LATE in the evening of the 17th, The Dallas Opera sensationally announced publicly through an exclusive event with Dallas Opera donors what had been buzzing around corridors throughout global theatres for the past month: a newly commissioned work pairing Composer Jake Heggie and Librettist Terrence McNally entitled GREAT SCOTT. The announcement virtually short circuited all else that occurred earlier that day announced by other theatres, given the breath taking scope of the talent assembled. COMMANDOpera had a suspicion a short while ago something was in the wind, yet regardless of standing with this theatre, there were zero leaks whatsoever. Unbeknownst to COMMANDOpera the announcement was received in the mail at precisely 9:40 P.M. that  evening, however it was not until 4 A.M. the following morning when this venue was awakened with the news. Suffice to say the day began at that moment with a volley of emails directed towards the Dallas Opera and commenced laying a veritable siege on those inner precincts. COMMANDOpera immediately went live with a breaking news story and was the first important venue to go globally live (AP excepted) with what little one had, enlarging the stunning announcement as the Dallas Opera began the task of feeding the ensuing media frenzy.

COMMANDOpera has just now concluded an exclusive interview with the famed Artistic Director of The Dallas Opera, Mr. Jonathan Pell to discuss GREAT SCOTT.

Mr. Pell explained he first spoke to composer Jake Heggie for a commitment to do another new commission for The Dallas Opera while Moby Dick was preparing for its premiere. No one at that time could have predicted the huge success the work has now become. Mr. Heggie agreed in principal but requested time to more thoroughly revolve the the idea in his mind given the real time requirements of Moby Dick at that moment. As it happened, The Dallas Opera had for years been looking for a suitable vehicle for Miss Joyce DiDonato to make her debut at the theatre. Mr. Pell had known the artist long before she was a student at the AVA, and it was the perfect storm given Mr. Heggie and Miss DiDonato are great friends. Mr. Heggie and Mr. McNally had already collaborated in Dead Man Walking, so when Miss DiDonato (who is also a great friend with Mr. MacNally) suggested the playwright, the deal was done. Mr. Pell then looked at suitable dates to offer the premiere which would give sufficient time to conclude the writing of the work, and one where both Miss DiDonato and Maestro Evan Rogister were available: the world premiere was set as the 2015 2016 season opener. Mr. Pell refused to be drawn in to answer who would be directing GREAT SCOTT, although he would allow the individual considered is prominently known in both theatrical and operatic circles.

The Artistic Director does not micro manage affairs from this moment forward, however Mr. Pell and everyone else was most thrilled when Mr. McNally determined this would literally be a new  story drawn specifically for the commission. Although not written the sketch for GREAT SCOTT is as follows: ‘A famous American singer who has been the subject of a 60 MINUTES profile goes back home to star in a production of a forgotten masterpiece of the bel canto repertory. Arden Scott belongs to the world now but she is a hometown girl at heart.  She has never looked back until now. ROSA DOLOROSA, FIGLIA DI POMPEI is her occasion to do so’. There will be an erupting volcano (note picture above), two mad scenes, and a ballet among other devices. This will be an Opera within an Opera similar to Ariadne auf Naxos it would seem, however global readers will have to wait to find out where this all goes for our poor heroine Arden Scott.

COMMANDOpera was curious about funding such a monumental production in these economic times and asked Mr. Pell accordingly. The Dallas Opera has a great number of supportive patrons, and among those, ones who particularly enjoy funding new works. In this case, The Eugene McDermott Foundation and the Hoblitzelle Foundation. These are significant underwriters who COMMANDOpera must thank on behalf of global readers for their extreme generosity. At this moment in time the phone is ringing from other theatres in regards to collaborating on this work. COMMANDOpera suspects this production is going to be box office gold for any theatre who is in.

This article marks the first in a series of exclusive ‘GREAT SCOTT’ interviews.

COMMANDOpera would like to thank The Dallas Opera for their kind assistance in bringing this series to readers across the globe.