Now that the company is accustomed to dealing with cameras at rehearsals and performances, Derrer says, livestreaming is the logical next step. Viewers’ options also included a few pre-pandemic performances-those simulcasts to stadiums, preserved on video. When the world began to reopen and the company returned to the stage, it recorded its performances, edited them into neat packages and offered them online through its video portal, thedallasopera.TV. Within months, the company had attracted millions of viewers from 50-plus countries. Like many companies, Dallas Opera got serious about Internet performances during the pandemic-beginning with recitals, interviews and other programming during the lockdown. This is where opera is a current and relevant and exciting art form-because it takes its cues from the visual world in front of you.” … Now you look at what we’ve done with projections and LED screens (in the opera house) versus the painted drops of years ago. With the advent of electricity, many new things were possible. “This is an art form that (first) operated onstage with candlelight. “That’s one of the things I love about opera in general,” Derrer says. “This is really exciting”-all the more since it continues opera’s long history of “responding to the capabilities of technology.” “Instead of simulcasting only to locations in Dallas, we’re doing livestreams, which give us global outreach,” says Ian Derrer, the company’s general director.
In each case, viewers will watch the last performance of the run. 16 Humperdinck’s Hansel and Gretel will follow on Nov. Verdi’s Rigoletto will launch the series Oct. This season, three Dallas Opera livestreams will go out as far as the Internet can reach.
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