The Marriage of Figaro at The Atlanta Opera

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Welcome to The Marriage of Figaro!

This opera buffa – or, comic opera – was composed by Wolfgang Amadeus Mozart with an Italian libretto written

by Lorenzo Da Ponte, and is based on an earlier stage play by Pierre Beaumarchais.

A sequel to the beloved Barber of Seville (which closed our season last year), it recounts a single, intense “day of madness” in the palace of Count Almaviva. While the story’s anarchy and sexual politics are amusing in their own right, the show itself becomes more intriguing when you know that scandals and misadventures were the norm for the celebrated authors of the piece: Mozart and Da Ponte.

Mozart’s life and work, the subject of many books and films, included a great deal of controversy, fame and a singular creativity. His partner in crime for the trilogy that became the foundation of the operatic repertoire — Don Giovanni, Figaro and Così fan tutte — is not talked about as often as the great Amadeus.

However Da Ponte’s life was just as interesting as Mozart’s. Da Ponte’s biography has been amusing music lovers for more than 200 years. From his humble origins in a Jewish ghetto in Italy, through his days as a converted priest who 8

was convicted of “public concubinage” and the “abduction of a respectable woman,” Da Ponte was nothing if not colorful. A Venetian lover and gambler, a poet at the Vienna Court of Emperor Joseph II, an adventurer, a world traveler and eventually a grocery store owner, and an Italian language teacher at Columbia College in New York, Da Ponte’s career (and misadventures) took him to Venice, Vienna, Padua, Trieste, Brussels, Holland, Florence, Dresden, London, and finally to America.

I tell you all of that not to scandalize, but rather to illustrate: Da Ponte was a renegade, a radical, a revolutionary. He was inspired by the American Revolution and its ideal of the “Renaissance man” that he felt it represented. He challenged preconceived notions, entrenched paradigms, and outdated conventions.

Admittedly, not all of those challenges were successful or even wise. But, they made him the perfect partner for Mozart.

Together, they would revolutionize the world of opera.

Which is why we welcome his spirit to this season.

At The Atlanta Opera, we are also challenging and changing paradigms, although (hopefully) with a little less scandal and intrigue. Next month, we launch our new Discoveries series at the Alliance Theatre with Jake Heggie’s new American opera, Three Decembers.

Discoveries is dedicated to our audience members who are looking for new works, new ideas, and fresh perspectives. We hope you will join us.

Tomer Zvulun General & Artistic Director The Atlanta Opera

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The Marriage of figaro CREDiTS MUSiC Wolfgang Amadeus Mozart liBRETTO Lorenzo Da Ponte, based on the play La folle journée, wou le Mariage de Figaro by Pierre Beaumarchais fiRST PERfORMANCE Burgtheater, Vienna, May 1, 1786

CONDUCTOR Arthur Fagen STAGE DiRECTOR Tara Faircloth SET & COSTUME DESiGNER Susan Benson liGHTiNG DESiGNER Ken Yunker WiG & MAKEUP DESiGNER Richard Jarvie CHORUS MASTER Walter Huff

CAST (iN ORDER Of vOCAl APPEARANCE) fiGARO Craig Colclough

COUNTESS AlMAvivA Katie Van Kooten

SUSANNA Lauren Snouffer

ANTONiO Alan Higgs

DOCTOR BARTOlO Bruno Praticò

DON CURZiO Adam Kirkpatrick

MARCElliNA Victoria Livengood

BARBARiNA Megan Mashburn

CHERUBiNO Naomi O’Connell

fiRST BRiDESMAiD Carrie Anne Wilson

COUNT AlMAvivA John Moore

SECOND BRiDESMAiD Sakinah Davis

DON BASiliO Jason Ferrante

MUSiCAl PREPARATiON & HARPSiCHORD Laurie Rogers ASSiSTANT STAGE DiRECTOR Jordan Braun ASSiSTANT CHORUS MASTER Rolando Salazar STAGE MANAGER Erin Thompson-Janszen ASSiSTANT STAGE MANAGERS Greg Boyle & Julie Hurley

Performed in Italian with English supertitles.

Approximate running time: 3 hours and 30 minutes with one intermission.

Production elements constructed by:

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SYnoPSiS The Atlanta Opera's 2002 production of The Marriage of Figaro at the Fox Theatre. photo: J.D. Scott

THE GRAND ESTATE OF COUNT ALMAVIVA, JUST OUTSIDE SEVILLE ACT i On the eve of their wedding, Figaro, valet to Count Almaviva, and Susanna, his sweetheart and maid to the Countess, assess the accommodations granted to them by their employers. Though Susanna is secure in her love for Figaro, and seemingly immune to the Count's repeated advances, Figaro ponders the situation with trepidation. Not long after Figaro finishes one set of worries two more set upon him. Marcellina, a woman old enough to be his mother and obsessed with him enough to warrant a restraining order, enters with Don Bartolo, planning to collapse Figaro's nuptials. Marcellina feels that Figaro must marry her to settle a debt. Susanna returns to quarrel with Marcellina. Quick on Susanna's heels is the page, Cherubino, who is oozing with 12

"amore" and desperately trying to enlist her aid. He is woefully in love with the Countess and wishes to be her private servant. The page barely has a moment to conceal himself, as Count Almaviva arrives to seduce Susanna. Don Basilio, the music master, interrupts soon after, and the Count quickly hides. Don Basilio has come to gossip and criticize Cherubino for his bold admiration for the Countess. Hearing this, the Count becomes infuriated, reveals himself, and recounts the page's recent escapades with Barbarina, his gardener's daughter.

While denouncing the harmless flirt the Count discovers him concealed behind a chair. Figaro then returns with a group of peasants praising the Count. This eases his near-exploding temper just enough to keep him from wringing Cherubino's neck.

The Count sends him into his regiment instead, the act closing with a sardonic Figaro congratulating Cherubino on his forthcoming career in the military.

SYnoPSiS ACT ii Countess Almaviva is in solitude as she laments the loss of love in her marriage.

Susanna and Figaro come into her quarters to help devise a plan to bring more respectable behavior from their unruly master. With the addition of Cherubino, the foursome construct a plan in which the Count will be embarrassed into changing his ways. He will receive an anonymous letter accusing the Countess of infidelity and an enticing invitation from Susanna to meet in the garden concealed by night.

When the Count attempts to seduce her, he will find that the woman is really Cherubino. The Countess, innocent and hiding close by, will be able to intercede.

Figaro departs and, in preparation, Susanna tries to dress Cherubino in a gown, as he foolishly flirts with the Countess.

behind by the page. The Count demands to know of the documents and with some prompting from the women, Figaro asserts that he was delivering Cherubino's enlistment papers, which are awaiting the official seal. The Count is assuaged momentarily, until Marcellina, Bartolo and Basilio enter demanding the Count persecute Figaro for his breech of promise.

The act concludes in mass chaos.

ACT iii Susanna indulges the Count and plans to meet him in the garden after the wedding.

The Count feels successful in his wooing, until he overhears Susanna whispering to Figaro that he is sure to be acquitted.

The Atlanta Opera's 2007 production of The Marriago of Figaro performed at the Cobb Energy Performing Arts Centre. photo: Tim Wilkerson

Before the costume is complete the Count approaches and Cherubino hides in the wardrobe. He fumbles and the noise captures the Count's attention. While the Count departs to gather tools to break down the door, Susanna slips into Cherubino's place and the page jumps from the window. But the Countess has confessed that a partially dressed page is behind the door and the Count threatens violence. When Susanna is revealed, the Count apologizes profusely. Figaro arrives announcing the wedding feast. The befuddled Count becomes suspicious and demands explanation of the anonymous letter he received. Just then the inebriated Antonio, the gardener, arrives demanding to know who jumped from the window and destroyed his flowerbeds. In an attempt to appease the situation Figaro claims that it was he who leapt from the window, but Antonio then hands over documents left 13

SYnoPSiS The Count, sensing mischief set against him, expounds on the deceit of a servant having the woman he desires. Meanwhile at Don Curzio's, Figaro claims that he cannot marry Marcellina because he does not have his parents' permission. But he is unable to identify his parents, until he discovers proof that they are none other than Marcellina and Bartolo. The family rejoices, Marcellina and Don Bartolo deciding to celebrate their own wedding on the same day as their son and new

daughter-in-law. Susanna and the Countess construct the letter, which will confirm the plan set against the Count. Ladies arrive to bring flowers to the Countess, and the estate hurriedly prepares for a double wedding. Cherubino, who is dressed among the ladies, is spotted and exposed by Antonio. Barbarina intercedes on Cherubino's behalf and pleads with the Count for the one wish he has previously promised her. He succumbs and agrees to let Barbarina marry Cherubino. During the celebration that follows, the Count opens Susanna's letter. Figaro enjoys watching as the Count pricks his finger on the pin that closed the envelope, as festivities ensue.

ACT iV

A publicity image from The Atlanta Opera's 1990 production of The Marriage of Figaro, which was performed at the Atlanta Symphony Hall. With David Malis as Count Almaviva, Teresa Hopkin as Countess Almaviva, Jennifer Ringo as Susanna, and Andrew Wentzel as Figaro. photo: Jim Fitts

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In the garden at night, Barbarina is heard searching for the pin left behind by the Count. Figaro forces her to reveal that she is meant to return it to Susanna to confirm their secret meeting. In a rage of jealously Figaro rails against the injustices and cruelties of women. Meanwhile, Susanna celebrates the excitement of the forthcoming night of love as a devastated Figaro mistakes her words for words about the Count. Susanna and the Countess adjust their scheme. The Countess, dressed as Susanna, awaits her husband's arrival and finds herself being kissed by the page!

Cherubino is tossed off by the Count who then unknowingly charms and adores his own wife. Figaro, seeing "Susanna" kissing the Count, finds the "Countess" who he knows is hiding nearby and starts to kiss her. As mistaken identities and disguises are revealed, the Count begs the Countess for forgiveness. All parties rejoice.

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ProduCTion noTe

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BeAuMArChAiS: one unForGeTTABLe ChArACTer

BY SUZANNE CALVIN

It’s no exaggeration to say that PierreAugustin Caron de Beaumarchais was one of the most influential playwrights ever; history itself supports the claim.

Shakespeare is probably the most consistently performed, and Schiller inspired operas from William Tell to Don Carlos. However, it was Beaumarchais who played a role in the revolutions that reshaped two continents.

Born in 1732, the coddled only son of a successful, middle-class watchmaker named Caron, Beaumarchais apprenticed in the family business starting at age 12 and, by the time he turned 22, his invention of an escapement (literally, the feature that makes your watch tick) made portable timepieces more accurate and reliable than ever before. Just as importantly, the device made him wealthy and brought him to the attention of the French Court at Versailles. There, he quit the trade, married a prominent widow and purchased his aristocratic sounding name as well as a resplendent coat of arms.

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Alas, the young man wasn’t destined to be a country gentleman. When Beaumarchais’ wife died a year later (poisoned, some said), he found himself saddled with debt. The widower was granted a post in the household of Louis XV, first as a teacher and musical adviser, later as an official counselor and overseer of public parklands. Each of these positions he turned to his social and financial advantage.

In 1764, Beaumarchais journeyed to Madrid, Spain on scandalous family business that occupied him for nearly a year. He returned to France and began writing plays influenced by his Iberian experiences. Then, in 1770, his life took another unexpected turn: The struggling playwright found himself embroiled in two highly publicized court cases, one of which concerned a release from the massive debt he owed a former business partner — a document the man’s heir claimed was a forgery. For once, Lady Luck did not side with Beaumarchais, and he was not only

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ProduCTion noTe briefly imprisoned but forced to pay his once-forgiven debts in addition to hefty legal expenses. The writer responded by publishing a scathing tract attacking the judge in the case. It made Beaumarchais an overnight celebrity who, from that point on, was perceived by ordinary Frenchmen as a justice-seeking social champion. This perception was only enhanced by the 1775 premiere of his play The Barber of Seville.

Seeking to restore himself to the king’s good graces, Beaumarchais embarked on a number of secret missions on the monarch’s behalf, including a sojourn in London as hostilities in the American Colonies reached the boiling point.

The writer became Louis XVI’s chief informant on the subject of the overseas rebellion and upon his return to France, he created a fake commercial enterprise that funneled weapons, ammunition, and other vital provisions to the rebels — at no charge — in the critical early days of the American Revolution. His subversive activity culminated in the game-changing British defeat at Saratoga by a Colonial force of 25,000 almost entirely clothed, fed, and armed by Beaumarchais’ faux business venture. France publically entered the war in 1778 on the side of the rebels, in no small measure due to Beaumarchais’ influence at court.

Beaumarchais’ incendiary The Marriage of Figaro was initially approved by the state censor in 1781. However, after reading it for himself, King Louis XVI turned “thumbs down” over the objections of his wife, Marie-Antoinette, saying that the only way this play could be safely performed was if the Bastille itself was torn down.

When Figaro finally opened in 1784 at the Comédie Française, it ran for a 18

hundred nights and there was no putting the genie back in the bottle. As audiences roared with laughter, they were awakened to something greater than mere comedy.

Napoleon himself described the play as “the Revolution in action.”

Certainly, the play is Beaumarchais in action — he’s everywhere, from the clever and calculating Figaro, to the lovelorn Cherubino, to the jaded and amorous Count. It is believed that each of them reflect aspects of their creator at different moments in his adventurous and astonishing life. Among those captivated was a brilliant Austrian composer who, working with the great Italian librettist Lorenzo Da Ponte, brought these characters to the opera stage just two years later. Mozart conducted from the keyboard for the first two of nine performances of his opera. Despite the customary hecklers, it was warmly received.

The activist playwright supported the French Revolution of 1791. However, a failed attempt to purchase Dutch muskets for the republicans led to a charge of treason, resulting in a brief stint in prison followed by several years of enforced exile (annoying, yet infinitely preferable to “Madame La Guillotine”). His final years were relatively quiet. Beaumarchais died in the spring of 1799 — an 18th-century firebrand to the end — and was buried in Père Lachaise Cemetery in Paris.

Beaumarchais’ Figaro, on the other hand, still lives — and will, as long as words and music endure.

Suzanne Calvin, an award-winning journalist, playwright, broadcaster, and marketing/communications specialist serves as director of media and public relations as well as the “Voice of the Dallas Opera.” This article is reprinted with her kind permission.

MeeT The CAST TArA FAirCLoTh STAGE DiRECTOR ATlANTA OPERA DEBUT

Stage director Tara Faircloth’s engagements for 2014-15 include her directorial debut with Madison Opera of Beethoven’s Fidelio and her return to Arizona Opera for a new production of Eugene Onegin. She has directed two world premieres with the Houston Grand Opera’s East+West series (Your Name Means the Sea and The Bricklayer) and has a thriving career in regional houses, where she has directed Carmen, The Rake’s Progress and Sweeney Todd for Wolf Trap Opera, Il barbiere di Siviglia and Rigoletto for Utah Opera, Die Zauberflöte and La fille du Regiment for Tulsa Opera, and H.M.S Pinafore for Arizona Opera, among others.

Ms. Faircloth made her directorial debut with Ars Lyrica Houston’s production of Cain: Il primo omicidio in 2003, and has since designed and directed a number of shows for the company, including Charpentier’s Actéon and La Descente d’Orphée aux Enfers. She has created productions of Dido & Aeneas for Ars Lyrica at the Festival di Musica Barroca in San Miguel de Allende, Mexico, and for Mercury Baroque in collaboration with the Dominic Walsh Dance Theater. Ms. Faircloth is a staff director at Lyric Opera of Chicago and has worked extensively on directing staffs at such companies as Houston Grand Opera, Central City Opera, Dallas Opera, Utah Opera.

ArThur FAGen CONDUCTOR

ATlANTA OPERA DEBUT: La traviata, 2005 Arthur Fagen, Atlanta Opera’s Music Director, is a regular guest of the world’s leading opera houses, concert halls, and music festivals, including most notably, the Metropolitan Opera, Lyric Opera of Chicago, Staatsoper Berlin, Bavarian State Opera, Deutsche Opera Berlin, and Vienna Staatsoper. In North America, he has been a frequent guest of the New York City Opera, Portland Opera, Chautauqua, and New Orleans Opera, among others. In the 2014-15 season Maestro Fagen conducts at the Teatro del Bicentenario in Mexico and leads La traviata at Boston Lyric Opera. Notable orchestras he has conducted include the Baltimore Symphony Orchestra, the Czech Philharmonic, RAI Orchestras of Turin, Naples, Milan, Rome, and Israel Symphony Orchestra. Maestro Fagen served as Music Director of the Dortmund Philharmonic Orchestra and Opera, Principal Conductor in Kassel and Brunswick, Chief Conductor of the Flanders Opera in Antwerp and Ghent and was Music Director of the Queens Symphony Orchestra. He has made a number of recordings for Naxos and BMG. Born in New York, Mo. Fagen began his conducting studies with Laszlo Halasz and served as assistant to Christoph von Dohnanyi at Frankfurt Opera and James Levine at the Metropolitan Opera. Mo. Fagen is Professor of Music in Instrumental Conducting at Indiana University’s Jacobs School of Music.

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MeeT The CAST WALTer huFF CHORUS MASTER ATlANTA OPERA DEBUT: tosca, 1988

This season Walter Huff celebrates 25 years as Chorus Master for The Atlanta Opera. Mr. Huff is an Associate Professor and Faculty Director of Opera Choruses at Indiana University’s Jacobs School of Music. In the past two seasons, he has led choruses in IU Opera Theater’s productions of Don Giovanni, The Merry Widow, Akhnaten, the world premiere of The Tale of Lady Thi Kinti, H.M.S. Pinafore, La traviata, The Last Savage, and South Pacific. Mr. Huff studied piano with Sarah Martin, Peter Takacs, and Lillian Freundlich. He has performed with singers throughout Europe and the United States and served as coach with the Peabody Opera Theatre and Washington National Opera. Mr. Huff also has performed in master classes given by renowned singers and pianists such as Sir Peter Pears, Licia Albanese, Eileen Farrell, Dalton Baldwin, Leon Fleisher, and Elly Ameling. He has been musical director for The Atlanta Opera Studio, Georgia State University Opera, and Actor’s Express, and served as chorus master for Faust and Der Rosenkavalier with The San Diego Opera. In 1984, he received Tanglewood’s C.D. Jackson Master Award for Excellence, presented by Seiji Ozawa and the Boston Symphony Orchestra. Mr. Huff was one of four Atlanta artists chosen for the first Loridans Arts Awards, given to artists who have made exceptional contributions to the cultural life of Atlanta.

CrAiG CoLCLouGh fiGARO ATlANTA OPERA DEBUT

This season Craig Colclough makes his anticipated European debut with English National Opera as Jack Rance in La Fanciulla del West, returns to Los Angeles Opera for concert performances of Hercules v. Vampires, and debuts with The Atlanta Opera as Figaro in The Marriage of Figaro, and Lyric Opera of Kansas City as Lieutenant Gordon in Silent Night. Future seasons include a return to Arizona Opera. During the 2013-14 season, the bass-baritone essayed the title role in Don Pasquale at the Arizona Opera, covered Falstaff for both San Francisco Opera and Los Angeles Opera, and appeared as Bosun in Billy Budd at the Los Angeles Opera. In concert, Mr. Colcough appeared with the Orange County Philharmonic Society for Beethoven’s Symphony No. 9. He has recently performed the title role in Falstaff, Don Giovanni, Leporello and Il Commendatore in Don Giovanni; Nick Shadow in The Rake’s Progress; Collatinus in The Rape of Lucretia; Oroveso in Norma; Rambaldo in La Rondine; Raimondo in Lucia di Lammermoor. Additional credits include performances with Israeli Symphony Orchestra, California Philharmonic, Capitol Records, Abbey Road Studios, and the soundtrack of the film Rolled.

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would like to thank

and the Kennesaw State University School of Music for their support in helping to bring

herrill S ilnes M

back to Atlanta this past February.

MeeT The CAST LAuren SnouFFer SUSANNA ATlANTA OPERA DEBUT

American soprano Lauren Snouffer is a recent graduate of the Houston Grand Opera Studio and winner of a 2013 Sara Tucker Study Grant from the Richard Tucker Music Foundation and a Richard F. Gold Career Grant bestowed by Houston Grand Opera. The 2014-15 season celebrates Ms. Snouffer’s debuts with Parnassus Arts Productions as Arasse in Hasse’s Siroe at the Opéra Royal de Versailles, and with The Atlanta Opera as Susanna in The Marriage of Figaro. On the concert stage, Ms. Snouffer debuts with the Portland Baroque Orchestra in Handel’s Messiah conducted by John Butt, and joins Franz Welser-Möst and the Cleveland Orchestra at Severance Hall and Lincoln Center for concert performances of Strauss’ Daphne. Other appearances of the season include the Fauré Requiem and a New Year’s concert with the Florida Orchestra, and her return to the Baltimore Symphony Orchestra as Cunegonde in a semistaged version of Bernstein’s Candide conducted by Music Director Marin Alsop. The artist has collaborated with Houston’s Mercury Baroque, Juilliard415, and with the AXIOM Ensemble. She was a grand finalist in the 2012 Metropolitan Opera National Council Auditions and is a graduate of Rice University and the Juilliard School.

John Moore COUNT AlMAvivA ATlANTA OPERA DEBUT

A graduate of the Metropolitan Opera’s Lindemann Young Artist Program, baritone John Moore returns this season to the Metropolitan Opera stage as Moráles in Carmen and Nachtigal in Die Meistersinger von Nürnberg. Additionally, he debuts at The Atlanta Opera as the Count Almaviva in The Marriage of Figaro and appears with OnSite Opera as Figaro in Paisiello’s Il barbiere di Siviglia. Future seasons include his debuts with Seattle Opera, Portland Opera, and Opera Omaha. During the 2013-14 season, Mr. Moore appeared as Papageno in The Magic Flute and as Fléville in Andrea Chénier with the Metropolitan Opera, Donald in Billy Budd with Glyndebourne at BAM, and Guglielmo in Così fan tutte at Hyogo Performing Arts Center, Japan. Mr. Moore’s repertoire of roles at the Met also includes Curio (Giulio Cesare), Simonetto (Francesca di Rimini), Fiorello (Il barbiere di Siviglia), Yamadori (Madama Butterfly), and Donald (Billy Budd). Other recent engagements include Figaro in Welsh National Opera’s Barber of Seville as well as the titular role in Des Moines Metro Opera’s Eugene Onegin and Count Almaviva in Le nozze di Figaro with Glyndebourne Opera’s touring ensemble.

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MeeT The CAST KATie VAn KooTen COUNTESS AlMAvivA ATlANTA OPERA DEBUT

This season soprano Katie Van Kooten returns to the Baltimore Symphony performing in Beethoven’s Symphony No. 9 conducted by Nicholas McGegan. She then returns to the Tucson Symphony Orchestra to sing the Marschallin in excerpts from Strauss’ Der Rosenkavalier. She closes the season performing in Beethoven’s Symphony No. 9 with the Elgin Symphony Orchestra. Ms. Van Kooten made her house debut at the Metropolitan Opera as Magda in the acclaimed Nicolas Joël production La rondine and at Houston Grand Opera as Helena in Britten’s A Midsummer Night’s Dream. She made her debut at the Royal Opera House, Covent Garden, as Magda in La rondine and return performances there have included Antonia in Les contes d’Hoffmann opposite Rolando Villazón and led by Antonio Pappano, Pamina in Die Zauberflöte, Mimì in La bohème, and Marguerite in Faust. Other recent appearances include Elettra in Mozart’s Idomeneo, Antonia in Les contes d’Hoffmann, and Vitellia in Mozart’s La clemenza di Tito for Oper Frankfurt, Ellen Orford in Britten’s Peter Grimes in a new production

by Neil Armfield, Mimì in John Caird’s new production of La bohème, and Elisabetta in Donizetti’s Maria Stuarda opposite Joyce DiDonato at Houston Grand Opera.

nAoMi o’ConneLL CHERUBiNO ATlANTA OPERA DEBUT

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Irish singer Naomi O'Connell makes her debut at Oper Frankfurt this season as Poppea in a new production of Monteverdi’s L’incoronazione di Poppea. She will also participate in the New York workshop for Jake Heggie’s new opera Great Scott. Other recent appearances include performances with Garsington Opera in Offenbach’s Vert Vert, the world premiere of Paul Richards’ Biennale in Philadelphia, Despina in Mozart’s Così fan tutte, co-produced by the Juilliard Opera Theatre and the Metropolitan Opera’s Lindemann Young Artist Program, and Offenbach’s La Périchole directed by Christopher Alden for New York City Opera.

As an actor, she has starred on London’s West End in Terrence McNally’s Tony Award-winning play Master Class, opposite Tyne Daly, and recently debuted at the McCarter Theater in Princeton, NJ in The Figaro Plays of Beaumarchais directed by Stephen Wadsworth. Featured recital appearances this season include her Carnegie Hall debut at Weill Recital Hall presented by CAG, as well as the Krannert Center for the Performing Arts, Purdue University Convocations, the Artist Series of Tallahassee and Merkin Concert Hall. She has performed with the Marlboro Music Festival, Steans Musical Institute at Ravinia, the Juilliard FOCUS! Festival, and the New York Festival of Song.

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MeeT The CAST ViCToriA LiVenGood MARCElliNA ATlANTA OPERA DEBUT

Victoria Livengood’s 2014-15 season includes returns to Los Angeles Opera as the Woman with a Hat in Corigliano’s The Ghosts of Versailles, Houston Grand Opera as Emilia in Otello, and Florida Grand Opera as the Mother in The Consul. Last season, she made debuts with Utah Opera as Herodias in Salome and with Los Angeles Opera as Eunice Hubbell in Previn’s A Streetcar Named Desire. She returned to Hawaii Opera Theater as Katisha in The Mikado and Houston Grand Opera as Old Woman in The Passenger, which she also performed at Lincoln Center Festival. Past performances include Marquise in La fille du regiment for Gran Teatre del Liceu, Washington National Opera, and Teatro Municipal de Santiago; Klytämnestra in Elektra for Festival de Opera de Las Palmas and Taipei Symphony Orchestra; Baba the Turk in The Rake’s Progress at Teatro Colón and Vancouver Opera; Eunice Hubbell in A Streetcar Named Desire for Lyric Opera of Chicago; Marcellina in Le nozze di Figaro for Washington National Opera and Hawaii Opera Theatre; and the title role of Menotti’s The Medium, Akrosimova in War and Peace, Ortrud in Lohengrin for Spoleto Festival dei due Mondi. Additionally, Ms. Livengood has given more than 100 performances at the Metropolitan Opera in diverse roles from the title role in Carmen to Herodias in Salome.

Bruno PrATiCÒ DOCTOR BARTOlO ATlANTA OPERA DEBUT: the itaLian GirL in aLGiers, 2013

Bass-baritone Bruno Praticò performs regularly in the world's prestigious concert stages and opera houses, including New York MET Opera, London ROH Covent Garden, Wiener Staatsoper, Teatro alla Scala di Milano, Opéra National de Paris, Bayerische Staatsoper in Munich, Rossini Opera Festival of Pesaro, Rossini Festival in Wildbad, Maggio Musicale Fiorentino in Florence, Teatro Real in Madrid, New National Theatre of Tokyo, Opéra de Montecarlo, Teatro La Fenice in Venezia, Teatro dell’Opera in Rome, Teatro di San Carlo in Napoli, Teatro Regio in Parma, Los Angeles Opera, San Francisco Opera, Florida Grand Opera of Miami, Houston Grand Opera. He collaborated with such conductors as Claudio Abbado, Bruno Campanella, Riccardo Chailly, Gianluigi Gelmetti, Daniele Gatti, Donato Renzetti, Carlo Rizzi and Alberto Zedda. His recent engagements have included Il barbiere di Siviglia in Enschede, in Palm Beach, in Moscow, and in Amsterdam, Il medico dei pazzi at Opéra de Nancy and Don Pasquale at NCPA in Beijing. He won the “Rossini d’oro” prize as Rossini specialist in 1998 for his achievements at Rossini Opera Festival of Pesaro. He has recorded for EMI, Opera Rara, Nuova Era, and BMG. 28

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MeeT The CAST JASon FerrAnTe DON BASiliO

ATlANTA OPERA DEBUT: MadaMa ButterfLy, 2014 In 2014-15, Jason Ferrante returns to Florida Grand Opera as the Magician in The Consul and made his Atlanta Opera debut as Goro in Madama Butterfly in November of 2014. Last season saw his debut with the Boise Philharmonic and return to Jacksonville Symphony as the tenor soloist in Handel’s Messiah, a guest artist appearance with the Sarasota Artist Series, Fourth Jew in Salome with the Boston Symphony Orchestra and the Ravinia Festival, and Spoletta in Tosca with Florida Grand Opera. Mr. Ferrante’s other recent engagements include his return to the Orlando Philharmonic as Basilio and Don Curzio in Le nozze di Figaro, Fourth Jew in Salome for Palm Beach Opera, and his return to New York City Opera covering the role of Aronne in Mose in Egitto. Additional recent highlights include Borsa in Rigoletto with Florida Grand Opera and the Orlando Philharmonic Orchestra, Basile in Le Roi Malgré Lui with Bard Summerscape Festival, Jaquino in Fidelio for his debut with Opera Boston, and his most frequently performed role, Goro in Madama Butterfly, for debuts at Opera Omaha, Syracuse Opera, and Kentucky Opera.

AdAM KirKPATriCK DON CURZiO ATlANTA OPERA DEBUT: the MarriaGe of fiGaro, 2008

Adam Kirkpatrick returns to the stage of The Atlanta Opera, where he was most recently seen as Borsa in Rigoletto. Other recent appearances include Marcellus in Hamlet with Opera Birmingham and as the headlining artist in two sold-out Andrea-Bocelli-inspired concerts at the Velvet Note Jazz Club. Additionally, he has performed with Cincinnati Opera, The Atlanta Opera, Santa Fe Opera, TriCities Opera (N.Y.), Dayton Opera, Knoxville Symphony, Newton Symphony (Mass.), Tallahassee Symphony, Georgia Symphony, Atlanta Ballet, and the Atlanta Pops Symphony. Kirkpatrick and his band recently released an EP of favorite tenor “popera” hits to iTunes and all other major online music vendors in an album, titled Poperazzi.

Kirkpatrick holds a B.M. and M.M. in voice performance from the Cincinnati College-Conservatory of Music, and earned his doctor of music degree from Florida State University. Dr. Kirkpatrick is the inventor of the Sing with the Best iPhone app and has worked as a university professor of voice for the last 10 years.

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MeeT The CAST MeGAn MAShBurn BARBARiNA ATlANTA OPERA DEBUT: tosca, 2013

Soprano Megan Mashburn recently performed with Asheville Symphony Chorus and Orchestra in Schubert’s Mass in G and Haydn’s Mass of Saint Nicholas. Other appearances include Adina in L’elisir d’Amore with New Rochelle Opera, Valencienne in The Merry Widow with Capitol City Opera, Cunegonde in Candide with Georgia Perimeter TAG, Vera in Hoiby’s A Month in the Country, Lady With a Handmirror in Argento’s Postcard From Morocco with Boston University’s Opera Institute, and Susanna in Le nozze di Figaro with L’Orchestra da Camera Boston. Ms. Mashburn made her international debut as the Queen of the Night in Die Zauberflöte at the Amalfi Music Festival in Italy. She was the soprano soloist in Brahms’ Ein Deutsches Requiem at Emory University’s Schwartz Center and a soloist for Haydn’s Lord Nelson Mass and Mozart’s Mass in C Minor with Clemson University. Ms. Mashburn performed as the principal soprano in a joint venture with gloATL, an interpretive, contemporary dance troupe, in Hippodrome, a production of various works by Arvo Pärt.

Ms. Mashburn was a Young Artist with the Texas Music Festival’s Le Chiavi di Bel Canto and a full scholarship Young Artist with the Opera Studio for American Institute of Musical Studies in Graz, Austria.

She is a winner of the 2012 and 2014 Georgia District Metropolitan Council Auditions.

ALAn hiGGS ANTONiO

ATlANTA OPERA DEBUT: MadaMa ButterfLy, 2014 Bass-baritone Alan Higgs made his professional debut this fall with The Atlanta Opera as the Imperial Commissioner in Madama Butterfly and appeared with the Atlanta Opera Chorus in Rigoletto.

Mr. Higgs attended Florida State University for his master’s degree in voice performance, where he performed Simone in Gianni Schicchi, Prince Gremin in Eugene Onegin, and Don Alfonso in Così fan tutte.

While singing Rucker Lattimore in Cold Sassy Tree, he had the honor of working with composer Carlisle Floyd. During his undergraduate studies at the University of Florida, his roles included Guglielmo in Così fan tutte, The Husband in Amelia Goes to the Ball, and Kecal in The Bartered Bride. Mr. Higgs has performed in the chorus with the Florida Grand Opera and sang the bass soloist in Judas Maccabaeus for the New World School of the Arts in Miami.

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MeeT The CAST

MeeT The CAST

SuSAn BenSon SET & COSTUME DESiGNER SuSAn B

In a career spanning more than 40 years, Susan Benson has createdIn a career sp set and costume designs in Canada, the United States, Europe, andset and costum Australia. Production designs for opera include Madama Butterfly Australia. Pro and the world premiere of The Golden Ass for the Canadian Opera and the world Company, Die Zauberflote for the Minnesota Opera and Dallas Company, Di Opera, La Finta Giardiniera for the Opera Theater of Saint Louis, Opera, The La Fin Marriage of Figaro and Cosi Fan Tutte at the Banff Centre, and TheMarriage of F Gondoliers for the Australian Opera Company. She has also designed Gondoliers for costumes for Death in Venice for the Canadian Opera Company and costumes for the San Francisco Opera, and Don Quichotte for the New York Citythe San Franc Opera. Designs for ballet include costumes for the Royal WinnipegOpera. Desig Ballet and production designs for The Taming of the Shrew and Romeo Ballet and pro and Juliet for the National Ballet of Canada. Ms. Benson designed and for Juliet for the Stratford Festival of Canada for 21 seasons, where her productions the Stratford included A Midsummer Night’s Dream with Maggie Smith, Long Day’s included A M Journey Into Night with Jessica Tandy, Cabaret, and The Mikado. Her Journey Into N costume designs have also been seen at the Dallas Theatre Center, the costume desig Guthrie Theater and the Arena Stage, Washington, D.C. Guthrie Thea

Ken YunKer liGHTiNG DESiGNER

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Ken Yu

Mr. Yunker is Resident Lighting Designer for Sarasota Opera Mr. Yunker is Association, Lighting Director of FIO Americas Brazil, and a principal Association, L designer for the Tony Award-winning Alliance Theatre Company designer for th (world premieres of The Geller Girls, What I Learned in Paris, Bluish,(world premie Day of Kings, and Leap, also Good People, Into the Woods, August: Osage Day of Kings, County, Avenue X, and Aladdin). Mr. Yunker has designed more than 50 Avenu County, productions for The Atlanta Opera, including Der Fliegende Hollander, productions f Basil Twist’s Hansel and Gretel, Turandot, Aida, Eugene Onegin, Der Basil Twist’s H Rosenkavalier, Porgy and Bess, and Fidelio. National credits include Rosenkavalier, Florida Grand Opera, Bermuda Arts Festival, Utah Symphony and Florida Grand Opera, Tulsa Opera, Fort Worth Opera, San Antonio Opera, OperaOpera, Tulsa Santa Barbara, and Arizona Opera. Credits in Atlanta include Georgia Santa Barbara Shakespeare, Theatre in the Square, True Colors, Theatrical Outfit, Shakespeare, T Georgia Ensemble, Atlanta Lyric, Ballethnic Dance Company, Rotaru Georgia Ense Ballet, Brenau University, Georgia State University, Clayton State Ballet, Brenau University, and Emory University. Regional awards include the SuziUniversity, an Bass Award for The Geller Girls and Avenue X with nominations for Bass Award fo August: Osage County, Into The Woods, Rejoice, and The Persians; Abbey August: Osage Artist of the Year nomination; Creative Loafing lighting award in Best Artist of the Y of Atlanta; Theatre in the Square Jenny Award; seven total for Best of Atlanta; Th Lighting. Mr. Yunker is a member of United Scenic Artists #829. Lighting. Mr. 34 33

Journey There’s no way to miss the music (top) once you reach New Orleans.

Why not consider a trip by train to take in some of its famous 45-year-old Jazz & Heritage Festival, beginning April 24 this year?

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W

hen Louis Armstrong recorded “Do You Know What It Means to Miss New Orleans” some 68 years ago, he couldn’t have conceived what his beloved Crescent City would become.

Back then “Satchmo” could croon about “moss covered vines,” “moonlight on the bayou” and “magnolias in bloom” in a classic

Ease on down to N’awlins via Amtrak’s eminently civilized Crescent liner

By A. Scott Walton

tune that’s been covered by such greats as Billie Holiday, Rosemary Clooney, Harry Connick Jr. and the Preservation Hall Jazz Band.

But times have changed.

Today the most resonant music emanating from New Orleans is a hyper-erotic, anti-social genre known as “bounce,” pioneered by a 7-foot-tall gender-bending personality known as Big Freedia. He/she has his/her own reality show on the

PHOTOS COURTESY OF NEW ORLEANS CONVENTION AND VISITORS BUREAU

Sentimental

Fuse network. And there’s still much curiosity about the fallout and recovery from 2005’s Hurricane Katrina.

There’s another sound you’ll hear, too, the clackety-clack of Amtrak’s Crescent line train, perhaps the best way to ease into a trip to New Orleans, a city where old-school charm rubs up against modern pragmatism.

The smooth, rhythmic sway of the train does wonders with those pesky hangovers some French Quarter revelers carry home as a souvenir.

Whether you normally travel solo, in groups, with kids or senior citizens, a train ride to New Orleans feels less stressful in comparison to almost any airplane.

The original Crescent line started chugging its full-service dining rooms and sleeper cars on a 1,377-mile arc from New York City to New

Orleans — 30 hours one-way — in 1891. When Amtrak took over the rail line, one of its missions was to return the trip to its bygone glory.

Over its full length, the Crescent stops in Philadelphia, Washington, D.C., Charlotte, N.C., and Atlanta as it journeys to New Orleans. The Atlanta-to-New Orleans leg is a 12-hour trip. If you’re not in a hurry, it’s a refreshing and reflective way to travel.

Crowds at train stations are much smaller than at airports. The pace of boarding is less rushed and the exertion involved minimal. You actually lay eyes on the stewards loading your bags. And for a nominal fee ($5-$10), travelers who want to see New Orleans on two wheels can carry their bikes on board like luggage.

Amtrak tickets to New Orleans don’t sell for peanuts the way they do through airline discounters, but the amenities on the Crescent City far surpass a complimentary pack of nuts and a cup of coffee or Coca-Cola.

And the scenic route is just that — a meandering trip through the remnants and reformation of the Old South. Below the clouds, chugging along slightly below highway speed limits, it’s clear to see how far Dixieland has come and how far it has to go.

Accommodations vary and include Reserved Coach Class seats (wide side-by-side recliners); Viewliner Roomettes (fold-away bunk beds, sink and toilet, full service, meals included); Viewliner Bedrooms (one double bed with a convertible bunk, self-enclosed toilet and shower, separate armchair, etc.); Viewliner Bedroom Suites (four convertible single bunk beds, two separate toilets and showers, sofa, etc.); and Viewliner Accessible Bedrooms (recommended for sleepover passengers with mobility challenges).

The fares ($69-$1,000) depend on your choice of dates, departure time and seating arrangements.

So climb aboard, then relax.

Unless you have strong, private

NEW ORLEANS JAZZ & HERITAGE FESTIVAL This annual event, in its 45th year, might be a perfect occasion to ride the rails to the Big Easy. Here’s what you should know: THE FEST: A 10-day cultural feast in which thousands of musicians, cooks and craftspeople welcome some 400,000 visitors. Music is showcased on multiple stages, Louisiana cuisine is served in two large food areas, and crafts artisans from the region and around the world demonstrate and sell their work.

WHERE: At the Fair Grounds Race Course, about 10 minutes from the French Quarter.

WHEN: April 24-May 3.

HOURS: 11 a.m.-7 p.m. daily.

THE MUSIC: The fest celebrates the indigenous music and culture of New Orleans and Louisiana, so you’ll hear blues, R&B, gospel, Cajun, zydeco, Afro-Caribbean, folk, Latin, rock, rap, country, bluegrass, and contemporary and traditional jazz.

THE LINEUP: Includes, but not limited to Elton John, Jimmy Buffett and the Coral Reefer Band, Keith Urban, Buddy Guy, Dr. John, the Blind Boys of Alabama, the Preservation Hall Jazz Band, Rebirth Brass Band, Buckwheat Zydeco, the Terence Blanchard E-Collective, Cassandra Wilson, Alison Krauss & Union Station, and Lady Gaga and Tony Bennett.

TICKETS: $58 plus fees in advance, $70 at the gate for three-day weekend passes. $5 (gate only) for ages 2-10 with an adult. More expensive packages are available as are travel packages, at www.nojazzfest. com, www.ticketmaster.com, all Ticketmaster outlets or 800.745.3000.

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Crescent liner

GET COOKING What fan of New Orleans cuisine wouldn’t want to let out with a “BAM!” or “I guar-RON-tee it” in the same vein as the city’s most famous chefs? If that’s you, consider taking a kitchen tutorial from a local master. Your options: NEW ORLEANS SCHOOL OF COOKING: Novice chefs and tourists go hands-on to learn to make gumbo, jambalaya, pralines and other local delicacies. Hands-on classes take place Sunday, Tuesday and Friday. Daily demonstrations run 10:30 a.m.-noon and 2-4 p.m. Monday-Saturday.

Details at 1.888.726.0115 or neworleansschoolofcooking.com.

CRESCENT CITY COOKS! Rotating lessons in preparing appetizers, entrees, desserts and cocktails. Daily classes start at 10 a.m. The gift shop sells utensils that range from clever (chopsticks for kids) to quirky (high-heeled-shoe wine bottle holders). Details at 504.529.1600 or crescentcitycooks.com.

NEW ORLEANS COOKING EXPERIENCE: Cajun cooking classes can be taken on a half-day, episodic or weekend-getaway basis.

Details at 504.430.5274 or thenoce.com.

36

Internet connectivity, prepare to unplug for the duration. The Crescent line isn’t among the 21 Amtrak trains with free Wi-Fi and does not yet have a designated, staff-monitored Quiet Room, either.

Why not avail yourself of the scenery and the food and drink available instead?

The kitchen staff on board serves breakfast ($7.50-$11.25 for scrambled eggs, Railroad French toast, omelets); lunch ($9-$12 for salads, burgers); and dinner ($15.75-$24.75 for steak, pasta, chicken and seafood entrees) from a set menu with as much attention as possible to riders’ personal preferences and dietary restrictions.

Kids’ meals ($3.75-$7) are simple and comparable to fast-food fare.

Since Dining Car seating is limited, attendants go seat-by-seat to cordially request reservations.

In the first-come, first-served Lounge Car, diners can eat in or take out, perk up with caffeine or sip a cocktail. The Café Car is a fuss-free oasis for a quick snack or drink, including alcohol.

Riders needing a shot of courage heading into the Big Easy or some hair-of-the-dog heading home can

get wine by the glass or half-bottle ($6 and $15), beer ($5-$7) and mixed drinks ($7 each).

Upon arrival, New Orleans’ levies break wide open for feasting, historical reverence, souvenir shopping and random debauchery. But beware. If you’re strolling Bourbon Street at night, heavy handfuls of stringed beads could come crashing down on you even if it isn’t Mardi Gras and you didn’t bare your breasts to request them.

To be frank, New Orleans’ fabled French Quarter has the look, feel, sound and smell of a tourist trap patrolled by police on horseback and a crush of people testing their ability to laissez les bon temps rouler.

But the city’s best-known and underappreciated attractions have something in common. They all invite you to follow your passions.

For comprehensive New Orleans visitor information, visit neworleansonline.com A. Scott Walton is a lifestyle, sports and fashion writer/editor who has been on staff at The Atlanta Journal-Constitution, Detroit Free Press and The Tennessean in Nashville.

His favorite theater piece is Fences.

PHOTOS COURTESY OF AMTRAK; COOKING PHOTO COURTESY OF NEW ORLEANS CONVENTION AND VISITORS BUREAU

The scenery ambles by when you travel with Amtrack’s Crescent liner.

SATURDAY OCTOBER 3, 2015

CHICK COREA BÉLA FLECK

FRIDAY OCTOBER 16, 2015

CONRAD TAO PIANO

FRIDAY OCTOBER 30, 2015

EDGAR MEYER CHRISTIAN MCBRIDE SATURDAY NOVEMBER 7, 2015

DAVID FINCKEL WU HAN PHILIP SETZER

SATURDAY FEBRUARY 6, 2016

JULIAN BLISS SEPTET: A TRIBUTE TO BENNY GOODMAN

SATURDAY FEBRUARY 20, 2016

THE KNIGHTS WITH GIL SHAHAM

FRIDAY MARCH 18, 2016

NATHAN GUNN BARITONE

FINAL 2014-2015 SE ASO N CO NCE R T SUNDAY, APRIL 19, 2015, 4 PM

THE TALLIS SCHOLARS

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arts.emory.edu/concerts BOX OFFICE 404.727.5050

SCHWARTZ CENTER FOR PERFORMING ARTS

The ATLAnTA oPerA ChoruS ChoruS MASTer Walter Huff ASSiSTAnT ChoruS MASTer Rolando Salazar ChoruS For The Marriage of figaro Jayme Alilaw

Kyle Barnes

Lynette Anderson

John Burnett

Sally Rose Bates

Mitch Gindlesperger

Ruth Brooks

C. Augustus Godbee

Sakinah Davis

Christopher Hawkins

Abigail Halon

Grant Jones

Christina Howell

J. Brandon Odom

Laura Porlier

Marc Porlier

Rebecca Shipley

Jonathan L.B. Spuhler

Laurie Tossing

John M. Young

Allegra Whitney

photo: Rozarii Lynch

Carrie Anne Wilson

38

The ATLAnTA oPerA orCheSTrA VioLinS Peter Ciaschini Concertmaster Angele Sherwood-Lawless Acting Assistant Concertmaster Fia Durrett Principal Second Violin Adelaide Federici Assistant Principal Second Violin Edward Eanes Felix Farrar Robert Givens Patti Gouvas Sally Wilson Martin Michele Marriage-Volz Lisa Morrison Lee Nicholson Patrick Ryan Lee Sheehan Jessica Stinson Elonia Varfi Rafael Veytsblum VioLA Catherine Allain Acting Principal Julie Rosseter Acting Assistant Principal Allyson Fleck Karl Schab Mitchell Sherrod Joli Wu

CeLLo Charae Krueger Principal Erin Ellis Assistant Principal Barney Culver David Hancock Mary Kenney Cynthia Sulko

BASSoon Michael Muszynski Principal Debra Grove

BASS Lyn DeRamus Principal Christina Caterino Emory Clements Rob Henson

TruMPeT Yvonne Toll Principal Hollie Lifshey

FLuTe/ PiCCoLLo James Zellers Principal Kelly Bryant oBoe Dane Philipsen Principal Ann Lilya CLArineT David Odom Principal John Warren

horn David Bradley Principal Anna Dodd

TiMPAni John Lawless Principal

Musicians employed in this production are represented by the American Federation of Musicians of the United States and Canada. *String sections are listed in alphabetical order

39

Behind The CurTAin Arizona Opera's 2013 production of The Marriage of Figaro. photo: Jeff Reeder

MuSiC & PerSonALiTY in MoZArT’S The Marriage of figaro

BY BASIL DE PINTO

In opera, as in life, some people are just more interesting than others.

Character, obviously, is more than the sum of behavioral qualities that a person exhibits. It is the inner structure, the deep ambiguities often hidden and always difficult to decipher, that determine just who a person is. Music can strip away external disguises and lay bare the inner being. Mozart had a wonderful capacity to project personality through music and in The Marriage of Figaro he exercised it with enormous skill.

40

The arias bear the greatest weight in revealing the identity of the characters.

Right at the outset, Figaro’s “Se vuol ballare” gives us the clever servant, light of foot and voice, eager to best the master who threatens his well-being. In the last scene, Figaro is himself caught up in the crazy intrigue of the plot, thinking erroneously that Susanna is out to betray him, sonorously warning the men in the audience to steer clear of all the female machinations he earnestly sets out before them. How cunningly the music manages to support Figaro’s contention while

Behind The CurTAin at the same time suggesting amusingly how thoroughly he has been duped. The pizzicato notes in “Se vuol ballare” mimic the lithe movements of a skilled dancer, but they constitute only the outward sign of Figaro’s quick-witted approach to overcoming his opponent; they are more important in making us aware of the mental acumen of this “birbo” (trickster), as Dr. Bartolo slightingly refers to him.

In his fourth-act aria, his description of women’s wiles — they are thorny, merciless, as tricky as he is — takes place in a cascade of epithets that requires in the singer great breath control along with careful sculpting of the musical line.

Susanna is the perfect counterpart to her intended spouse. She shares Figaro’s quick wit and sparkling gaiety, but with a feminine charm that easily explains the Count’s fascination with her. In every turn of the plot she seems to be one step ahead of the men at work. In this respect she is perhaps the most Shakespearean

of Mozart’s heroines, sharing with them acute intelligence and firmness of purpose. At the same time Susanna is a delightful romantic. Her “Deh, vieni, non tardar” in the final scene, although on one level a ploy to deceive Figaro into thinking she is longing for the Count, subliminally is a song filled with the fragrance and warmth of a young woman reaching out to the only real object of her love. The musical combination of brightness and romantic charm makes Susanna one of Mozart’s most endearing characters.

The Countess inhabits a completely different realm, but she is no less remarkable as a flesh-and-blood personage. If Susanna represents the head, the Countess is all heart. Although she enters fully into the intrigue of the plot and enjoys the fun involved, there is no question that she is weighed down by a deeper kind of emotion. Her entrance aria, “Porgi, amor,” lays bare the sense

Seattle Opera's 2009 production of The Marriage of Figaro. photo: Rozarii41 Lynch

Behind The CurTAin

42

of loss and sorrow of a woman who fears that love has passed her by. The lush combination of strings and woodwinds in the orchestra supports and enhances the deep melancholy in her voice. This fundamental aspect of her personal plight does not make her a gloomy, joyless figure, but it does foreshadow the seriousness of the great moment at the end of the opera when she redeems the “crazy day” of the original Beaumarchais title with transcendent grace.

indelibly on one’s inner sensibility. The entire passage lasts barely two minutes, but time seems to stand still. An air of indescribable sadness suffuses the whole; it plumbs the depths of pain and loss to which human experience can descend. And yet there is also a hint of the strength with which a great heart can face the greatest sorrow. It echoes Beethoven’s words written into one of his manuscripts: “Es muss sein.” It must be; this is what it means to be human.

Moments before, Susanna and Figaro have been reconciled after a momentary misunderstanding, and the Count has been found out and stands in sheepish embarrassment. His plea for forgiveness from his wife rings rather hollow and there is little ground for supposing that he will not go astray again; to paraphrase, quite justly, the title of another Mozart opera, “all men are like that.” The Countess might quite properly spurn his contrition, but she does not. In keeping with the nobility of soul that is clearly her true personal identity, which Mozart paints for us in such glorious musical colors, she draws the Count to her in a gesture of open-hearted forgiveness.

The Countess is no fool; she knows her husband all too well. But her love is stronger than the sum of his failings. Her inner largesse could not be constrained by petty resentment.

The Countess, answering the Count’s plea for forgiveness, sings a simple, broadly arching melody to the words “Più docil’ io sono.” Hard to translate: perhaps something like, I give more than forgiveness; I open myself for you to see the vast expanse of my love.

And then, “E dico di sì” — the truly redemptive word of yes. Above any hint of bitterness, even beyond the perhaps irreparable breach in our union, I reach out and touch what I can only hope is the best in you. And all the others present declare “Ah, tutti contenti saremo così.”

This grace-filled generosity showers its blessed healing on us all. The strings pour out an accompaniment of unparalleled sweetness and strength, and the soprano line reaches ever higher in its affirmation of gratitude and wonder. The music of Figaro makes each character in the drama a distinct individual, full-blooded and fully alive.

The word “sublime” has been used before in this context and runs the risk of exaggeration, but there is scarcely another to describe the music that Mozart gives to the Countess at this point. Here we have one of those rare moments in opera which, once heard, stamps itself

Basil De Pinto is a writer who lives in the San Francisco Bay Area. His work has appeared in the program books of the opera companies of Washington, D.C., Seattle, Atlanta, and Fort Worth. This article, in shorter form, is reprinted with the author’s kind permissoin.

CoMMuniTY enGAGeMenT

Sarah Uriarte Berry sings Leonard Bernstein at the Breman Museum in January. photo: Ivani Photography

oPerA in our CoMMuniTY Each season, The Atlanta Opera happily steps beyond the mainstage to bring opera of the highest caliber to locations throughout the Atlanta metro area. We offer programming and experiences for a wide variety of ages, from the novice to the super fan and everyone in between.

During the 2014-15 season we were honored to return as participants in the Molly Blank Jewish Concert series at the William Breman Jewish Heritage Museum. We presented the music of Kurt Weill in our final concert of the season on March 12. Lyric soprano Anya Matanovic, mezzo-soprano Phyllis Pancella, and bass-baritone Craig Colclough joined pianist and host Gerald Steichen to explore the significant vocal music of this fascinating composer who believed that even the catchiest tune can and should serve a greater social purpose.

In May, we begin a new collaboration with a different Atlanta institution: the High Museum. On May 1 the Atlanta Opera will create a special public performance as part of the High Museum’s Friday Night Lates programming on the Sifly Piazza at the Woodruff Arts Center. The performance will celebrate the new site-specific art exhibition entitled “Los Trompos”, created by artists Héctor Esrawe and Ignacio Cadena. The exhibit draws inspiration from a child’s spinning top and features over 40 three-dimensional, colorful, larger-than-life tops installed throughout the Piazza. The Opera will create individual micro-concerts for small groups of spectators who interact directly with the art and the singers.

Our student outreach this season season began with a special student matinee of Madama Butterfly at the Cobb Energy 43

CoMMuniTY enGAGeMenT Centre on November 13. An audience of over 2200 students was spellbound by this one-hour reduction of the opera, performed fully staged, with the set, costumes, cast, chorus and orchestra of the mainstage show. For our Studio Tour this season our charming one-hour reduction of Mozartâ&#x20AC;&#x2122;s The Marriage of Figaro toured middle and high schools, and was seen by over 6000 students. An encore presentation of that show will be presented in a special public performance with paid admission at the High Museum of Art on Motherâ&#x20AC;&#x2122;s Day, May 10.

We close the season in early June with High School Opera Institute, re-imagined as a weeklong intensive workshop for talented high school singers to explore aspects of audition preparation. The

Institute will take place at Emory University and we are very excited to work together to create a special experience for young singers. The workshop will include individual and group voice lessons, music and diction coaching, as well as classes in acting, movement, improvisation, and professional development. The week culminates in a mock audition/recital for parents and friends.

Our community and education partners are instrumental in helping The Atlanta Opera to bring the power and passion of opera to thousands of students and audience members across the Atlanta metro area. We are grateful for their support and we encourage you to learn more about our community programs by visiting us at atlantaopera.org.

Tomer Zvulun and Sherrill Milnes shake hands at the beginning of a talk and master class given by Milnes at Kennesaw State University, as part of a partnership between The Atlanta Opera and the KSU School of Music. Milnes performed a recital in 1980 as part of the Atlanta Opera's first season. photo: Joseph Greenway/KSU

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emoryhealthcare.org/voicecenter 288

AnnuAL GiVinG The following names represent gifts from individuals, The Atlanta Opera Board of Directors, Staff, Chorus, and Orchestra. We express our most sincere thanks and appreciation to each of our donors. Their ongoing support allows The Atlanta Opera to continue building on its tradition of excellence by introducing new works and reimagining classics.

Listed are pledges and payments to The Annual Fund, The Society for Artistic Excellence, and The Overtures Campaign from July 1, 2013 through February 20, 2015.

DiamonD $200,000+ Nancy & Jim Bland John & Rosemary Brown *Mr. & Mrs. Donald R. Keough Jerry & Dulcy Rosenberg

DiamonD (continued) The Estate of Roy A. Dorsey Mr. & Mrs. William J. Hayes Mr. & Mrs. Wayne James Mr. John O. King Mary Ruth McDonald C. Dave & Carla Moody $100,000+ Mr. & Mrs. Michael E. Paulhus The Laura & Montague Boyd Foundation Edward W. Phares Martha Thompson Dinos Mr. & Mrs. J. Barry Schrenk Mr. & Mrs. Carl W. Knobloch, Jr. Platinum $50,000+ $10,000+ Mr. & Mrs. John L. Connolly Anonymous John L. Hammaker Mr. David W. Boatwright Candy & Greg Johnson Mr. Edward A. Chernoff Mr. & Mrs. Michael L. Keough Mr. Mario Concha Mr. & Mrs. William E. Tucker Heike & Dieter Elsner Rhys T. & Carloyn Wilson Mrs. Bernadette Faber & Mr. John Nadobny Bob & Cappa Woodward Mr. Arthur Fagen The Mary & Charlie Yates Family Fund Carl & Sally Gable James M. Kane $25,000+ & Andrea Braslavsky Kane Mr. & Mrs. Shepard B. Ansley Mr. Alfred D. Kennedy, Jr. & Dr. Bill Kenny Julie & Jim Balloun Dr. & Mrs. James Lowman Mr. & Mrs. Andy Berg Mr. & Mrs. Jack C. McDowell Dr. Frank A. Critz Mr. James B. Miller, Jr. Mr. & Mrs. John Michael Hancock Mr. Howard W. Hunter - Gramma Fisher Ms. Franca G. Oreffice Clara M. & John S. O'Shea Foundation Mr. Charles Sharbaugh Dr. & Mrs. Alexander Gross Mr. & Mrs. Thomas H. Teepen Mrs. Dale Levert & Mr. George Levert Mr. & Mrs. Joseph F. Weber Mr. & Mrs. Harmon B. Miller III Thomas R. Williams Family Mr. William E. Pennington Mr. James D. Powell & Mr. Mitchell J. Czeh Jane S. Willson Mr. Tomer Zvulun & Mrs. Susanna Eiland Baker & Debby Smith Mr. William F. Snyder $5,000+ Triska Drake & G. Kimbrough Taylor Anonymous Judith & Mark Taylor Mr. & Mrs. Phillip E. Alvelda Charlie & Dorothy Yates Family Fund Dr. Asad Bashey $15,000+ Dr. R. Dwain Blackston Cathy & Mark Adams Jean & Jerry Cooper Bryan & Johanna Barnes Col. & Mrs. Edgar W. Duskin

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Platinum (continued) Mr. & Mrs. Robert G. Edge Ms. Rebecca Y. Frazer & Jon Buttrey Nancy & Holcombe Green Mr. & Mrs. Edward J. Hardin Mr. & Mrs. William A. Parker, Jr. Drs. Aileen O'Neil & Richard Robinson John & Barbara Ross Sachin Shailendra Mr. & Mrs. Timothy E. Sheehan Johannah Smith Yee-Wan & John Stevens Mrs. Wadleigh C. Winship Ms. Bunny Winter & Mr. Michael Doyle $2,500+ Anonymous Mr. & Mrs. Ronald R. Antinori Dr. Florence C. Barnett Mrs. Elizabeth Tufts Bennett Dr. Harold J. Brody Dr. & Bruce A. Cassidy & Dr. Eda Hochgelerent Mr. Robert P. Dean & Mr. Robert Epstein Dr. & Mrs. Donald J. Filip Mr. James Flanagan Caroline & *Harry Gilham Dr. Thomas N. Guffin, Jr. Harald Hansen Mr. & Mrs. Douglas Hantula Mr. L. D. Holland Mr. & Mrs. Harry C. Howard Mrs. Joseph B. Hutchison Mrs. Theodora S. Johnson Mr. Brian Leetch Ms. Salli LeVan Mr. & Mrs. Allen P. McDaniel Victoria & Howard Palefsky Mrs. Polly N. Pater Mr. David Paule & Mr. Gary Mann Milton J. Sams Morton & Angela Sherzer

AnnuAL GiVinG Platinum (continued) Mr. Peter James Stelling Mrs. Hugh M. Tarbutton Mr. & Mrs. George B. Taylor, Jr. Dr. Nicholas Valerio III Mr. Allen W. Yee, Esq. GolD $1,000+ Anonymous Mr. Michael M. Arens & Mr. Jeffrey M. Daniel Mr. Steven Astriab Mr. & Mrs. Walter Bailey Mr. & Mrs. C. Duncan Beard Mrs. Wallace F. Beard Michael L. & Valerie W. Benoit Mrs. Enrique E. Bledel Ms. Mary D. Bray Dr. J. Bricker Burns Ms. Lynnore Buersmeyer Barbara S. Bruner, M.D. Mr. & Mrs. John Calhoun Dr. John W. Cooledge Mr. & Mrs. Michael J. Curry Dr. & Mrs. F. Thomas Daly , Jr. Ms. Suzanne Mott Dansby Mr. Robert S. Devins Dr. Morgan Eiland & Dr. Susan Eiland Mr. & Mrs. John C. Ethridge, Jr. Dr. Mary M. Finn Dr. & Mrs. David J. Frolich John Gam, Ph. D. Peg Simms Gary Ms. Lois M. Grant & Mr. Keith F. Weiland Mrs. Helen C. Griffith Sylvia Halleck, M.D. Mr. & Mrs. Howell Hollis III Ann P. Howington Mr. & Mrs. David C. Huffman Dr. & Mrs. Duke Jackson, Jr. Mrs. Joseph W. Jones Mr. & Mrs. Gert Kampfer Ronnie & Peter Kessenich Marsha & David King Ms. Eleanor Kinsey Mr. & Mrs. Michael A. Klump Mrs. Treville Lawrence Mr. & Mrs. J. David Lifsey Ms. Linda L. Lively & Mr. James E. Hugh III Jeanie & Albert Marx Dan D. Maslia Margaret McCamish

GolD (continued) Shelley McGehee Mr. & Mrs. Robert McKeeman Mr. & Mrs. John McMullan Ms. Mimi S. Monett Ms. Priscilla M. Moran Mr. & Mrs. Frank J. Muckler Mr. & Mrs. Richard P. Nicholas III Dr. & Mrs. Lawrence S. Phillips Mrs. Betsy Pittman The Reverend Neal P. Ponder, Jr. Dr. Michael F. Pratt & Nancy Peterman Mr. & Mrs. Robert Ratonyi Lynne & Kent Regenstein Mr. Shawn Rieschl Johnson & Mr. Christian Kirby R.J. & D.G. Riffey, Jr. Sidney & Phyllis Rodbell Mr. & Mrs. George P. Rodrigue Mr. & Mrs. Nicholas Shreiber Dr. & Mrs. Patton P. Smith Mr. Fred B. Smith The Estate of Ms. Barbara Stewart Ms. Melinda R. Stuk Mr. Paul Stuk Dr. Jane T. St. Clair & Mr. James E. Sustman Dr. & Mrs. Michael Szikman Rae & George W. Weimer Dr. & Mrs. James O. Wells, Jr. Ms. Linda D. Wickham Larry & Beverly Willson Mrs. Frank Wilson, Jr. Ms. Jerrie Woodward Mrs. Sarah Zabinski & Mr. Andrzej Zabinski $500+ Anonymous Mr. Keith E. Adams Mr. & Mrs. Kenny L. Blank Ms. Martha S. Brewer Bob & Marion Bunker Mrs. Constance Calhoun Mrs. Stella M. Carlson Mrs. Carol J. Clark Dr. Earle Clowney Mr. & Mrs. Don S. Coatsworth Mrs. Jan W. Collins Mr. & Mrs. Newt Collinson Ms. Lillianette Cook & Ms. Carol C. Uhl Maureen & Michael Dailey Mr. Philip A. Delanty Jim & Carol Dew Ms. Elsie Draper Ms. Ariana B. Fass

GolD (continued) Mrs. Arnoldo Fiedotin Mr. & Mrs. Lance Fortnow Judge Adele P. Grubbs Ms. Louise S. Gunn Mr. Noel F. Haeberle & Mr. Kenneth Jones Mr. Michael Hand Mr. George L. Hickman, III Donna & Richard Hiller Mr. Robert L. Karem, Jr. Mr. & Mrs. Fred R. Keith Mrs. Jo W. Koch Joan & Arnold Kurth Dr. Jason Liebzeit Dr. Jill Mabley Douglas W. & Sarah Mabry Mr. & Mrs. Peter J. Morelli II The Mortimer Family Mrs. Thespi P. Mortimer Barbara & Mark Murovitz Terri & Stephen Nagler Mr. & Mrs. Stephen L. Naman John & Agnes Nelson Mr. & Mrs. Daniel V. Pompilio III Mr. David Pylate Mr. James L. Rhoden Ms. Heidi M. Rockwood Dr. & Mrs.Mark Rowles Mr. Stuart Schleuse Jane Stoddard Steve & Christine Strong Dr. & Mrs. Kenneth G. Taylor Dr. Richard Thio Ms. Michelle M. Thomas Mr. Stephen H. Thompson & Mr. Drew Mote Constance W.Treloar Mr. Mark O'Connell Mr. & Mrs. Thomas W. Ventulett III Mr. & Mrs. Leroy Walden Henry Waszkowski & Patty Thomas Alan & Marcia Watt Janice West William Wilkinson & Robert K. Bellinger Ms. Venette M. Williams Jone Williams Mr. Russell Williamson & Ms. Shawn Pagliarini Dr. & Ms. David W. Wingert Sherrilyn & Donn Wright $350+ Anonymous Mrs. Judith Alembik Ms. Joselyn B. Baker

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AnnuAL GiVinG GolD (continued) Mr. & Mrs. Robert O. Banker Mr. & Mrs. Michael Barker Mr. & Mrs. Samuel Betor Mr. Gregory Carraway Mr. & Mrs. Raymond H. Chenault Mr. N. Jerold Cohen & Ms. Andrea Strickland Dr. & Mrs. Sheldon B. Cohen Mr. Lawrence M. Cohen Dr. Malcolm H. Cole Mrs. June Crawford Mr. John Cullom Dr. & Mrs. Albert De Chicchis Mr. & Mrs. Arthur R. Dugger Mr. Mark duMas Mr. & Mrs. Charles M. Edwards III Ms. DeeAnn E. Evans Rita Evans Jim & Virginia Hale Dean & Vivian Haulton James E. Honkisz & Catherine A. Binns Mr. & Mrs. James Horgan Mrs. Sally Horntvedt Dr. Karen Kuehn Howell Mr. Scott Ingram Ms. Annette Janowitz Chris & Jill Le Mr. Sidney E. Linton Livvy Kazer Lipson Mr. Albert C. Loebe Katherine B. Maxwell & Michael J. Maxwell Mr. Thomas L. McCook Mr. & Mrs. Norman Miller Ms. Sharon Mills Dr. Patricia S. Moulton Jane & Jim Murray Anne Lanier Mursch The Honorable & Mrs. George A. Novak Mr. & Mrs. J. Vernon O'Neal, Jr. Mr. John Owens Mr. & Mrs. Henry C. Parrish III Mr. & Mrs. Guy Paschal Edward & Marjorie Patterson Mr. Darryl C. Payne & Ms. Lisa Richardson Lucy S. Perry Mr. W. Ray Persons Stephen L. Rann Mr. James Rollins Mr. Hervey S. Ross Ms. Lorraine Russell Weslyn A. Samson

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GolD (continued) Mr. Robert Sidewater Helga Hazelrig Siegel Dr. & Mrs. Stanley J. Smits Scott L. Snead Dr. Susan Y. Stevens Mrs. Eleanor H. Strain Sarah & David Sutherland Mr. & Mrs. Charles D. Tuller Mr. Bernd Ulken Mrs. James B. Vaught Dr. & Mrs. James H. Venable Mary Jane & Jorge Vilanova Ms. Reba P. Welch Virginia S. Williams Mrs. Johnnie Zahler & Jeanette Zahler Mr. & Mrs. John Zellner Silver $100+ Anonymous Rev. Joanna & Mr. Alfred B. Adams Hilda S. Adams Mr. Thomas A. Adams, Jr. Mr. & Mrs. Harold H. Alexander Dr. Catherine Allard Dr. & Mrs. Raymond Allen Mr. & Mrs. William A. Allison Dr. Robert J. & Mrs. Lynne S. Alpern Mr. James D. Altman Ms. Susan M. Alvarez Mr. & Mrs. William F. Amideo Mr. Scott & Ms. Sandra Anderson Ms. Oana Andreescu Dr. & Mrs. Dan J. Appelrouth Dr. & Mrs. Charles R. Arp, Jr. Atlanta Opera Guild Mrs. Elizabeth A. Bair Mr. & Mrs. David S. Baker Ms. Mary M. Ball Dr. & Mrs. John Barnes Ms. Beverly Bates Boris Bauer Mr. Brian D. Beem Dr. & Mrs. Frank C. Bell Mr. Albert E. Bender, Jr. Ms. Lauren A. Benevich Daniel & Bethann Berger Mr. I. Robert Beton Mr. Gary L. Bivins Albert K. Blackwelder Mr. & Mrs. Michael E. Blackwood Mr. & Mrs. Mike Boaz Mrs. Martha Bobo

Silver (continued) Mrs. Katherine Booth Mr. Marvin S. Brown Mrs. Karen Bunn Mr. Hans J. Burmeister Dr. & Mrs. W. Brantley Burns Drs. Brenda & Craig Caldwell Mr. & Mrs. Raymund Callaway Dr. & Mrs. W. Jerry Capps Thomas S. Caras, M.D. Dr. Emma Casanova Dr. Lynn Cathcart Mr. & Mrs. George W. Cemore Mr. & Mrs. Thomas Hal Clarke Mrs. Ruth Coan Mr. & Mrs. Alva C. Cobb Mrs. Claudia Colvin Ms. Sally Combs Ms. Celeste Condit Mr. & Mrs. Jimmy Connell Mr. & Mrs. F. Dean Copeland Mr. Bruce W. & Mrs. Kate Cotterman Mr. & Mrs. David Courtney Mr. Charles Dale Mr. & Mrs. Peter Dallo Mr. & Mrs. Harold T. Daniel, Jr. Dr. Jiyoung Daniel Mrs. Jeanne Daniels Ms. Carol Comstock & Mr. James L. Davis Jennifer Dempsey Joseph & Joanne DeSantis Mr. Kevin Dew & Mr. Hal Platt Ms. Rosemarie Distefano Mr. Jere Dodd Mr. & Mrs. Joseph Drummond Mr. & Mrs. Denis DuBois Mr. Kip Duchon Sara Duke Suzanne Durbin Mr. & Mrs. David R. Dye Lacey T. Dyer Mr. Gregory J. Earnest Arnold & Sylvia Eaves Dr. G. Eichholz Ms. Paula L. Ellis Ms. Elizabeth R. Etoll Ms. Barbara Faherty Mr. & Mrs. Kurt A. Fanstill Dr. Fariba Farhidvash Ms. Barbara M. Farr Joann Felder Dr. & Mrs. Edwin E. Flournoy Ms. Hope Caldwell-Foster

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AnnuAL GiVinG Silver (continued) Gray & Ruth Fountain Mr. & Mrs. Michael E. Friedman Ms. Mozelle Funderburk Mr. Glen Galbaugh Mr. James Gary Ms. Maryanne F. Gaunt Dan & Harriet Gill Mr. & Mrs. Sander L. Gilman Colonel & Mrs. Donald M. Gilner Mr. & Mrs. Donald Goldstein Dr. & Mrs. Martin Goldstein Dr. Richard Goodjoin James C. Goodwyne & Christopher S. Connelly Ms. Katharine Grady Ms. Nelda Greene Mr. Kevin Greiner Mr. & Mrs. Richard P. Grodzicki Ms. Anne L. Grossman Dr. & Mrs. John B. Haberlen Ms. Mary Joe Hanes Mr. & Mrs. William A. Hanger Dr. & Mrs. Eugene Harley Mr. Ronald L. Harris & Mrs. Jacqueline Pownall Mr. Michael D. Hastings Dr. Gary M. Henschen Marianne & Patrick Hickey Dr. & Mrs. William Hinson Ms. Elizabeth B. Hodges Mr. & Mrs. Douglas M. Holly, Jr. Ms. Tina A. Hooper Pearlann & Jerry Horowitz Mr. & Mrs. Nicholas C. Howard Mrs. Margaret Talmadge Howell Mrs. Roberta L. Huebner Ms. Emma Hughes Mrs. H.F. Hunter Mr. John M. Hutchinson & Mr. Brian Bonin Ms. Irmgard S. Immel Mr. Rolf Ingenleuf Mr. & Mrs. Francis M. Jack Mrs. Louise Jackson Mr. & Mrs. Robert C. Jackson Mary O. Jensen Mr. & Mrs. Thomas Johnston Cliff Jolliff & Elaine Gerke Ms. Jo Elliott Jones Mr. & Mrs. Paul Jones Ms. Beth Jones Mr. & Mrs. Jerry Juchelka

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Silver (continued) Mr. & Mrs. Bernd Kahn Mr. Stephen J. Kalista Mr. & Mrs. Edward Katze Dr. & Mrs. John L. Keller Mary Nell & Jim Kerr Jane & Bob Kibler Mrs. Donna J. Kilgore Mr. Allen D. King, Jr. Mr. Al Klicus Ms. Caroline B. Klopstock Mr. Richard Kranzmann Mrs. Cynthia Kutka Judge & Mrs. John Langford Mrs. Emma Lankford Mr. Andrew & Mrs. Juliette Lebor Ms. Constance B. Lewis Mrs. Jeanine Lewis Sophie Li Vanessa & Allan Little Mrs. Shirley Litwhiler Richard Lodise & Valerie Jagiella Drs. Jean V. & Lester A. Longley Charles & Katherine Lord Mr. Benjamin W. Lovvorn Mr. Trevor & Mrs. Donna Lumb Mr. Bruce Madden Dr. Robert & Judge Stephanie Manis Belinda & Gino Massafra Ms. John Massengale Ms. Gloria G. McCrory Patricia & Laughlin McDonald Mr. Kenneth A. Miller Cindy & Edward Miller Mr. Simon Miller Ms. Sarah Millett Mr. Roger Moister, Jr. Mr. M. Sean Molley Mr. Anthony Montag Mr. Bill Moody Ms. Janine Musholt Ms. Pat Nash Mr. & Mrs. Richard Newton Mr. Carl W. Nichols Ms. Melissa Mahan Nicol Cindy Baumgardner Mr. & Mrs. David Norris Mrs. Amy Wynn Norman Ms. Marianela E. Noya Mr. Howard R. Osofsky Mr. Joseph M. Pabst Rev. Louisa T. Parsons Dr. & Mrs. John G. Paty, Jr.

Silver (continued) Mr. & Mrs. John Payan Peachtree Battle Garden Club Mr. Andreas Penninger Ms. Sandra Perkowitz Mr. & Mrs. Benjamin S. Persons, Sr. Ms. Sophia B. Peterman Drs. Frank & Robin Petruzielo Ms. Maria M. Pflugbeil Donna & Robert Pollet Mr. Lawrence F. Pinson Calvin Pleasants & Vasily Goncharov Ms. Catherine Pobst Donna & Robert Pollet Ms. Anne Pollock Ms. Ivetta V. Polyakova Catherine Popper & Noah Eckhouse Mrs. Catherine T. Porter Lavinia Pretz Mr. Donald W. Prichard Mr. Leonard B. Reed & Ms. Lisa N. Davis Mrs. David A. Reinach Mr. & Mrs. Thomas F. Remington Mr. Mark Rich Mr. Norman Robinson Mr. Don C. Robinson Mr. John B. Rofrano Mr. & Mrs. John Phillip Rogers Mr. Daniel D. Ross Mr. Dwight Ross, Jr. Ms. Linda Rubin Wallace & Cindy Sagendorph Dr. & Mrs. David Satcher Dr. & Mrs. Joseph M. Scanlan Crista & Glenn Schaab Mr. & Mrs. James S. Schiwal Mr. Donald Schreiber & Ms. Barbara Seal Mr. & Mrs. John A. Schwartz Mr. & Mrs. David M. Scoular Harold Settle MD Mrs. Roberta Setzer Sharon Silvermintz Mr. & Mrs. Charles Slick Tom Slick Mrs. Carol E. Smart Mr. & Mrs. James W. Spencer Ms. Joan Spofford Gail & Barry Spurlock Dr. David Stacy Jay & Katie Sullivan Mr. & Mrs. James A. Summers Marjorie H. & David N. Summers Carolyn & Robert Swain

ENCORE AD PAGE

AnnuAl GivinG Silver (continued) Barbara & John Swann Mr. & Mrs. Hugh K. Switzer David C. Talbert Mr. Eric J. Taylor Ms. Virginia S. Taylor Mr. & Mrs. Frederick C. Taylor Leigh & Jay Telotte Paul & Loretha Thiele Ms. Nancy A. Thomas Mrs. Janet P. Tiller Mr. James Todd Mr. Joseph M. Troncale Carol C. Uhl Mrs. Linda P. Vinal

Silver (continued) Mr. & Mrs. Fritz Von Ammon Cameron & Scott Vowell Mr. & Mrs. Stephen G. Warner Mr. & Mrs. Lewis B. Watford Dr. Linda Webb Mrs. Constance Wehner Dr. Bernard Weiss Ms. Parsla A. Welch Mr. & Mrs. A. E. Westmoreland, Jr. Mr. & Mrs. Richard T. White Kay C. Wideman Ms. Teri Wikesjo Mr. & Mrs. Alexander M. Williams Dr. & Mrs. Sam Williams

Sue Williams Mr. Jason Williams Mr. Calvin Wingo Ms. Ann D. Winters Mrs. Loretta C. Wolf Dr. & Mrs. R. Craig Woodward Mrs. Mary S. Wright Mrs. Jeanne S. Wynne Drs. Martin & Holly York Dr. Edward Zaiko & Dr. Ivana Pelner-Zaiko Kurt-Alexander Zeller

CorporAte pArtners $500,000 The Coca-Cola Company $50,000+ Federal Home Loan Bank of Atlanta $10,000+ Affordable Equity Partners, Inc. The Atlantan Bloomingdales Tony Brewer & Co. Cartier Georgia Dermatology Center Google UBS Financial Services Inc. $5,000+ Anonymous BNY Mellon David Yurman Ikebana International KPMG LLP Neiman Marcus

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$2,500+ Batdorf & Bronson Coffee Roasters Branch Banking & Trust Co. Dennis Dean Catering Gas South Hyde-Moran Group - UBS Private Wealth Management King & Spalding LLP PNC Financial Services Group PNC Wealth Management The Ritz Carlton - Buckhead Soiree Catering and Events The St. Regis Atlanta Zurich North America

$1000+ Joel Crowe - Wallace Graphics Double Cross Vodka Fast Signs Sandy Springs National Distributing Company, Inc. Windham Brannon Financial Group, LLC $500+ Fidelity Bank Homrich Berg, Inc. Panasonic

would like to thank

for their generous support.

p r o u d ly s u p p o r t s

t h e At l A n tA o p e r A

FoundATion & GoVernMenT SuPPorT Listed below are organizations that contributed and/or pledged to The Atlanta Opera between July 1, 2013 and February 20, 2015.

FounDationS $750,000+ The Goizueta Foundation $150,000+ Atlanta Music Festival Association $50,000+ Livingston Foundation The Sara Giles Moore Foundation J. Marshall & Lucile G. Powell Charitable Trust The Rich Foundation $20,000+ The Jim Cox, Jr. Foundation The Kendeda Fund The Charles Loridans Foundation, Inc. Price Gilbert, Jr. Charitable Fund Wells Fargo

$10,000+ Molly Blank Charitable Trust The George M. Brown Fund Camp-Younts Foundation Fraser-Parker Foundation Ann & Gordon Getty Foundation JBS Foundation Abraham J. & Phyllis Katz Foundation Nordson Corporate Foundation Norfolk Southern Corporation Foundation SunTrust Trusteed Foundation

$1,000+ Bright Wings Foundation The Mary Brown Fund of Atlanta Hills Family Foundation Kiwanis Foundation of Atlanta, Inc Lois & Lucy Lampkin Foundation The Ray M. & Mary Elizabeth Lee Foundation Government FunDinG $50,000+ Atlanta Office of Cultural Affairs

$5,000+ Frances Wood Wilson Foundation, Inc. $20,000+ The John & Mary Franklin Foundation, Inc. Georgia Council for the Arts National Endowment for the Arts Publix Super Markets Charities Turner Broadcasting System

TriBuTeS & MeMoriALS in Honor of mr. & mrs. Shepard B. ansley Janice West in Honor of Florence Barnett The Snead Family in Honor of Doug Holly Boris Bauer in memory of Jay Beadle Dan & Harriet Gill in Honor of Jim & nancy Bland Mrs. Connie Treloar Mr. & Mrs. Ben J. Tarbutton Mrs. Treville Lawrence Mr. & Mrs. W. Tinsley Ellis in Honor of laura & Cosmo Boyd Mrs. Eleanor H. Strain in memory of lavinia Cloud Pretz Lavinia Pretz in memory of John Cox Mr. Kevin Dew & Mr. Hal Platt in Honor of ashley Curling David & Carmen Mcclellan

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in memory of miriam Drake Ms. Pat Johnston

in memory of edward mortimer Mrs. Thespi P. Mortimer

in Honor of Susanna eiland Dr. & Dr. Morgan Eiland

in Honor of Polly n. Pater Tom Slick Mr. & Mrs. Charles Slick Mr. & Mrs. Brian Beem

in memory of arnoldo Fiedotin Mrs. Enrique E. Bledel in memory of alvin Goldstein The Women of Bryan Cave in memory of John W. Grant, iii Mrs. Carol E. Smart in Honor of Kevin Greiner Ms. Joselyn B. Baker in memory of Betsy Hansen Harald Hansen in memory of mia Hecht owens Mrs. Enrique E. Bledel Ms. Janet R. Piercy Mrs. Catherine T. Porter Brooks, Leslie, & L.J. Yankosky in Honor of Joseph lattanzi The Reverend Neal P. Ponder, Jr. in memory of rachel lehmann Mrs. Eleanor H. Strain

in Honor of ms. Faye P. Popper Catherine Popper & Noah Eckhouse in memory of Jim Strain Mr. William E. Pennington in Honor of John tibbetts The Reverend Neal P. Ponder, Jr. in memory of marya Gabrielle Williams Jone Williams in Honor of mr. & mrs. Charles r. Yates, Jr. Mrs. Sarah Yates Sutherland in Honor of tomer Zvulun Dr. Richard S. Sarason & Anne S. Arenstein Cameron & Scott Vowell

SuPPorT The ATLAnTA oPerA

SUPPORT TOMORROW, TODAy! BUilD A lEGACy WiTH THE ATlANTA OPERA The Atlanta Opera sincerely appreciates your generous support and belief in our mission of enriching lives through the power of opera. By building a legacy through the creation of a planned gift with The Atlanta Opera, you can help ensure that future generations of Atlantans are exposed to the highest quality opera for generations to come.

Developing an estate plan requires advice from a professional, so we suggest you consult your personal adviser to make sure your gift will accomplish the intended goals for both The Atlanta Opera and you. A member of our development team will be happy to meet with and assist you in exploring the options that are most beneficial for everyone involved. Your planned gift can make a tremendous difference and help preserve the future of The Atlanta Opera!

enCore CirCLe The Atlanta Opera established the Encore Circle to recognize donors who have designated the Opera as a beneficiary in their estate plan. Gifts from these individuals ensure our progress for generations to come.

Anonymous Mr. & Mrs. Shepard B. Ansley Mrs. Wallace F. Beard Mr. Montague L. Boyd, III Ms. Mary D. Bray Mr. Robert Colgin Martha Thompson Dinos Arnold & Sylvia Eaves Ms. Dorothy E. Edwards Heike & Dieter Elsner Carl & Sally Gable Peg Simms Gary Mr. & Mrs. Sidney W. Guberman Ms. Judy Hanenkrat Mr. Hilson Hudson

Mrs. Joseph B. Hutchison Mr. J. Carter Joseph Mr. Alfred D. Kennedy Ms. Corina M. LaFrossia Mr. & Mrs. John G. Malcolm Mr. Robert L. Mays Mr. & Mrs. Allen P. McDaniel Mr. & Mrs. Jack C. McDowell Mr. & Mrs. Craig N. Miller Miss Helen D. Moffitt Mr. J. Robert Morring Clara M. & John S. O'Shea Mrs. Polly N. Pater Mr. William E. Pennington Mr. Bruce Roth

Ms. Hazel Sanger Mr. D. Jack Sawyer, Jr. Elizabeth Morgan Spiegel Dr. Jane T. St. Clair & Mr. James E. Sustman Mr. & Mrs. Thomas H. Teepen Dr. & Mrs. Harold Whitney Rhys T. Wilson Ms. Bunny Winter & Mr. Michael Doyle, J.D. *Mr. & Mrs. Charles R. Yates Sr. Mr. Charles R. Yates, Jr. & Mrs. Mary Mitchell Yates

* deceased

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VoLunTeerS Volunteers are a vital component of the continued success and growth of The Atlanta Opera. We would like to acknowledge the many contributions offered in the past year by the individuals listed below. We appreciate everything they do for the Opera and the greater Atlanta community by nurturing this important cultural asset.

Are you interested in working behind the scenes? Our volunteers work in our offices, in the community, backstage and even on the stage as supernumeraries! We can use you wherever you feel your particular skill set can best benefit the company, whether as an artist ambassador, or stuffing envelopes, or marketing. Call Natasha King at 404-591-2928, email nking@atlantaopera.org or visit the â&#x20AC;&#x153;Support Usâ&#x20AC;? section at atlantaopera.org to learn more about becoming a volunteer.

Denise Andersen Kimberly Anderson Chantey Andrews Lora Lee Antill Alishia Austin K. Ilena Banks Joan Baskin Sanford Baskin Zachary Berman Stacy Berry Rosa Bland William Gary Ernie Braunschweig Allison Brown Bennett Brzycki Charley Burney Paul Burnore Jessica Callaham Eydie Castro Richard Cherry Erin Cohee Noreen Conort Beth Cooper Jean Cornn Kimberly Daniels Lorie Davis Chris Deutschler Kevin Dew Stacey Dietz Richard Dodder Brad Dorfman Janay Douglas Chandrea Dungy Rabiah A. Elisa Lance Elliott Katia Evans Anna Filardi Olga Flores

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Brenda Flores Pete Fujimoto Peggy Fung Shawn Gardner Maxi George Aaron Gilliam Elliott Goldstein Elizabeth Goldstein Phoenixx Greywolf Sylvia Halleck Jumaanah Harris Anne Hayes Lauren Hayes Suzanne Hayes Jennifer Hendricks Frances Holland David Huffman Cardine R. Johnson Jocelyn Johnson Kathy Johnson Nicolas Johnson Corey Johnson Jamey Jones W. C. Jones Amanda Kautzer George Kazarian Rita Kennedy Paula Kocher Anie Kogutkiewict Sarah Kouba Patty Kramer-Lake Alison Kratzert Helen & Steve Kraus Esther Kudron Virginia J. Lam Charmaine Lawrence Ryan Lee Vicky Legasei

Peg & James Lowman Diana Lulushi Meigan Manis Rachael McDonald Mary Ruth McDonald Jenny McElligott Julie McGehee Denisha Miller Lorrain & Joseph Mills Marcus Mitchell Ciara Montalbo Kristin Moye Fatimah Mustafaa JC Name Natalie Lynch Robert Nemo Gwendolyn Nestlehutt Vernon Norris Ms. Marianela Noya Sonia Oxman Priya Patel Polly Pater Glenda Pearson Matthew Pinnow Larry Pinson Tandi Reddick Nancy Reed Marie Reid Alex Rivera Blake Roberson Catherine Roberson Diana Robinson Suzanna Saiah Cherylene & John Sands Martha Schallern Catherine Schatz Joyce Schechter Carol Schmied

Gail Shattah Amanda Shearrow Tatiana Shiferson Dan Shumate Verna Slade Alisha Smith Courtney Smith Sheena Spencer Margaret A. Stephen Eleanor Strain Beth Suryan Sandy Taffel Linda Taylor Carol Thurman Donald Thurman Laura Tompkins Suzanne Touchstone Ruth Vaught Mark & Tricia Vogelgesang Alice Wade Darrell Gene Waits Alana C. Walker Dorman Wallace Hilary Wayne Harold Whitney Branalyn Williams Laura Chris Wright Yilan Xiang Barbara Zellner Sanaa Furqan Constance Mack Sevim Jumper Sherry von Klitzing Grace Shin James (Jim) Jackson

LA BOHÈME PUCCINI October 3, 6, 9, 11, 2015

THE

PIRA TESOFPENZANCE GILBERT & SULLIVAN March 5, 8, 11, 13, 2016

AND JULIET ROMEO GOUNOD May 7, 10, 13, 15, 2016

WINTERREISE SCHUBERT Coming Next Season

SOLDIER SONGS DAVID T. LITTLE Coming Next Season

JOIN THE

ADVENTURE

2015-2016 SEASON ATLANTAOPERA.ORG | 404-881-8885

BoArd oF direCTorS oFFiCerS CHAiR EMERiTUS Mrs. Boyce Ansley CHAiR Mr. William E. Tucker iMMEDiATE PAST CHAiR Mr. Gregory F. Johnson viCE CHAiR Mr. John L. Hammaker viCE CHAiR Mr. Charles “Charlie” R. Yates TREASURER Mr. Rhys T. Wilson SECRETARy Mr. Michael Keough

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MeMBerS

honorArY MeMBerS

Ms. Cathy Callaway Adams Mr. Bryan H. Barnes Mr. Andy Berg Mrs. Nancy Carter Bland Mr. Montague L. Boyd, III Mrs. Rosemary Kopel Brown Mrs. Mary Calhoun Mr. Mario Concha Ms. Martha Thompson Dinos Mr. Robert G. Edge Ms. Bernadette Faber Mr. Eli Flint Mrs. Joanne Chesler Gross Mr. John Michael Hancock Mr. Howard W. Hunter Mr. William C. Hyde Ms. Mary B. James Mr. Alfred Kennedy, Jr. Mr. John O. King Mr. George Levert Ms. Kelly Lyemance Mr. James B. Miller Mr. Mike E. Paulhus Mr. William E. Pennington Mr. James D. Powell Mr. Herbert J. Rosenberg Mr. Charles Sharbaugh Mr. Timothy E. Sheehan Mr. G. Kimbrough Taylor, Jr. Mr. Thomas R. Williams Mrs. Jane S. Willson Mr. Robert G. Woodward Mr. Allen W. Yee

Mr. Opher Aviran Consul General Israel to the Southeastern United States Mr. Dieter Elsner Mr. Carl I. Gable, Jr. Mr. John “Jack” S. Gillfillan Mrs. Nancy Hall Green Mr. Carter Joseph Mrs. Peggy McDowell Mr. Harmon “Sandy” B. Miller, III Mr. Bruce A. Roth Mr. Mark K. Taylor Mrs. Bunny Winter

would like to thank

for their generous support.

Sat. March 28th 2pm-11pm

parktavern.com

STAFF The ATLAnTA oPerA Tomer Zvulun GENERAl & ARTiSTiC DiRECTOR Arthur Fagen CARl & SAlly GABlE MUSiC DiRECTOR

ArTiSTiC Cory Lippiello DiRECTOR Of ARTiSTiC PlANNiNG & COMMUNiTy ENGAGEMENT Walter Huff CHORUS MASTER Wade Thomas EDUCATiON MANAGER Lidiya Selikhov ARTiSTiC ASSOCiATE

deVeLoPMenT Sarah Zabinski DiRECTOR Of DEvElOPMENT Rae Weimer ASSOCiATE DiRECTOR Of DEvElOPMENT Greg Carraway fOUNDATiON & GRANTS MANAGER Caroline Clark ANNUAl fUND MANAGER Natasha King vOlUNTEER & EvENTS MANAGER Rachel Jorgensen DEvElOPMENT SERviCES & DATABASE MANAGER

MArKeTinG & CoMMuniCATionS Dave Paule DiRECTOR Of MARKETiNG & COMMUNiCATiONS Scott Hazleton MARKETiNG MANAGER Matt Burkhalter CREATivE SERviCES MANAGER Renee Smiley PATRON SERviCES MANAGER Rebecca Danis PATRON SERviCES ASSOCiATE

FinAnCe & AdMiniSTrATion Paul Deckard DiRECTOR Of fiNANCE Inga V. Murro CONTROllER Allie Beckett EXECUTivE ASSiSTANT 60

STAFF ProduCTion Shawn Rieschl Johnson DiRECTOR Of PRODUCTiON John Beaulieu TECHiNiCAl DiRECTOR/ MASTER CARPENTER Joanna Schmink COSTUMES COORDiNATOR Ken McNeil WARDROBE SUPERviSOR Bridgette K.L. Mont fiRST HAND Emoryann Childers STiTCHER Mary Torres STiTCHER Richard Jarvie WiG & MAKEUP DESiGNER Tiffany Davis WiG & MAKEUP DESiGN ASSiSTANT Richard Cherry WiG & MAKEUP DESiGN ASSiSTANT Christina Moore WiG & MAKEUP DESiGN ASSiSTANT Tracy Salazar WiG & MAKEUP DESiGN ASSiSTANT

CoBB enerGY PerForMinG ArTS CenTre Johannes Pikel TECHNiCAl DiRECTOR Jessica Coale PRODUCTiON MANAGER Michael Wolmer HEAD ElECTRiCiAN Mark Newman HEAD CARPENTER/RiGGER Jon Summers AUDiO ENGiNEER

1575 Northside Drive, N.W., Suite 350 Atlanta, GA 30080 404-881-8801 atlantaopera.org

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photo: Jeff Roffman

houSe PoLiCieS ConCeSSionS Concession stands are located in the center of the lobbies on all three levels. Food and beverage items are prohibited inside the theatre. Thank you for your cooperation. reSTrooMS Restrooms are located on house right and house left of all three lobbies. Family restrooms are also located on house right of all three lobbies. Mobility-impaired patrons may use any of our restrooms.

PArKinG There are 1,000 parking spaces available at $6 per car. Valet service is available for $10. Please be sure to allow enough time for travel to the theatre and parking as there is no late seating.

ATM There is one Bank of North Georgia ATM located in the grand lobby.

CoAT CheCK Coat check is available at the concierge desk. eMerGenCY inForMATion In the event of an emergency, please locate the nearest usher who will direct you to the appropriate exit. eLeVATorS Elevators are located on each side of the lobbies on all levels.

LoST And Found Lost and Found items are turned into the concierge desk on the day of a performance.

To inquire about a lost item, please call the House Manager at 770-916-2828.

SMoKinG Smoking is prohibited inside the building.

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SPeCiAL ASSiSTAnCe Persons requiring access assistance are asked to contact the box office at 770-916-2850 for advance arrangements.

Audio clarification devices are available to our hearing impaired guests at no charge.

This is on a first-come, first-served basis, or you may call the House Manager ahead of time to reserve one at 770-9162828. A limited number of booster seats are also available. All items require a form of identification to be held until the item is returned.

CoBB enerGY CenTre ruLeS & requeSTS • All patrons, regardless of age, must have a ticket in order to be admitted to the performance. Please be aware that not all performances are suitable for children.

• Infants will not be admitted to adult programs. Parents will be asked to remove children who create a disturbance.

• There is no late seating allowed. Closedcircuit monitors are provided in the lobby as a courtesy to latecomers.

• Please turn off all cell phones prior to the beginning of each performance.

• Please limit conversation during the performance.

• Cameras (including use of cell phone camera) and audio and video recording devices are strictly prohibited at all times.

• Leaving while the show is in progress is discourteous and we ask that you refrain from doing so.

• Please unwrap all candies and cough drops before the performance.

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