Many modern halls and houses achieve bright, clear sound at the expense of warmth. The tenor Clifton Forbis and the soprano Alexandra Deshorties in ‘Otello’ at the Margot and Bill Winspear Opera House, part of the AT&T Performing Arts Center in Dallas. The Winspear has four tiers, rimmed with rippled panels of slivery gold, and an ample orchestra pit. Several bigger, more significant American companies are going to envy the Dallas Opera its new home.Īfter touring houses around the world, the lead architect on the project, Spencer de Grey, and the rest of the team from Norman Foster’s firm concluded that the traditional horseshoe configuration had proved itself over time. What matters most, of course, is the auditorium, with its lush red outer walls. Patrons seem elated to be liberated from the company’s former home, the acoustically dull, 3,400-seat Fair Park Music HallĬonveniently situated next to Meyerson Symphony Center, the Winspear has a striking exterior of 60-foot-tall glass walls under a sheltering canopy, like a huge table top, made of aluminum fins slanted to deflect the Texas sun. It is a splendid place, intimate (2,200 seats), attractive and acoustically lively. To the credit of all involved, the house, the linchpin of a $350 million AT&T Performing Arts Center, opened on time and on budget before a gala audience that included the former first lady Laura Bush. Winspear, who with his wife gave the $42 million that made the building possible, died two years ago of cancer. The performance that began the 53rd season of the Dallas Opera, a new production of Verdi’s “Otello,” came on the day that Bill Winspear would have turned 76. DALLAS There was a bittersweet element to the festivities at the new Margot and Bill Winspear Opera House here on Friday night.
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