gershwin's Porgy and Bess, a role which he portrayed in the landmark 1976 Houston Grand Opera production, on Broadway, and at the Metropolitan Opera among other opera companies both in the United States and in Europe.
Patrick Summers is an American conductor best known for his work with Houston Grand Opera (HGO), where he has been the artistic and music director since 2011, and with San Francisco Opera, where he served as principal guest conductor, 1999–2016.
Chris Nance was an American conductor and music educator. Primarily active as an opera conductor, he served on the conducting staff of the New York City Opera from 1969-1974 and was the music administrator and conductor of the Houston Grand Opera from 1974-1977. Thereafter he worked as a freelance conductor with opera companies throughout the world. He became particularly associated with George Gershwin's Porgy and Bess for which he was frequently hired to conduct at opera houses both in the United States and abroad.
Carroll Freeman is an American operatic tenor, opera director, and music educator. He began his career as a prominent boy soprano in the 1960s. From the late 1970s through the mid 1990s he performed widely as a tenor with opera companies and orchestras in the United States. After that he worked as a director of opera productions with opera companies throughout North America. He is the former director of the opera program at the University of Tennessee and currently directs the opera program at Georgia State University. He is also the former Artistic Director of Mississippi Opera, Opera in the Ozarks at Inspiration Point, and opera studios at Knoxville Opera and Des Moines Metro Opera.
C. William Harwood was an American conductor. Chiefly remembered for his work as an opera conductor, he notably conducted the Houston Grand Opera's groundbreaking 1977 national tour of George Gershwin's Porgy and Bess. He also conducted the world premieres of operas by Claude Debussy, Frederick Delius, Stephen Paulus, and George Rochberg.
The Passion of Jonathan Wade is a musical drama, or opera, in three acts by the American composer Carlisle Floyd, who wrote both libretto and music. Commissioned by the Ford Foundation, it was Floyd's most epic opera, set in South Carolina during the Reconstruction era. It was premiered at the New York City Opera on October 11, 1962, directed by Allen Fletcher and conducted by Julius Rudel. Floyd revised it in 1989 for performances at four major opera houses in the U.S., beginning at the Houston Grand Opera.
Isabelle Kabatu is a Belgian operatic soprano with a father from Belgian Congo and a Belgian mother. She has appeared internationally, with a focus on the Italian repertoire such as Verdi's La traviata and Aida, and Puccini's Manon Lescaut and Tosca. She appeared as Bess in Gershwin's Porgy and Bess beginning at the Houston Grand Opera and touring the world. In 2012, she appeared in the world premiere of Franck's early work Stradella.
Gordon Hawkins is an American baritone known for his work on both the operatic and concert stage, particularly as one of the foremost interpreters of the roles of Porgy and Crown in Porgy and Bess. His music career began in the 1980s with him singing major concert repertoire and opera roles in his native Maryland. Since then, Hawkins has performed for national and international opera houses and venues, including the Metropolitan Opera, Deutsche Oper Berlin, Lyric Opera of Chicago, Seattle Opera, Houston Grand Opera, and more. In addition to performing, he is currently on the voice faculty at Arizona State University.
Joseph Evans is an American tenor, stage director, and music educator. Trained at the University of North Texas, Evans made his professional opera debut with the Fort Worth Opera in December 1966 in the world premiere of Julia Smith's The Shepherdess and the Chimney Sweep. In his early career he worked as a music teacher in Dallas and Houston while working part time as a performer. With the encouragement and support of Sarah Caldwell he pursued a full time singing career. He was a principal tenor in Caldwell's Opera Company of Boston from 1974 to 1988.