The Atlanta Opera: The Anonymous Lover, April, 2023

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THE ATLANTA OPERA Ray Charles Performing Arts Center at Morehouse College Mar 31 - Apr 2 ,2023 THE DISCOVERIES SERIES ALSO SUPPORTED BY The Livingston Foundation THE DISCOVERIES SERIES SPONSORED BY The Molly Blank Fund of The Arthur M. Blank Family Foundation
THE ANONYMOUS LOVER Page 6 Page 10 WELCOME Letter From Tomer Zvulun, Carl W. Knobloch, Jr. General & Artistic Director ..... 2 SPONSORS & CREDITS Sponsors ................ 4 Credits ................. 5 FEATURES Synopsis ................ 7 Written by Mark Lyons | Edits by Maria Todaro Production Note ............ 10 Written by Mark T. Ketterson BEHIND THE CURTAIN Cast & Creative ............ 14 The Glynn Studio Artists ....... 22 The Atlanta Opera Chorus ...... 24 The Atlanta Opera Orchestra .... 25 THE ATLANTA OPERA Board of Directors/Executive Committee/ Advisory Council ............ 26 Director’s Circle ............ 27 Staff ................... 28

Joseph Bologne, Chevalier de Saint-Georges held a remarkable number of occupations and positions in his life. He was a champion fencer, military officer, a highly accomplished composer, conductor, and violinist, and a nobleman. He earned the title “Le Chevalier de SaintGeorges’ as an officer in the king’s guard. All even more remarkable considering the circumstances of his birth to an enslaved mother on a plantation in the Caribbean French colony.

Despite his immense success and international recognition, Bologne was no less affected by racist ideologies of his time, as evidenced by the fact that most people have never heard of him–a peer of Mozart who was once nominated to become the music director of the Paris Opéra erased from history.

It’s especially meaningful that The Anonymous Lover is Morehouse College’s first opera on campus and a work by a black musician whose revival is long overdue. Bologne was active as an abolitionist and revolutionary and toured Europe in support of these causes. He was a genius, endlessly curious, and a polymath. He would have been a Morehouse man.

The Atlanta Opera treasures our relationship with Morehouse; we’re a stronger company and citizen because of it. We’re looking forward to our continued partnership on the 96-Hour Opera Project, a competition that showcases under-represented talent among composers and librettists. The second annual competition arrives in June.

Before that, we’ll end our season with Wagner’s Das Rheingold at the end of April. And we are already fullthrottle toward our 2023-24 season. Please pick up a brochure before you leave or visit our website. We’d love to see you at the opera. | @theatlantaopera 2 | welcome
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The Molly Blank Fund of the Arthur M. Blank Family Foundation




This program is supported in part by the City of Atlanta Mayor’s Office of Cultural Affairs and by the National Endowment for the Arts. This program is also supported in part by the Georgia Council for the Arts through the appropriations of the Georgia General Assembly. GCA also receives support from its partner agency—the National Endowment for the Arts. Funding for this program is provided by the Fulton County Board of Commissioners. | @theatlantaopera 4 | sponsors


COMPOSER Joseph Bologne, Chevalier de Saint-Georges

LIBRETTIST François-Georges Fouques Deshayes, Desfontaines

BASED ON THE PLAY L’Amant anonyme by Stéphanie Félicité, Madame de Genlis


CONDUCTOR Emily Senturia


SET DESIGNER Stéphan Moravski







FILMED MEDIA Felipe Barral & Amanda Sachtleben


LÉONTINE Maria Valdes

VALCOUR Frederick Ballentine

DOROTHÉE Indra Thomas

OPHÉMON Jonathan Bryan*

JEANNETTE Cadie J. Bryan

COLIN Christian Patterson



PROJECTED TITLES Brendan Callahan-Fitzgerald



Performed in French with English supertitles.

Approximate running time: two hours and 17 minutes, plus one 25 minute intermission.

English Captions for The Anonymous Lover created for The Atlanta Opera by Louisa Otey

Original production and staging by Maria Todaro

Original costume design by Ari Fulton

Costumes for the production were constructed at the Minnesota Opera Costume Shop and owned by Minnesota Opera.

The purchase of equipment for The Atlanta Opera is supported by a gift from Eva & Robert Ratonyi.

*Alumnus of The Atlanta Opera Glynn Studio. Sponsored in name this season by a gift from Beth & Gary Glynn, The Glynn Studio Artists also receive significant support from the Donald & Marilyn Keough Foundation.

The Studio Artist director position is funded by Jerry & Dulcy Rosenberg in honor of Tomer Zvulun.

5 credits |



WITH EDITS BY Stage Director, Maria Todaro

Part I

Joseph Bologne Chevalier de Saint George contemplates aloud, shedding light on his most recent opus, “l’Amant Anonyme”, about to be performed for the honored guests of Madame de Montesson.

The composer steps into the lead role of Valcour while his contemporary and patron, Madame de Montesson, is given the role of Dorothée.

The performers arrange the sets in the fashion of the “Salon” performance and the play begins:

For years now, Valcour has been suffering from an unrequited love for the striking, young widow Léontine (aria: “Depuis longtemps” – “For a long time”). With the hand of his friend and confidant Ophémon, Valcour has been lavishing Léontine with gifts, flowers and love letters. All this he has done anonymously in an effort of self-preservation. Léontine was left devastated following her late husband’s death, and Valcour is convinced that she has no desire to spark a romance with someone new. He reveals to Ophémon that he feels his attempts to win the affections of Léontine have at last proved unavailing. Ophémon counters this sentiment, telling Valcour that it is imperative he lay bare his secret (duet: “Tant de constance, tant d’amour” – “Such constancy, such love”). Léontine unintentionally overhears the two going back and forth, discovering the truth about Valcour’s profound and maddening love for her.

Bologne is taken aback by the sight of Marie-Josephine de Montalambert playing the role of Léontine. His awe draws him away from the play briefly, but Madame de Montesson summons him back and the performance carries on. | @theatlantaopera 6 | synopsis
Costume rendering for Valcour by Ari Fulton.

Léontine, trying to veil any allusion to her discovery, goes to Valcour and asks him to settle a dispute she is having with Dorothée. Léontine has received a bouquet of flowers from the Anonymous Lover, along with a letter imploring her to carry the bouquet at a wedding later that day. According to the letter, the Anyonymous Lover will concede and cease his amorous pursuit, if she does not. Dorothée believes it would be harmless for Léontine to accept the flowers.

Hoping to observe Valcour’s reaction, Léontine claims she does not want to hurt her secret admirer’s feelings, nor lead him on (aria: “Son amour, sa constance extreme” – “His love, his extreme constancy”). Dorothée seems surprised by Léontine’s odd behavior, while Valcour succeeds in convincing Léontine to carry the flowers.

Jeannette and Colin, the young couple about to be betrothed, arrive on the scene and express their gratitude towards Léontine for making their wedding possible (chorus: “Chantons, célébrons notre dame” – “Let us sing, let us celebrate our lady”). They invite their guests to revel with them in the love and joy of the moment (chanson: “Jouissez de l’allégresse” – “Enjoy the happiness”).

Léontine is surprised, but this weddings seems to be one of the festivities the Anonymous Lover regularly organizes for her. The guests are eager to continue the wedding preparations as an infectious jubilance fills the air. Dorothée even improvises a special gift for the happy couple.

Dorothée, Léontine and Valcour find themselves alone for a brief moment as the wedding guests begin the festivities inside Léontine’s villa. Valcour teases Léontine that the Anonymous Lover might very well be closer than she thinks.

He persuades her to call out to her mysterious suitor and insist he reveal himself. When she obliges, Valcour crudely attempts to mock the situation, overdramatically declaring that it is in fact he who has been the tormented Anonymous Lover all along. Valcour’s “joke” evokes a tantalizing chuckle from Dorothée. But there seems to be a pivotal revelation at this moment. A glimpse of genuine transparency between Valcour and Léontine unnerves them both, and they feel “seen” by one another. Léontine is overwhelmed, even dizzy, and everyone’s efforts to help only exacerbate the incident.

Valcour and Ophémon nervously try to convince Léontine that it was all in jest, while Jeannette and Colin are sympathetic to Léontine’s palpable anguish (quintet: “Que de maux mon coeur ressent” – “My heart feels such pain”). | 7
Costume rendering for Léontine by Ari Fulton.

Interlude: We travel into the future and into reality, MarieJosephine de Montalambert has received a poignant and melancholic letter from Joseph Bologne. Marie-Antoinette has been executed, The French Revolutionaries have won, Bologne mourn their son and lament about how much life has changed. We listen to the Largo of his concerto opus 8, numero 2 in G, composed after learning about the death of his baby boy.

Part II

Alone, Léontine is overcome with embarrassment. She laments that Valcour is unlikely to understand her feelings, though she longs to unburden her heart to him (recitative: “Enfin une foule importune” – “At last this unwelcome crowd”). Valcour impresses upon Ophémon to go to Léontine and tell her that he has spoken with the Anonymous Lover. Léontine pressures him for details, but Ophémon resists (duet: “Ah, finissez de grace” – “Ah, go on please”). Eventually, Ophémon concedes. He tells her how the Anonymous Lover agonizes over the impossibility that Léontine would love him, but that he wishes to reveal his identity anyway. (aria: “Aimer sans pouvoir le dire” – “To love without being able to admit it”) Léontine agrees to meet.

As she awaits the arrival of her not-so-anonymous lover, Léontine realizes that her heart is now full of passion, something she never expected. (ariette: “Du tendre amour” — “Such is the power of tender love”) Valcour arrives. Léotine tries everything to get him to confess his love for her, but Valcour maintains that his presence is a mere act of friendship and support. (duet: “Non, je ne puis rien entendre” — “No, I can’t listen anymore”) By now, Ophémon and Dorothée, accompanied by the whole village, are listening outside the door. At last, Léontine and Valcour surrender and profess their love for one another. Ignorant to the fact that Léontine has been aware of it for some time now, Valcour prepares to reveal himself as the Anonymous Lover (trio: “Ah, quel trouble” — “Ah, such confusion”). Before he has the chance, Léontine kisses him, and their powerful embrace puts an end to any uncertainties.

Léontine shares the joyous news with Dorothée, who had been hoping for this outcome all along with Ophémon. They all join Jeannette and Colin for what is now a double wedding (chorus: “Deux noces à la fois” — “Two weddings at once”). The two couples rejoice in happiness as song and dance ensue all around them (quartet: “Aimons-nous sans cesse” — “Let us love one another”). | @theatlantaopera 8 | synopsis


The Home Depot Founda tion is proud to partner with The Atlanta Opera to honor our U.S. militar y, veterans and their families. © 2020 Homer TLC, Inc All rights reserved.

Production Note

One of the great joys of the classical music realm in recent seasons has been the rediscovery of a longsuppressed composer whose prodigious body of work is now enjoying a grateful renaissance. Joseph Bologne, Chevalier de Saint-Georges–rather uncomfortably dubbed “the Black Mozart” in his 18th century Parisian milieu–was lauded as one of the most versatile and gifted men of his time. President John Adams called him “the most accomplished man in Europe”, and that wasn’t empty hyperbole. A master athlete and swordsman, Bologne was one of the era’s most prolific composers, a celebrated conductor, and a violin virtuoso of extraordinary musicality. Atlanta Symphony Orchestra audiences will remember a dazzling performance of Bologne’s Violin Concerto in A Major played by Augustin Hadelich and the ASO two seasons ago. One of many | @theatlantaopera 10 | productionnote
1787 Portrait of Joseph Bologne, Chevalier de Saint-Georges by D’après Mather Brown. PUBLIC DOMAIN / WIKIMEDIA.ORG

extant works by Bologne, its violin line was crafted to display his own superhuman abilities and is virtually unplayable anyone else.

Born in the Caribbean in 1745, Bologne was the son of the wealthy planter Georges de Bologne SaintGeorges by one of his slaves, an African woman named Anne, or as affectionately called, “Nanon.” At the age of seven, his father took him to France to begin his education. By thirteen, Bologne was already displaying unusual talent in fencing and began to study music with composer François-Joseph Gossec and violin with Jean-Marie Leclair. His swordsmanship was such that he was quickly made a gendarme of the king’s bodyguard and a chevalier. Bologne’s unusual skill on the violin soon drew the attention of the venerated Antonio Lolli, who dedicated two violin concertos to him. The young musician later distinguished himself as a colonel in the French Revolution, and became concertmaster and conductor of Le Concert des Amateurs and Les Concert des la Lodge Olympique, where he commissioned and conducted Haydn’s six “Paris” symphonies.

As one among the most celebrated men in Parisian society (and by multiple accounts, one of the most handsome) Bologne was welcomed into the most exclusive salons of the day, where his intellect and elegant dancing skills were much admired. He also enjoyed several famous liaisons, including a serious relationship with actress Marie-Josephine Montalembert that ended tragically when her husband discovered the affair.

Bologne certainly encountered racial discrimination. In 1776, he was proposed as Director of the Académie Royale de Musique, later known as the Paris Opéra. The appointment was abandoned when a trio of leading ladies from the Opéra petitioned the Queen to remove him, claiming their honor would be compromised in being compelled to answer to a person of color (it should be noted that one among the cabal was ballerina Marie-Madeleine Guimard, whose romantic attention Bologne had rejected). He was also attacked on the streets by a mob of six jealous men in 1779, though survived the assault. Joseph Bologne, Chevalier de Saint-Georges died in Paris in 1799.


Bologne composed at least six operas, all but one now lost or represented only by scattered fragments. The pastoral comedy L’Amant Anonyme happily survives. This delightful example of opéra comique with spoken dialogue premiered in 1780, most likely at Montesson’s residential theatre. Based on a stage play by Madame Stéphanie Félicité de Genlis, the work is something of a French baroque rom-com – it is light entertainment but filled with delicious melodies and grateful opportunities for vocal display. The plot is simple: The nobly born widow Léontine is wooed in secret by Valcour, who poses as her anonymous admirer. After a few plot twists involving the usual retinue of confidantes, counselors, and secondary love interests, all ends happily.

The opera begins with a three-part overture, conceived in Italian style. There follows a delightful series of set pieces, initiated by the tenorial grace of Valcour’s “Depuis longtemps mon coeur” and his rousing duet with bass-baritone Ophémon. We then encounter the heroine Léontine in the first of her three arias, her affective state skillfully depicted through agitated writing in C minor. Her third aria “Du tendre amour” is the score’s showpiece and finds her coursing through a plethora of emotions expressed through contrasting musical means (here Bologne anticipates Mozart’s The Marriage of Figaro in his clever marriage of text to sound). Listen too for the pinpoint coloratura and melting lyricism in the music for the lovers Jeanette and Colin. Bologne also makes use of emblematic dance forms throughout the piece, and as was de rigueur in France, the score features extended sequences for ballet, and charming they are.

L’Amant Anonyme concludes with an invigorating contredanse générale for the entire company. It has been noted that the contredanse requires participants to assume positions of equality, as opposed to the hierarchical structure of other traditional court dances. That sense of inclusion seems particularly poignant as the musical world rediscovers Joseph Bologne, Chevalier de Saint-Georges, whose music has been unjustly neglected for far too long. | @theatlantaopera 12 | synopsis | 404-881-8885 2023-24 SEASON A marquee lineup of blockbuster hits.


Drawing from her diverse experience as a violinist, conductor, and coach, San Francisco Bay Area native Emily Senturia approaches operatic repertoire with a sympathetic affinity for both singers and instrumentalists. In the 2022-23 season, her performances will include Il barbiere di Siviglia with New Orleans Opera and Rinaldo with Minnesota Opera. In 2021, Ms. Senturia conducted La clemenza di Tito with Opera Steamboat, assisted Eun Sun Kim in the opening night gala for San Francisco Opera, conducts Dvořák’s 8th symphony with the Diablo Symphony, and continues coaching students at the San Francisco Conservatory of Music. In 2022, she will conduct Semele at Opera Santa Barbara, The Tragedy of Carmen with Hawaii Opera Theatre, Fellow Travelers with Florida Grand Opera, and Sky on Swings at Opera Saratoga. Ms. Senturia made mainstage conducting debuts with Houston Grand Opera and Washington National Opera in 2018, both with Il barbiere di Siviglia. Recently she conducted La traviata with Hawaii Opera Theatre, Ariadne auf Naxos with Wolf Trap Opera, and Fellow Travelers with Boston Lyric Opera. She music directed the world premiere of Denis & Katya at Opera Philadelphia’s O19 Festival, and has been on the music staff at Houston Grand Opera (Nixon in China, Tosca, Faust, Aida), the San Francisco Conservatory of Music (Le nozze di Figaro), The Atlanta Opera (Sweeney Todd, Carmen), Wolf Trap Opera (The Ghosts of Versailles, Giulio Cesare, La bohème), and Opera Philadelphia (Sky on Swings, Elizabeth Cree, War Stories). Ms. Senturia is an alum of the Houston Grand Opera Studio, Wolf Trap, the Aspen Music Festival, and the Royal Academy of Music. She studied orchestral conducting at Boston University and violin at Rice University.

Born into a family of singers, Maria Todaro was, at a very young age, surrounded by music and arts. A versatile artist and art entrepreneur, Maria is not simply a stage director who has directed more than 20 major operas already, but also a fight choreographer, stunt artist, writer, and conductor. She is also training a new generation of singers and serves as general director of The Phoenicia International Festival of Voice after co-founding it in 2010. She directed the first USA live performance drive-in style in 2020 a sci-fi Tosca in Kingston, NY for Festival of The Voice (FofV). Todaro Specializes in virtual reality opera directing (Volumetrics, VR, AR). In February 2022, she directed Joseph Bologne’s L ‘Amant Anonyme for Minnesota Opera based on her own designs and adaptation from the French text; she directed a 1930’s setting of the opera La Ceneretola by Rossini; a hilarious production of Gianni Schicchi encompassing all characters of Puccini in one setting; in October of 2022 The Marriage of Figaro for Fargo Moorhead Opera; she also designed a unique Spanish Civil War Carmen; and she directed a ground-breaking production of The Elixir of Love set in Ghana with an exclusively African American cast at FofV in August of 2019. | @theatlantaopera 14 | cast&creative

Stéphan Moravski is a set designer for opera, theatre and dance based in downtown Manhattan. He is an alumnus of Tisch School of the Arts, NYU, graduating with a Master of Fine Arts, Set Design for Stage and Film. Earlier he completed his Master of Architecture at the University of Melbourne. After his graduation from Tisch, Stephan assisted opera design legend Paul Steinberg, and had the opportunity to work on operas at the highest international level, throughout Europe and America. He had the privilege to travel to Teatro alla Scala in Milan to present the opera CO2. Stephan now works as an independent set designer and his recent works include: Die Tote Stadt opera (Bard Fisher Center), Mriya (Cheremosh Ukrainian Dance Company, Canada), Bound (Fresh Squeezed Opera NYC), Carmen (Opera Naples), Carmen (Moorhead Opera Fargo), Aida (Opera Naples), Figaro (Opera Naples), Tesla opera (Colony Theater, Miami), Cendrillon opera (Frost School of Music, National Opera Association first prize winner), Legend, Stories of a Nation (Lehenda Dance company), Don Juan (Bard College), and was associate on Rags Parkland (Ars Nova, 2019 Lucille Lortel Award, Outstanding Musical), The Treasurer (Playwrights Horizons), and Light Years (Powerhouse Theater). He and his team were 2017 finalists in Opera America’s Director-Designer grant for their work on Glory Denied. He debuted with Opera Minnesota with The Anonymous Lover. Stephan also holds the title of Creative Director at Lehenda Ukrainian Dance Company, Melbourne. Stephan has a Ukrainian heritage, and a strong connection to Ukrainian culture. He grew up dancing and teaching Ukrainian Traditional Cossack dance. Besides his set design work, Stephan freelances as a design consultant in creative visual merchandising at Tiffany & Co. He works as a member of the team who design windows for Tiffany globally.

Ari Fulton is a New York-based costume designer for stage and film. Ms. Fulton has built a diverse career designing theatrical costumes nationally and internationally. Ms. Fulton holds an M.F.A. in Design for Stage and Film, from New York University’s, Tisch School of the Arts. In 2018, Ms. Fulton received her first feature film credit, for her design work for Nigerian Prince, which was shot on location in Lagos, Nigeria. Nigerian Prince, is executiveproduced by Spike Lee and is the first recipient of Tribeca and AT&T New Voices Award. Recent design credits include: Incomplete directed by Zoey Martinson (NAACP Image Award Nominee, 2023), Rent (Oregan Shakespeare Festival) Confederates written by Dominique Morisseau (Signature Theatre, NY). The Anonymous Lover (Minnesota Opera, Minneapolis, MN), Little Girl Blue: The Nina Simone Musical (New World Stages, NY, NY). Ms. Fulton is the proud recipient of the Lily Creative Spirt Award for her costume design work, (2017), and a Broadway World Miami Award for Design of the Decade, (2021), for her work on A Wonderful World: The Louis Armstrong Musical | 15

Blake Manns is an Austin, Texas-based video and projection designer working across theatre, opera, dance, television, film, experiential, and immersive. Credits include: Medea (Metropolitan Opera, Assoc.), Verdi’s Requiem (Metropolitan Opera/PBS Great Performances, Assoc.), Skeleton Crew (Broadway, Assoc.), Sea Wall / A Life (Broadway, Assoc.), Stone Memory (installation commissioned by Washington National Opera and The Kennedy Center, co-design with S. Katy Tucker), American Music Awards 2022 (Animator), The (R)evolution of Steve Jobs (The Atlanta Opera/Lyric Opera of Kansas City/Austin Opera/Calgary Opera, Assoc.), To The Yellow House (La Jolla Playhouse, Assoc.), Cats (2016 Broadway Revival, Asst.), The 70th Annual Tony Awards (Asst.)

Stevie O’Brian Agnew is currently the Lighting Director for The Old Globe in San Diego, where he oversees and manages lighting and video for 16 productions a year. He has a diverse design background in multiple genres including dance, opera, and corporate events. He has designed for Black Iris Project, Florida Grand Opera, Pittsburgh Opera, Ash Lawn Opera, WQED, Bodiography Contemporary Ballet, New Horizons Theatre, Pittsburgh Playwrights Theatre, Bike Pittsburgh, Babb Inc., August Wilson Center, LabCoDance, The Jewish Theater of Pittsburgh, Oklahoma Shakespearean Festival, and Carnegie Mellon University. Stevie has also worked at The Santa Fe Opera, Pittsburgh Ballet Theatre, Marc Wollin Productions, Opera Colorado, Pittsburgh Public Theatre, Unique Staging Solutions and Lake Erie Ballet. Stevie graduated with a Master of Fine Arts in Lighting Design from Carnegie Mellon University, School of Drama.

Melanie Steele lives in Atlanta where she works with The Atlanta Opera, Fox Theatre, The Alliance Theatre, Atlanta Ballet, as well as working in film and television. Steele recently toured with the national Broadway tour of The Lion King. She has designed wigs and makeup for The Santa Fe Opera, Austin Opera, Central City Opera, Spoleto Festival USA, Baltimore Opera, Kentucky Opera, Michigan Opera Theatre, Bard SummerScape, Opera Festival of New Jersey, Opera Pacific, Opera North Carolina, and Saratoga Springs Opera. Some of Steele’s work can be seen in Opera News, Makeup Artist Magazine, Seventeen, Time, Newsweek, Glamour, Voyage Atlanta, IMDB, and Texas Monthly Magazine. | @theatlantaopera 16 | cast&creative


FRIDA, 2019

Ricardo returns to The Atlanta Opera after successful productions of this season’s Candide and last season’s Cabaret. He is an Atlanta based director/choreographer and a three-time Suzi Bass Award winner, creating work for theaters and opera companies around the nation. Recent work: Director and/or ChoreographerCabaret, Revolution of Steve Jobs, Carmen, and Frida (The Atlanta Opera), Cinderella (Aurora Theatre), Luisa Fernanda (Florentine Opera) White Christmas (Jennie T. Anderson). He’s also the founder and artistic director of Theatre Platform Project, an educational nonprofit, which provides performing arts programs to diverse communities in Atlanta.


Bruno Baker is a Latinx NYC-based American/Brazilian multidisciplinary stage director. Last season credits include revival directing Roméo et Juliette at Houston Grand Opera and Fellow Travelers at Opera Columbus. Returning in the current season, he continues as the Stage Directing Glynn Studio Artist with The Atlanta Opera Studio and will serve as an Assistant Director at The Metropolitan Opera. Mr. Baker has worked as an assistant director at Houston Grand Opera, The Atlanta Opera, Boston Lyric Opera and Madison Opera and is on the staging staff for Santa Fe Opera. He is a recipient of the 2021 OPERA America Robert L.B. Tobin Director-Designer Prize. With NYU, he has directed The Glass Menagerie, Thyestes, and Strange Interlude. Previously, he has been on the staging staff with Park Avenue Armory, Guerilla Opera, Boston Conservatory at Berklee, and LoftOpera.




Rolando Salazar was the Associate Conductor and Chorus Master for The Atlanta Opera from 2017 through 2020. He has served as assistant conductor and pianist at the Bellingham Festival of Music, as assistant conductor at La Musica Lirica, and as coach/conductor for the Harrower Opera Workshop. Rolando was seen most recently in performances with The Atlanta Opera, Madison Opera, Atlanta Concert Opera, Rome Symphony Orchestra, Atlanta Ballet, Atlanta Symphony Orchestra, Georgia State University Orchestra, Johns Creek Symphony Orchestra, Ozark Family Opera, and Permian Basin Opera. He keeps an active coaching and collaborative piano schedule in Atlanta, preparing numerous singers for engagements with major orchestras and opera houses worldwide. A student of Michael Palmer, he is a graduate of Georgia State University with a Master of Music in orchestral conducting and an Artist Diploma in orchestra and opera. Last season’s production of The Pirates of Penzance marked his 25th production with The Atlanta Opera Chorus.

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American soprano Maria Valdes was recently described as a “first-rate singing actress and a perfectly charming Gilda” (New York Times). During the 2020-21 season, Ms. Valdes was slated to return to Houston Grand Opera to sing the role of Amy in the world premiere of The Snowy Day (postponed due to COVID-19 to 2021-22 season) and to make her Hawaii Opera Theater debut as Euridice in Offenbach’s Orpheus in the Underworld (COVID-19). In 2021, Ms. Valdes sang the role of Younger Alyce for the recording of Glory Denied at The Atlanta Opera, joined NYFOS@ Home for their It’s Summer in South America recital, covered the role of Lucy in The Threepenny Opera for The Atlanta Opera and joined the Atlanta Symphony Orchestra for their series of short films called In The Key of Bach. That summer, she reprised the role of Younger Alyce in Berkshire Opera Festival’s production of Glory Denied and performed as the soprano soloist in Mozart’s Requiem with Summer Singers of Atlanta. During the 2021-22 season, Ms. Valdes made her Georgia Symphony Orchestra debut as the soprano soloist in Mahler’s Symphony No. 4, returned to Berkshire Opera Festival for a recital of Mozart selections and made her Hawaii Opera Theater debut as Micaëla in Peter Brook’s La tragédie de Carmen. She returned to The Phoenix Symphony as the soprano soloist in Beethoven’s Symphony No. 9, debuted the role of Maria in The Sound of Music with Charlottesville Opera and The Ellen Theater, joined Berkshire Lyric for Mozart’s Requiem and Laudate Dominum in the prestigious Seiji Ozawa Hall at Tanglewood, made her Gulf Coast Symphony debut as the soprano soloist in a concert titled A Grand Night of Opera and returned to the Bellingham Festival of Music to sing a concert of Strauss lieder and Mahler’s Symphony No. 4. During the 2022-23 season, Ms. Valdes will make her Metropolitan Opera debut covering Papagena in The Magic Flute, return to Hawaii Opera Theater as Lauretta in Gianni Schicchi, and makes her San Jose Symphony debut singing Barber’s Knoxville: Summer of 1915 and Carmina Burana | @theatlantaopera 18 | cast&creative


Hailing from Norfolk, Virginia, Grammy Award-winning tenor Frederick Ballentine was the 2021 recipient of the Kennedy Center’s Marian Anderson Award, and is an alumnus of both the Cafritz Young Artists of Washington National Opera and the Los Angeles Opera’s DomingoColburn-Stein Young Artist Program. The 2022-23 season brings two anticipated role debuts at English National Opera, as he sings George Bailey in Heggie/Scheer’s It’s a Wonderful Life, and returns later in the season as Loge in Wagner’s Das Rhinegold. During the season, he makes his debut with Opera Vlaanderen as Jack O’Brien and Toby Higgins in Kurt Weill’s Rise and Fall of the City of Mahagonny and makes his role debut as Sam in Carlisle Floyd’s Susannah with Opera Theatre of Saint Louis. In the 2021-22 season, Freddie joined the Staatstheater Kassel for his role debut as the Drum Major in Wozzeck and returned to the Metropolitan Opera to reprise the role of Sportin’ Life in The Gershwin’s Porgy and Bess. He also debuted the role of Nick in The Handmaid’s Tale at English National Opera. Recent operatic engagements include Sportin’ Life in The Gershwins’ Porgy and Bess for his debuts with The Metropolitan Opera, English National Opera, and Dutch National Opera; Don José in Carmen and Charlie Parker in Charlie Parker’s Yardbird with Seattle Opera; the Steersman in Der fliegende Höllander with Cincinnati Opera; Reverend Parris in Robert Ward’s The Crucible at the Glimmerglass Festival, and returns to Los Angeles Opera to sing Monastatos in Barrie Kosky/1927’s production of Die Zauberflöte and Amon in Akhnaten.



AIDA, 2003

Indra Thomas has established herself as an artist of incredible sensitivity, poise, and virtuosity. She has performed at many of the world-class opera houses and venues, such as the Metropolitan Opera and the Vienna State Opera; she has performed at prominent venues here in the US, France, Germany, Spain and England, including the Royal Albert Hall and Carnegie Hall with her most recent appearance with Cincinnati Opera as Serena in their production of Porgy and Bess. Among numerous top orchestras with which she has appeared are the New York Philharmonic, the London Symphony and Leipzig’s Gewandhaus Orchestra–as well as leading orchestras in Paris, Spain, Brazil, The Netherlands, Japan, Finland, South Korea, Malaysia, Abu Dhabi, Boston, Cleveland and Detroit. She has graced several famous music festivals such as the Bregenz Festspiele in Bregenz, Austria, Chorégies d’Orange in France and the Proms Summer Festival in London. In constant demand, her performances are consistently distinguished by the striking vocal beauty and deep emotional impact of her singing as well as her smoldering intensity as a singing actress. A minister’s daughter whose mother was a nurse and a gifted, amateur singer, she was born and raised in Atlanta. She is The Visiting Voice Instructor and Director of Opera at her alma mater, Shorter University, and is a graduate of the prestigious Academy of Vocal Arts in Philadelphia. | 19





Baritone Jonathan Bryan’s 2022-23 season brings a return to Arizona Opera as Captain von Trapp in The Sound of Music. During the summer of 2021, Mr. Bryan appeared as a Filene Artist with Wolf Trap Opera, where he debuted the roles of Anthony Hope in Sweeney Todd and Le Baron de Pictordu in Viradot’s Cendrillon. Bryan’s 2019-20 season brought a return to The Atlanta Opera for his second season as the company’s resident studio artist baritone during which he performed First Nazerene in Strauss’ Salome and was slated to sing Yamadori and cover Sharpless in their production of Madama Butterfly prior to COVID-19. Mr. Bryan also appeared in Wolf Trap Opera’s 2020 virtual season in Love: Surrender as Marcello in scenes from Puccini’s La bohème. Other highlights prior to COVID-19 which may be rescheduled to a later date include a role debut as Silvio in the New Jersey Festival Orchestra’s fully staged I Pagliacci and Luther and Crespel in Opera Louisiane’s Les Contes d’Hoffman. He made his international debut on the stage of the Château de Versailles as Beaumarchais in The Ghosts of Versailles, a role which he debuted with The Glimmerglass Festival in 2019 as well as the role of Baron Dauphol in Francesca Zambello’s production of La traviata with The Glimmerglass Festival and The Atlanta Opera.

Praised as “sparkling” and “pertly pealing” by Opera News, Louisiana-born soprano Cadie J. Bryan is quickly emerging as a captivating and versatile performer in a variety of repertoire. Her 2021-22 season features house debuts with The Dallas Opera in concert for the Hart Institute for Women Conductors and Opera Las Vegas as Addie Mills in the west coast premiere of Ricky Ian Gordon’s The House Without a Christmas Tree, as well as a return to Arizona Opera to reprise the role of Despina. She recently came out of the Marion Roose Pullin Arizona Opera Studio where she performed mainstage leading and supporting roles including Musetta in La bohème, Susanna in Le nozze di Figaro, Bess in Craig Bohmler’s Riders of the Purple Sage, Maid in the Taliesin West Premier of Daron Hagen’s Shining Brow, and Annina in La traviata. She spent three seasons as an Apprentice Artist with Des Moines Metro Opera during which she debuted roles including Clarine in Rameau’s Platée, Prilepa in The Queen of Spades, and Second Wood Sprite in an Emmy award-winning production of Rusalka. Dedicated to promoting new works, Cadie’s other career highlights include Chan Parker in Daniel Schnyder’s and Bridgette Wimberly’s Charlie Parker’s Yardbird and Lucy in Fellow Travelers (Arizona Opera) as well as Clara in Jake Heggie’s and Gene Scheer’s It’s A Wonderful Life (Indiana University). Cadie is an alumnus of Ravinia’s Steans Institute for singers where she studied and performed in a variety of art song and Lieder recitals with world-renowned pianists and coaches. She received a Master of Music and a Performance Diploma from the Indiana University Jacobs School of Music and her Bachelor of Music from Louisiana State University. | @theatlantaopera 20 | cast&creative

Christian Leon Patterson (he/him) is thrilled to be making his Atlanta Opera debut. A tenor hailing from Memphis, Christian now resides in Brooklyn, New York. He received his Bachelor’s of Music in Vocal Performance from Loyola University New Orleans in 2017, while also performing with the New Orleans Opera Chorus and Opera Creole. After receiving his Artist’s Diploma from Southern Methodist University in 2021, he then spent time with the Nashville Opera performing the role of Borsa in Rigoletto, and as a touring outreach artist for children in the greater Nashville area, teaching children about the wonders of opera and classical music. Most recently, Christian appeared in La bohème, The Pirates of Penzance, and Aida during the 2022 Cincinnati Opera season. In the upcoming year, Christian is hoping to release a collection of his favorite classical songs, song cycles, and arias. | 21

Glynn Studio Artists

Each of The Atlanta Opera Studio Artists is an early career professional with significant stage experience, some with lead performances and major concert appearances on their resume. This ensemble builds on The Atlanta Opera’s commitment to provide opportunities for performers at all stages in their careers.

Over the course of The Atlanta Opera’s 2022-23 season, these artists will have the opportunity to work with and learn

from established performers while also participating in this season’s productions as performers and covers. Sponsored in name this season by a gift from Beth & Gary Glynn, The Glynn Studio Artists also receive significant support from the Donald & Marilyn Keough Foundation, Jerry & Dulcy Rosenberg, and John & YeeWan Stevens.


ATLANTA OPERA DEBUT THE BIG TENT SERIES 2021 Bruno Baker is a Latinx NYC-based American/Brazilian multidisciplinary stage director. Returning in the current season, he continues as the Stage Directing Glynn Studio Artist with The Atlanta Opera Studio and will serve as an Assistant Director at The Metropolitan Opera. He is a recipient of the 2021 OPERA America Robert L.B. Tobin Director-Designer Prize. With NYU, he has directed The Glass Menagerie, Thyestes, and Strange Interlude Previously, he has been on the staging staff with Park Avenue Armory, Guerilla Opera, Boston Conservatory at Berklee, and LoftOpera.


Praised by Voce di Meche for his “juicy, booming and room-filling bass,” Edwin Jhamal Davis is a proud native of Utica, MS. He earned his master’s degree from the prestigious Manhattan School of Music where he studied with baritone Mark Oswald. Since graduating, he has made 2021-22 debuts with On Site Opera, Florentine Opera, and Detroit Opera. In the 2021-22 season, he debuted the role of Sarastro in Mozart’s Die Zauberflöte at the worldrenowned Merola Opera in San Francisco. | @theatlantaopera 22 | glynnstudio


Gretchen Krupp, “a mezzo capable of searing delivery, powerful and ripe” (Opera Today) is gaining recognition in major competitions and festivals. She returns to The Atlanta Opera this season after a variety of roles last year, where she will cover Judith in Bluebeard’s Castle, sing Kate Pinkerton in Madama Butterfly, Paquette in Candide, and Flosshilde, as well as cover Fricka, in Das Rheingold. She also looks forward to singing Mother Earth in the premiere of Amy Leventhal’s new opera Our Sacred World.


Hailed by Opera News as a “fresh voiced” tenor, Kameron Lopreore has delighted audiences all over the United States. He just enjoyed his first-year apprenticeship with Santa Fe Opera where he was seen in Carmen, The Barber of Seville, Tristan und Isolde, and Falstaff. A New Orleans native, this fall he will be featured as The Tenor in AMC’s anticipated television drama Anne Rice’s Interview with the Vampire. Recently, he sang Tamino in The Magic Flute and Panatellas in the world premiere of Songbird at the prestigious Glimmerglass Festival.


Italian-American soprano Alexis Seminario is a singerartist dedicated to sharing stories that empower people and inspire vulnerability. This past summer, Alexis was an apprentice artist with Des Moines Metro Opera. In the fall of 2022, Alexis will perform the soprano solo in Dvořák’s Te Deum with the Richmond Symphony Orchestra led by Valentina Peleggi. Alexis is an alum of Houston Grand Opera: YAVA and a graduate of the Vocal Arts Program at Bard Conservatory. She is a recent recipient of an Anna Sosenko Assist Trust Grant. | 23


Rolando Salazar



Aja Brimm

Tiffany Uzoije


Xiaohan Chen


William Green

Tyrone Webb


Jaenam Lee

Set rendering for The Anonymous Lover

| theatlantaoperachorus


Peter Ciaschini

The Loraine P. Williams

Orchestra Concertmaster


Lisa Morrison

Acting Principal Second


William Johnston



Charae Krueger Principal


Emory Clements

Acting Principal


James Zellers Principal


Christina Gavin

Acting Principal


Carlos Clark



Jason Eklund

Acting Principal


James Zellers

Musicians employed in this production are represented by the American Federation of Musicians of the United States and Canada.




Mr. Rhys T. Wilson

Vice Chair

Mr. John L. Hammaker


Ms. Bunny Winter


Mr. John Haupert


Mrs. Cathy Callaway Adams

Mrs. Elizabeth Adler

Mrs. Wendy Anzalone

Mr. Bryan H. Barnes

Mr. Dante Bellizzi

Mr. Montague L. Boyd, IV

Dr. Harold J. Brody

Mrs. Rosemary Kopel Brown

Mr. Frank H. Butterfield

Mr. Mario Concha

Dr. Frank A. Critz

Mr. Robert Dean

Dr. Carlos del Rio

Dr. Todd Ellis

Mr. Dieter Elsner

Dr. Donald J. Filip

Mr. Kevin Greiner

Mrs. Joanne Chesler Gross

Mr. Jamael Hester

Mr. Howard W. Hunter

Mr. Andrew R. Long

Mr. Alfredo Martin

Mr. James B. Miller, Jr.

Mrs. Stephanie Morela

Mrs. Sandra S. Morelli

Mrs. Talia Murphy

Mr. Howard Palefsky

Mr. Michael E. Paulhus

*Mr. William E. Pennington

Mr. Herbert J. Rosenberg

Mr. Thomas Saylor

Mr. Charles Sharbaugh

Mr. Alex Simmons, Jr.

Mrs. Christine St.Clare

Mr. William E. Tucker

Mr. Tomer Zvulun, ex-officio


Board Chair

Mr. Rhys T. Wilson


Mr. John L. Hammaker

Nominating & Board Engagement Chair

Mrs. Talia Murphy


Mr. John Haupert

Treasurer | Finance Chair

Ms. Bunny Winter

Audit Chair

Mr. Bryan H. Barnes

Community Engagement Chair

Mr. Alex Simmons, Jr.

Development Chair

Mr. Howard Palefsky


Mr. Andrew J.M. Binns

Mr. Kenny L. Blank

Mrs. Inge Bledel


Mr. Ronald Antinori

The Very Reverend

Samuel G. Candler

Mr. Robert G. Edge

Mr. Carl I. Gable, Jr.

Mrs. Nancy Hall Green

Mr. Gregory F. Johnson

Mr. Carter Joseph

Mr. Alfred Kennedy, Jr.

Mr. Michael Keough

Mrs. Emily C. Knobloch

Mr. George Levert

*Mrs. Peggy Weber McDowell

Mr. J. Barry Schrenk

Mr. Timothy E. Sheehan

Mr. G. Kimbrough Taylor, Jr.

Mr. Mark K. Taylor

Mr. Thomas R. Williams

Mr. Robert G. Woodward

Mr. Charles “Charlie” R. Yates

Equity, Diversity & Inclusion Chair

Mrs. Stephanie Morela

Investment Co-Chairs

Mr. Frank Butterfield

Mrs. Sandra S. Morelli

Strategic Planning Chair

Mrs. Christine St.Clare

At-Large Members

Mrs. Cathy Callaway Adams

Mr. Howard W. Hunter

Mr. Charles Sharbaugh

Carl W. Knobloch, Jr.

General & Artistic Director, ex-officio member

Mr. Tomer Zvulun

Ms. Mary Calhoun

Ms. Sally Bland Fielding

Mrs. Beth W. Glynn

Dr. Thomas N. Guffin, Jr.

Mrs. Erin Quinn Martin

Mr. Paul Snyder | @theatlantaopera 26 | leadership


Cathy & Mark Adams†

The Antinori Foundation

Bryan & Johanna Barnes†

Mr. & Mrs. Paul Blackney†

Laura & Cosmo Boyd

Harold Brody & Donald Smith†

John & Rosemary Brown

Connolly Family Foundation

Dr. Frank A. Critz & Dr. Ann Critz†

Mr. Robert P. Dean & Mr. Robert Epstein†

*Martha Thompson Dinos

The Gable Foundation, Inc.†

Beth & Gary Glynn

Dr. & Mrs. Alexander Gross†

Mr. John L. Hammaker

Mr. Howard W. Hunter - Gramma Fisher Foundation†

Mr. & Mrs. Michael L. Keough

*Mr. & Mrs. Carl W. Knobloch, Jr.†

Beau & Alfredo Martin†

Mary Ruth McDonald

Mr. James B. Miller, Jr.†

Talia & John Murphy†

Victoria & Howard Palefsky†

*Mr. William E. Pennington†

Jerry & Dulcy Rosenberg†

*Bruce & Karen Roth

Katherine Scott

*Mrs. Lessie B. Smithgall

Mr. William F. Snyder†

John & Yee-Wan Stevens†

Judith & Mark Taylor

Carol B. & Ramon Tomé†

Rhys & Carolyn Wilson†

Ms. Bunny Winter & Mr. Michael Doyle†

†Indicates our extraordinary donors who have committed to continue their annual giving for three years or more *deceased

27 |


Carl W. Knobloch, Jr. General & Artistic Director

Tomer Zvulun

Managing Director

Micah Fortson

Executive Assistant & Board Liaison

Misty Reid


Carl & Sally Gable Music Director

Arthur Fagen

Director of Artistic Administration

Meredith Wallace

Artistic Associate

Annie Penner Gilstrap


Director of Production

Robert Reynolds

Associate Director of Production

Meggie Roseborough

Senior Technical Director

Terry Harper

Technical Director

Joshua Jansen

Assistant Technical Director

Ben Cole

Production Coordinator

Jocelyn Gresham

Production Finance Coordinator

Robbin Anderson

Production Stage Manager

Megan Bennett

Stage Manager

Rachel Dane

Assistant Stage Managers

Kate Fehan

Lighting Supervisor

Marissa Michaels

*denotes members of the International Alliance of Theatrical Stage Employees - Local 927

Chorus & Orchestra Manager

Chris Bragg

Orchestra Librarian

Phil Parsons

Assistant Lighting Designer

Eve Bandi

Props Manager & Artisan

Wanda Amanda Creech

Costume Shop Director

Sarah Burch Gordon

Costume Shop Manager

Cristine Reynolds


Fiona Leonard

First Hand/Show Manager

Paula Peasley-Ninestein

Design Assistant

Allison Hines


Stefanie Pifer

Jenn Rogers

Wardrobe Supervisor

Kelly Chipman

Wig & Makeup Assistant

Wendy Sanders

†denotes members of the International Alliance of Theatrical Stage Employees - Local 859

28 | staff 404.881.8885 Join us live in the theater, or stream from your favorite device. Livestream events, films, special series, & more ... Experience The Atlanta Opera when and where you want. Select offerings now available Available in your app store puccini


Director of Community Engagement & Education

Jessica Kiger

Education Manager

Kendall Roney


Chief Advancement Officer

Paul Harkins

Associate Director of Development

– Leadership Giving

Jessica Langlois

Associate Director of Development

– Major & Planned Gifts

Jonathan Blalock


Director of Finance

Kathy J. White


Inga V. Murro

Staff Accountant

Andreaus Leverette


Director of Human Resources

Kenneth R. Timmons


Director of Sales & Marketing

Rebecca Brown

Senior Manager, Ticketing Services

Renee Smiley

Guest Services Concierge

Emily Crisp


Director of Communications & Public Relations

Michelle Winters


Director of The Atlanta Opera Film Studio

Felipe Barral


Bruno Baker

Edwin Jhamal Davis

Gretchen Krupp

Community Engagement & Education Coordinator

Jonesia Williams

New Works Administrator

Cara Consilvio

Database Manager/Analyst

Gokul Parasuram

Annual Giving & Events Coordinator

Gloria Lin

Development Operations Coordinator

Diana Burns

Senior Institutional Giving Officer

Elana Grossman

Staff Accountant

Camelia Johnson


Ruth Strickland

Creative Services Manager

Matt Burkhalter

Sales & Marketing Manager

Ashley May King

Film Associate

Amanda Sachtleben

Kameron Lopreore

Alexis Seminario | @theatlantaopera | staff 30
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