Don Giovanni, The Atlanta Opera; January, 2023

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THE ATLANTA OPERA Jan 21 - 29, 2023 performing arts centre
DON GIOVANNI Page 8 Page 34 WELCOME Letter From Tomer Zvulun, Carl W. Knobloch, Jr. General & Artistic Director ..... 4 SPONSORS & CREDITS Sponsors ................ 6 Credits ................. 7 FEATURES Production Note ............ 8 Written by Mark T. Ketterson Synopsis ................ 12 BEHIND THE CURTAIN Cast & Creative ............ 16 The Glynn Studio Artists ....... 28 The Atlanta Opera Chorus ...... 30 The Atlanta Opera Orchestra .... 33 COMMUNITY & SUPPORT Community Engagement ....... 34 Written by Jessica Kiger Donor Profile: Bunny Winter ..... 36 Director’s Circle ............ 37 Annual Giving ............. 38 The Barbara D. Stewart Legacy Society/ Tributes & Memorials .......... 42 Corporate Partners/ Foundations & Government Support . 43 LEADERSHIP Board of Directors .......... 44 Executive Committee/Advisory Council . 45 Staff ................... 46


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Welcome to 2023 and to a masterpiece that has been absent from Atlanta stages for more than a decade. A talented international cast delivers Don Giovanni as you’ve never seen it. Director Kristine McIntyre’s filmnoir inspired production pays homage to 1930’s film classics like Double Indemnity and The Big Sleep. I often find myself marveling at the fact that we think of this time period as modern, when it is almost one hundred years away from us!

We follow Don Giovanni with a new production of Candide, Leonard Bernstein’s witty and philosophical impression of Voltaire’s biting satire. Meant to spoof optimism, the rebellious and heartfelt heroes at the story’s center struggle to persevere in their positive outlook through a hair-raising sequence of war, disease, famine, shipwreck and slavery. Yet through these impossible times they manage to keep a sparkle in their eye and a tune on their lips. What is more human or timely than that?

This spring, our Discoveries series heads to Morehouse College for the first time, befittingly to present an opera by Joseph Bologne, le Chevalier de Saint-Georges, an 18 th century composer known as the Black Mozart. In fact, Mozart was still a teenager looking for steady work when Saint-Georges’s musical career was at its peak. Among his only surviving works, The Anonymous Lover is a comic romance of vulnerability and devotion. Most interesting is the creator himself, perhaps the most unjustly forgotten composer of the classical period.

Our season ends with the largest-scale production in our history, Das Rheingold, as the first installment of the Ring Cycle. During these coming weeks, I will be splitting my time between Atlanta and Dallas as we prepare the collaboration on this monumental project which I have been preparing for since my very first day in Atlanta, a decade ago.

Thank you for being here! If you’re joining us for the first time, I’ll borrow a piece of classic film noir affection: I think this is the beginning of a beautiful friendship. Welcome!

Tomer Zvulun

Carl | @theatlantaopera 4 | welcome


Official Beverage of The Atlanta Opera

THE 2022-23 DISCOVERIES SERIES SPONSOR   The Molly Blank Fund of the Arthur M. Blank Family Foundation





*Martha Thompson Dinos






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.

*deceased | @theatlantaopera 6 | sponsors


COMPOSER Wolfgang Amadeus Mozart

LIBRETTIST Lorenzo Da Ponte

FIRST PERFORMANCE October 29, 1787, Estates Theatre, Prague

CONDUCTOR Jan Latham-Koenig


ASSOCIATE DIRECTOR Janine Morita Colletti

SET DESIGNER R. Keith Brumley




WIG & MAKEUP DESIGNER Dennis Milam Bensie

FILMED MEDIA Felipe Barral & Amanda Sachtleben


DON GIOVANNI Brandon Cedel

DONNA ANNA Mané Galoyan

DONNA ELVIRA Jennifer Johnson Cano


LEPORELLO Giovanni Romeo

ZERLINA Meigui Zhang

MASETTO Edwin Jhamal Davis†

COMMENDATORE George Andguladze

SUPERNUMERARIES Prince Connor, Anthony Madore, David van Mersbergen, Spiro Winsett


CHORUS MASTER Rolando Salazar



PROJECTED TITLES Brendan Callahan-Fitzgerald


ASSISTANT STAGE MANAGERS Caitlin Denney-Turner, Kristin Kelley

Performed in Italian with English supertitles.

Approximate running time: two hours and 30 minutes, plus one 25 minute intermission.

English Supertitles for Don Giovanni created by Christopher Bergen

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

Scenery and Props for this production constructed by Lyric Opera of Kansas City. Costumes for this production were constructed by Kansas City Costume Company.

Wolfgang Amadeus Mozart DON GIOVANNI

Edited for the New Mozart Edition by Wolfgang Plath and Wolfgang Rehm

Used by arrangement with European American Music Distributors Company, U.S. and Canadian agent for Baerenreiter-Verlag, publisher and copyright owner.

†Member 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, and John & YeeWan Stevens. The Studio Artist director position is funded by Jerry & Dulcy Rosenberg in honor of Tomer Zvulun.

7 credits |

Production Notes

Don Giovanni (far right, disguised as Leporello) sending Masetto and the townspeople to track down Leporello (who is disguised as Don Giovanni).

A perusal of opera newsgroups on the internet can get interesting when the conversation turns to Don Giovanni, Wolfgang Amadeus Mozart’s brilliant dramma giocoso based upon the fictional exploits of legendary Spanish libertine Don Juan Tenorio. The piece is appalling by today’s standards, some will say. How can a work that appears to romanticize the amorality of a serial seducer even be viable in a post-MeToo society?

The fact of the matter is that Don Giovanni was shocking in 1787 too, and Mozart intended it to be. It has always raised disturbing questions and continues to do so, even in our more enlightened times when its dramatis personae aren’t exactly people one is likely to find living next door. Those who fear that the opera glorifies Giovanni’s dissolute antics might instructively consider that its full title is Il dissoluto punito, ossia il Don Giovanni (The Punishment of the Libertine, or Don Giovanni ). Depiction of abhorrent behavior does not in of itself condone it. Mozart signals | @theatlantaopera 8 | productionnote

the inevitability of Giovanni’s retribution in the very first measures of the score, as we hear the music that will ultimately attend the devious Don’s descent into eternal damnation. He joins a gallery of anti-heroes who field a disquieting mixture of charm and cringe. Stravinsky’s Tom Rakewell, Rogers and Hammerstein’s Billy Bigelow, and Sinclair Lewis’s Elmer Gantry all come to mind.

The opera was commissioned for Prague, where Mozart had enjoyed spectacular success earlier in the year. Reasons behind the choice of subject matter are unknown, but entertainments based on the Don Juan legend had proven to be unusually popular in the city. Mozart likely saw an opportunity to ride an established wave of success while surpassing the offerings of others. He naturally was eager to team up again with librettist Lorenzo Da Ponte, with whom he had collaborated so fruitfully on Le nozze di Figaro the previous year. Da Ponte subtly adapted certain elements taken from an existing libretto by Giovanni Bertati for Giuseppe Gazzaniga’s oneact opera Don Giovanni Tenorio, but the project clearly resonated significantly for him. He was quite the ladies’ man himself and was personally acquainted with Giacomo Girolamo Casanova, the notorious “Don Juan” of the era, whose romantic exploits were fervently discussed behind closed (and opened) doors by bejeweled fans.

Don Giovanni premiered to mammoth acclaim at Prague’s Estates Theatre on October 29, 1787. A revised version opened in Vienna six months later, and was well received, though did not create quite the same furor as the first production – which may have had something to do with the extraordinary level of musicianship boasted by Prague at that time. Vienna’s Don Ottavio, tenor Francesco Morella, was undone by the florid passagework of “Il mio tesoro”, so Mozart obliged him by replacing it with a new aria, “Dalla sua pace” (essentially exchanging a witch for a devil, given the formidable demands in legato the piece requires). On the other hand, soprano virtuoso Catarina Cavalieri, one of the composer’s favorite vocalists, was given a stunning new aria for Donna Elvira that greatly enhanced her character, the magnificent soliloquy “Mi tradì quell’alma ingrata”. Both additions are usually included today, though an added duet for Zerlina and Leporello is generally cut in modern performance. Today, Don Giovanni is regarded as one among the most perfect of all operas. The work has inspired multiple creations by other artists, including Beethoven, | @theatlantaopera 10
| productionnote

Liszt, E.T.A. Hoffman, and George Bernard Shaw, who fantasized an extended conversation among the libretto’s leading personalities in his mammoth play Man and Superman

Don Giovanni’s influence is understandable given the extraordinary richness of its characters and their motivations. Giovanni’s refusal to repent his actions even while facing the gates of Hell has been the subject of speculation from musicologists and psychologists alike. Donna Anna has also come under scrutiny. Was she raped by the Don and therefore intent on revenge? Or was she, just maybe, a willing participant in their tryst until things got out of hand, and are her actions informed by guilt? Donna Elvira is an unusually strong female character for the period yet reveals an emotional layering in her relationship to Giovanni that is staggering in its complexity. And is Leporello as put upon by his master as he claims, or is he also complicit in their transgressions? The possibilities are endless.

We also find some of Mozart’s most clever musical inspirations here. Listen for the aural portraiture in Leporello’s famous “Catalogue Aria” as the endless variety of women seduced by the Don are deftly characterized musically with quick, fleeting notes for the petite ladies among them, while the statuesque are suggested by writing of more grandeur and organized around extended note values. The music accompanying appearances of Anna and Ottavio is peppered with riffs from trumpet and timpani and in D major, a key associated with nobility, while the thunderous theme which depicts the Commendatore’s ghost in the opera’s denouement is among the most redoubtable music Mozart ever penned; so much so that the final ensemble was often omitted, and the evening ended right there.

Don Giovanni may alarm us, but Mozart was, if anything, the most purely human of composers and had an uncanny knack for holding a mirror up against the foibles of humankind. With some brutal selfexamination applied, many of us will likely see parts of ourselves reflected therein. As for the opera’s enigmatic protagonist – perhaps at the end of the day the suave and debonair Giovanni represents something akin to an emotional train wreck. We are horrified by him, but we cannot turn away. And with music this glorious, why would we want to? | 11

Donna Elvira, Don Ottavio, and Donna Anna in the Act I trio before entering Don Giovanni’s bar to confront him.



At night, in the street outside the Commendatore’s house, Leporello bemoans his fate working for the dissolute Don Giovanni. Suddenly Giovanni runs into the street pursued by Donna Anna, the Commendatore’s daughter, who accuses him of trying to attack her. The Commendatore rushes to his daughter’s aid and is killed by Giovanni. Anna asks her fiancé, Don Ottavio, to avenge her father’s death.

At a café the next morning, Giovanni and Leporello encounter one of Giovanni’s former conquests, Donna Elvira, who is still angry at Giovanni’s betrayal. Leporello tries to discourage her from pursuing Giovanni by showing her his catalogue with the name of every woman Giovanni has seduced.

Meanwhile, Masetto and Zerlina celebrate their upcoming wedding with friends. Don Giovanni asks Leporello to get rid of the groom. Alone with | @theatlantaopera 12 | synopsis

Zerlina, Giovanni persuades her to come away with him. Before they can leave, Elvira interrupts them and leads Zerlina away. Momentarily thwarted, Giovanni greets the mourning Anna and Ottavio, only to be embarrassed by the persistent Elvira, who denounces him as a seducer. Trying to dismiss her as a madwoman, he ushers Elvira off. Anna, in horror, recognizes him as her father’s murderer and calls on Ottavio to avenge her honor.

Later that afternoon, Giovanni looks forward to an evening of partying he has arranged in Zerlina’s honor. Zerlina begs the furious Masetto to forgive her. Anna, Ottavio and Elvira arrive in disguise, swearing vengeance, and Giovanni tells Leporello to invite them in.

Inside Giovanni’s nightclub, Leporello distracts Masetto while Giovanni dances with Zerlina, trying to drag her into an adjoining room. When Zerlina cries for help, Anna, Elvira, and Ottavio unmask and confront Giovanni, who escapes.


Under Elvira’s balcony, Leporello exchanges clothes with Giovanni to woo the lady in his master’s stead. Leporello and Elvira go off, leaving Giovanni free to serenade Elvira’s maid. When Masetto arrives with his friends to punish Giovanni, the disguised Don tricks Masetto and beats him up. Zerlina tenderly consoles him.

Elvira follows the disguised Leporello into a dimly lit church. Leporello tries to escape, but is discovered by Anna, Ottavio, Zerlina and Masetto. Mistaking servant for master, they join in denouncing the supposed Don. Frightened, Leporello reveals his identity and manages to escape. Ottavio asks Zerlina and Masetto to comfort the distraught Anna and go to the


authorities for help. Left alone, Elvira thinks about her love for Giovanni in spite of everything.

Leporello finds Giovanni in a cemetery, where a statue of the slain Commendatore warns Giovanni of his doom. The Don forces the terrified Leporello to invite the statue to dinner only to be surprised by the Commendatore himself.

Ottavio urges Anna to stop grieving and accept his love. She implores him to wait until her father is avenged.

Late that night in the empty club, Giovanni orders Leporello to serve supper. Elvira arrives and attempts to persuade Giovanni to reform his ways, but he sends her away.

In a final confrontation with the Commendatore, Giovanni is finally forced to pay for his crimes. | @theatlantaopera 14 | synopsis
CORY WEAVER Don Giovanni and Donna Elvira. ©2021 The Coca-Cola Company.

In January 2023, Jan Latham-Koenig begins his tenure as Music Director of Teatro Colón, Buenos Aires. Opera highlights of this year include his debut at Festival della Valle d’Itria, Italy conducting a new production of Prokofiev’s The Gambler directed by Sir David Pountney; a return to Teatro Colón for a new production of Weill’s The Seven Deadly Sins and Bartok’s Bluebeard’s Castle in September; Verdi’s La traviata in Dublin with the National Opera Theatre Brno and the RTE National Symphony Orchestra. As a symphonic conductor, Jan Latham-Koenig returns to the Zagreb Philharmonic and the Buenos Aires Philharmonic this autumn. In recent seasons, he conducted Carmen with Tokyo Nikikai Opera Foundation and collaborated with world-leading architect Santiago Calatrava first design for opera on a new production of Poulenc’s Dialogues des Carmélites in Turin. He directed the Arena di Verona on Zefferelli’s last unrealized production of Verdi’s Rigoletto at the Royal Opera House Oman, and guest conducting Cape Town Philharmonic and Opera, performing Bizet’s The Pearl Fishers and Britten’s The Turn of the Screw. Throughout his career, Latham-Koenig has held many music director positions including most recently the Flanders Symphony Orchestra in Bruges, Belgium and the Filarmonica del Teatro Regio, Turin. Other positions include Artistic Director of the Orquesta Filarmónica de la UNAM, Mexico City Orchestra of Porto, Teatro Municipal in Santiago, Chile, the Orchestre Philharmonique de Strasbourg and Opéra National du Rhin. In 2020 he was awarded the OBE in the Queen’s Birthday Honours List for services to music. | @theatlantaopera 16 | cast&creative


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.

Stage director Kristine McIntyre has directed more than 100 operas across the U.S. with a focus on new, contemporary, and American works. Productions include Jake Heggie and Gene Scheer’s Moby-Dick (Utah Opera, Pittsburgh Opera, Chicago Opera Theater, Opera San Jose); Dead Man Walking (Lyric Opera of Kansas City, Des Moines Metro Opera, Madison Opera); the world premieres of Karchin’s Jane Eyre (Center for Contemporary Opera), Mark Lanz Weiser and Amy Punt’s The Place Where You Started (Art Share, LA) and Celka Ojakanga and Amy Punt’s Mirror Game; new productions of Wozzeck, Billy Budd (regional Emmy award) and Peter Grimes as well as As One, Glory Denied, and Soldier Songs (Des Moines Metro Opera, Urban Arias), Dove’s Flight (Pittsburgh Opera, Des Moines Metro Opera, Austin Opera), Heggie’s The End of the Affair (Lyric Opera of Kansas City) and Three Decembers (Des Moines Metro Opera); Florencia en el Amazonas (Madison Opera), Elmer Gantry (Tulsa Opera), Of Mice and Men (Utah Opera, Austin Opera, Tulsa Opera), the world premiere of Mechem’s John Brown (Lyric Opera of Kansas City); new productions of Street Scene, The Tender Land (Michigan Opera Theater), Horovitz’s Gentleman’s Island (Utah Opera) and Lee Hoiby’s Bon Appétit; an updated English-language version of Poulenc’s The Human Voice (Utah Opera, Des Moines Metro Opera), a staged concert version of Vanessa (Toledo Opera) and the world premiere of The Canticle of the Black Madonna (Newmark Theater, Portland). Highlights of the 202122 season include Hometown to the World at Santa Fe Opera, revivals of her production of Flight at Utah Opera and Dallas Opera, a new production of Sweeney Todd: The Demon Barber of Fleet Street for Des Moines Metro Opera (where she was recently appointed Artistic Consultant), the world premiere of Mark Lanz Weiser and Amy Punt’s Galaxies in Her Eyes—the first opera ever written specifically for a planetarium—and Unknown, the cinematic premiere of a dramatic song cycle by Shawn Okpebholo and Marcus Amaker, commissioned by UrbanArias. | @theatlantaopera 18 | cast&creative


Janine Morita Colletti is stage director, singer, and actress working in both the classical music and theatre scenes. After completing her B.M. in Vocal Performance from Ithaca College, she completed a dual Master’s Degree in Opera Performance and Musical Theatre at Arizona State University. As an associate stage director Janine has worked with the Dallas Opera and most recently at the Des Moines Metro Opera on their world premiere of A Thousand Acres where she also directed on their Apprentice Artist scenes programs. Janine’s solo directorial projects have been seen with TCA EDGE Series and most recently a film version of Michael Ching’s Speed Dating Tonight with Arizona State University. As an actress she has worked with the Southwest Shakespeare Company, Prospect Theater Company, Mamches Productions, The Barrow Group, and Arizona Theatre Company to name a few.



Keith Brumley has been based in Kansas City, Missouri since 1991. His debut production with the Lyric Opera of Kansas City was Candide in 1984. Keith joined the full time staff of the Lyric in 1991. Upon his retirement in 2017 he had designed 44 new productions for the Lyric Opera. 1989 was Keith’s debut at the Des Moines Metro Opera. The summer of 2022 was the 50th anniversary season for Des Moines, and Keith designed a new production of Porgy and Bess for the occasion. The 2022 season marked the completion of 30 seasons and 61 productions with Des Moines Metro Opera for Keith. Recent productions include Flight, Carmen, Tosca, Sweeney Todd, and Don Giovanni.

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Mary Traylor has designed numerous operas for the Lyric Opera of Kansas City including Aida, Of Mice and Men, Julio Cesare, Hamlet, Abduction From the Seraglio, Don Giovanni, Cenerentola, John Brown, Cosi fan tutti, The Flying Dutchman, Turandot, and Carmen amongst others. Her designs for operas have appeared at Washington National Opera, Calgary Opera, Opera Orlando, Palm Beach Opera, Des Moines Metro Opera. She has been the resident costume designer at The Heart of America Shakespeare Festival for the past 34 years creating costumes for 40 Shakespeare productions and designed for the New Theatre in Kansas City for more than 30 productions.

Marcus has designed for opera and theatre across North America and in Europe, most recently seen at Pittsburgh Opera as the lighting designer for Rusalka. He has designed numerous productions for Minnesota Opera, the Guthrie Theater, Theatre de la Jeune Lune, The Moving Company, Theater Latté Da, Penumbra Theatre, Minnesota Orchestra, Children’s Theatre Company, Ordway Music Theater, Minnesota Dance Theatre, American Repertory Theatre, Intiman Theatre, and Actors Theatre of Louisville.



He has also designed for the Spoleto Festival (Italy); the Athens Festival, Lyric Opera Kansas City, Portland Opera, San Diego Opera, Flanders Opera, Opera Philadelphia, Opera Pacific, Pittsburgh Opera, Fort Worth Opera, Vancouver Opera, Opéra de Montréal, Canadian Opera Company, Chicago Opera Theater, and Boston Lyric Opera. Marcus is the recipient of an Ivey Award, a Sage Award, and two McKnight Theater Artist Fellowships. He is a professor in the department of Theatre Arts and Dance at the University of Minnesota and is a graduate of Boston University’s School for the Arts. | @theatlantaopera 20 | cast&creative



Dennis Milam Bensie completed an apprenticeship in wig making at Los Angeles Opera in 1995 and his work has been seen at Oregon Shakespeare Festival, the Alliance Theatre in Atlanta, Actors Theatre of Louisville, the Old Globe in San Diego, and over 25 other regional theatres across the country. He was the resident Wig Master at Intiman Theatre in Seattle for 20 seasons. Bensie’s recent film and TV credits include HBO’s The Three Debras, Hulu’s The Jinkx and DeLa Holiday Special, and the feature film Potato: Dreams of America. Dennis is the head of the wig and makeup department at Sargent Conservatory of Theatre at Webster University in St. Louis.

Bruno Baker is a Latinx NYC-based American/Brazilian multidisciplinary stage director. Baker has worked as an assistant director at 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. In February 2022, Baker directed a revival of Fellow Travelers at Opera Columbus.





Critically acclaimed conductor Chaowen Ting has delighted audiences with her brilliant approach to classical music. Ting is recognized for her empathic leadership and advocacy for equity within the music industry. Originally from Taiwan, Ting received her DMA from the Eastman School and has gone on hold positions with orchestras and ensembles both in the U.S. and abroad including the BBC Concert Orchestra, Opera Philadelphia, the St. Petersburg Chamber Orchestra, and orchestras in Europe and Latin America. Ting currently conducts the Peabody Youth Orchestra where she helps enrich the lives of students through the rehearsal and performance of diverse orchestral repertoire. Ting has also amassed a formidable résumé in the opera field. An alum of the Dallas Opera Hart Institute for Women Conductors, Ting led Opera Philadelphia in a new opera workshop with its Composer-in-Residence, Rene Orth, in 2017. This season, Ting will be making her debut with Opera Orlando for The Magic Flute. Ting has a passion for programming interdisciplinary works that create innovative concert experiences. An example is The Seven Bridges of Königsberg, combining dance, film, and STEM principles with orchestra. A steadfast supporter of musical equity, Ting has sought to make the classical music world more inclusive through her work as founder and Artistic Director of Girls Who Conduct, And We Were Heard..., the ADORE Project, and as host of The Conductor’s Podcast. In her free time, Ting enjoys reading and traveling and learning about human behavior.




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. | @theatlantaopera 22 | cast&creative


American Bass-baritone Brandon Cedel is a recent graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program and was an ensemble member of Oper Frankfurt from 2016-2019. His 2022-23 season includes Dan Brown in The Metropolitan Opera’s new production of The Hours; a revival of the title role in Hercules at the Karlsruhe Handel Festival and a return to Glyndebourne to sing Bottom in A Midsummer Night’s Dream. On the concert platform, he sings Levite in a tour of Solomon with the English Concert under Harry Bicket. Recent highlights include the title role in Le nozze di Figaro for the Glyndebourne Festival; the title role in Hercules for the Karlsruhe Handel Festival; Dan Brown in the world premiere of Kevin Puts’ The Hours with the Philadelphia Orchestra and Zuniga Carmen for the Chicago Opera Theater. Elsewhere he has sung Masetto in Don Giovanni for the Metropolitan Opera and the Lyric Opera of Chicago; Leporello in Don Giovanni and Argante Rinaldo for the Glyndebourne Festival; Collatinus in The Rape of Lucretia for the Boston Lyric Opera; the title role in Le nozze di Figaro for Opera Philadelphia and Colline in La bohème and Basilio in Il barbiere di Siviglia for the Canadian Opera Company. His many roles for Oper Frankfurt include Masetto, Don Giovanni; Sprecher, Die Zauberflöte; Lieutenant Ratcliffe, Billy Budd; Argante, Rinaldo; Ariodate, Xerxes; Angelotti, Tosca; Brander, La damnation de Faust; and Achior, Mozart’s La Betulia Liberata. Future engagements include a return to the Metropolitan Opera House and the Glyndebourne Festival.

Armenian soprano Mané Galoyan, is the 2021 Operalia Second Prize, Zarzuela Prize and the Rolex Audience Prize winner. In the 2022-23 season she will perform the title role in Luisa Miller with Oper Köln, Avis in The Wreckers with Houston Grand Opera, Violetta in La traviata with Deutsche Oper Berlin and Seattle Opera, and Pamina in Die Zauberflöte with the Deutsche Oper Berlin. She will also perform Rachmaninoff’s The Bells with Gustavo Dudamel and the Los Angeles Philharmonic, Bruckner’s Te deum with the Netherlands Radio Orchestra, Taneyev’s cantata with the American Symphony Orchestra, to be later released as a recording, and The Bells with Bard Festival. As an Ensemble member with the Deutsche Oper Berlin in 2021-22, Ms. Galoyan performed Pamina in Die Zauberflöte, Violetta in La traviata, and Corinna in Il viaggio a Reims, among other roles. As a guest, she made her debut with Dutch National Opera as Violetta, and performed the title role in Luisa Miller with the Glyndebourne Festival. She also stepped in for an ailing colleague to sing Adina for her debut with Paris Opéra in October, 2021, and sang Walter in La Wally with the Munich Radio Orchestra. In the 2020-21 season, she debuted with Zürich Opernhaus as Adina in L’elisir d’amore and performed Garsenda in Francesca da Rimini with Deutsche Oper Berlin. In previous seasons, Ms. Galoyan made her Metropolitan Opera debut as Prilepa/ Chlöe in Pique Dame, conducted by Vasily Petrenko. Ms. Galoyan holds two degrees from the Yerevan State Komitas Conservatory in Armenia, where she was named the 2013 winner of the President of the Republic of Armenia Youth Prize. She is married to conductor Roberto Kalb. | 23


A naturally gifted singer known for her commanding stage presence and profound artistry, Jennifer Johnson Cano has garnered critical acclaim for committed performances of both new and standard repertoire. In response to her performance as Virginia Woolf in The Hours with the Philadelphia Orchestra, Opera News praised her “impressive tone and dead-on pitch throughout a wide range, and a fierce command of words,” calling her “a matchless interpreter of contemporary opera.” Highlights of Ms. Cano’s 2021-22 season included performances with the Philadelphia Orchestra and Yannick Nézet-Séguin in a world premiere of Kevin Puts’s The Hours, a debut with the Chicago Symphony and Riccardo Muti and a return to the San Francisco Symphony for Beethoven’s Ninth Symphony. She starred in the New York premiere of Marc Neikrug’s A Song By Mahler, at the Chamber Music Society of Lincoln Center. She made operatic debuts in Poulenc’s Dialogues of the Carmelites with the Houston Grand Opera, the world premiere of Gregory Spears’ Castor and Patience with the Cincinnati Opera and Bartók’s Bluebeard’s Castle with the Roanoke Opera. This season she performs at the Metropolitan Opera in Falstaff and makes her company debut with The Atlanta Opera in Don Giovanni; appears with the New York Philharmonic, New Jersey Symphony & Atlanta Symphony. Jennifer returns to the Chamber Music Society of New York, where she performs Mahler’s Rückert-Lieder; and to the Philadelphia Chamber Music Society in an All-Bach Program with the Gamut Bach Ensemble.

Tenor Duke Kim is a 2021 Grand Finals Winner of The Metropolitan Opera’s Eric and Dominique Laffont Competition and current member of the Cafritz Young Artist Program at Washington National Opera. 2021-22 engagements at WNO include Come Home: A Celebration of Return (soloist), Carmen (Le Remendado), and a workshop of Jeanine Tesori’s new opera Grounded (Eric). He returns to Palm Beach Opera for The Merry Widow (Count Camille de Rosillon) and gives a solo recital with Kyle Naig in Myrtle Beach, NC. On the concert stage he makes debuts with the National Symphony Orchestra in The Messiah, Mozart Requiem/Eine kleine FreimaurerKantate, and Bach Magnificat (Noseda), The Santa Fe Symphony for A Night at the Opera (Figueroa), and Haydn’s Creation with Grant Park Music Festival (Kalmar). Upcoming engagements include debuts with Seattle Opera for La traviata (Alfredo), The Glimmerglass Festival, Florentine Opera and Opera San Antonio for Roméo et Juliette (Roméo), and The Atlanta Opera for Don Giovanni (Don Ottavio). In the 2020-21 season, Duke returned to The Santa Fe Opera as an Apprentice Artist, where he performed in Britten’s A Midsummer Night’s Dream (Lysander), covered in Eugene Onegin (Lenski), and was a guest soloist on Angel Blue in Concert (Act IV duet from La bohème). Additional Artist training programs include Wolf Trap Opera’s Studio Program and the Benenson Young Artist Program at Palm Beach Opera. Duke has received numerous prizes including first place at Shreveport Singer of the Year Competition, second place in Gwendolyn Roberts Young Artist Auditions, and 1st place in New Century Singers Whittier Competition. Also, he was one of the finalists in Houston Grand Opera’s Eleanor McCollum Competition. He is a graduate of Chapman University and the Shepard School of Music at Rice University. While at Rice, he performed in Gianni Schicchi (Rinuccio), Little Women (Laurie), and La Finta Giardiniera (Count Belfiore). | @theatlantaopera 24 | cast&creative


Milanese bass-baritone Giovanni Romeo is one of the youngest Italian talents who have established themselves on the most important opera stages worldwide, such as Teatro alla Scala in Milan, Auditorium Rai in Turin, Teatro Massimo in Palermo, Carlo Felice in Genoa, Malibran (Gran Teatro La Fenice) in Venice, Filarmonico in Verona, Teatro Verdi in Salerno, Bolshoi Theatre in Moscow, Deutsche Oper Berlin, NCPA in Beijing, ABAO in Bilbao, Opera de Oviedo, Opéra de Monte-Carlo and many others. After starting his career with the “Laboratorio lirico del 700” at the Bibiena Theatre in Mantua as Uberto in Paisiello’s La Serva Padrona and as Geronimo in Cimarosa’s Il Matrimonio Segreto, he debuted many Mozart and Donizetti roles, both as bass and as baritone buffo, thanks to his vocal extension and flexibility. Among his signature funny roles, Dr. Bartolo in Il Barbiere di Siviglia, Don Magnifico in La Cenerentola and Barone Trombonok in Il Viaggio a Reims by Rossini; the title role in Don Pasquale, Dr. Dulcamara in L’Elisir d’Amore and Sulpice in La fille du regiment by Donizetti; Don Alfonso in Così fan tutte and Papageno in Die Zauberflöte by Mozart. His vocal and dramatic versatility ranges as far as the Sancho Panza in Massenet’s Don Quichotte. Future engagements include Il turco in Italia at Opéra de Monte-Carlo and at Wiener Staatsoper, a revival of Il Barbiere di Siviglia at the Bolshoi Theatre in Moscow.

Ms. Zhang’s 2022-23 season features an exciting role debut as Euridice opposite Jakub Józef Orliński in San Francisco Opera’s Orfeo ed Euridice, her Atlanta Opera debut as Zerlina in Don Giovanni, and a return to the Metropolitan Opera covering Ilia in Idomeneo. She is also engaged as the soprano soloist in Mozart’s Requiem with the North Carolina Symphony, Brahms’ Requiem with the Calgary Philharmonic, Beethoven’s Missa solemnis with Bard College’s The Orchestra Now, and Bruckner’s Te Deum with New Jersey Symphony. 2021-22 sparkled with notable performances at esteemed venues. With the Metropolitan Opera, Ms. Zhang sang an “energetic, brightvoiced Thibault’’ in Sir David McVicar’s Don Carlos under the baton of Yannick Nézet-Séguin, as well as reprised her “warm, honeyed” Barbarina in Le nozze di Figaro. She also made her triumphant debut at the San Francisco Opera starring in the lead role of Dai Yu in Bright Sheng’s The Dream of the Red Chamber. As a soprano soloist, she performed Mahler’s Symphony No. 4 throughout China with the Sichuan Symphony Orchestra, Beethoven’s Symphony No. 9 at the National Centre for the Performing Arts in Beijing, and Bach’s Coffee Cantata with Music@Menlo Chamber Music Festival. Previously, Ms. Zhang performed with Switzerland’s Verbier Festival in Die Zauberflöte (Pamina), Opera National Bordeaux and Guangzhau Opera House in Don Giovanni (Zerlina), Philadelphia Orchestra in L’Enfant et les Sortilèges, Tianjin Grand Opera in The Rape of Lucretia (Lucia), and Harbin Symphony Orchestra in Fidelio (Marzelline). Additional roles performed include the title role in Lucia di Lammermoor, Despina in Così fan tutte, Susanna in Le nozze di Figaro, and the title role in Roméo et Juliette. Previous concert appearances include Mozart’s Exsultate, jubilate with the New Jersey Symphony, Glière’s Concerto for Coloratura Soprano and Orchestra with Camerata Notturna, and solo recitals with pianist Ken Noda at Lincoln Center’s Bruno Walter Auditorium and Miami’s Wertheim Performing Arts Center. | 25



Praised by opera critic Voce di Meche for his “juicy, booming and room-filling bass” accompanied by “mesmerizing, fully-immersed acting,” basso profondo Edwin Jhamal Davis is a proud native of Utica, Miss. He is an alumnus of Jackson State University where he earned a Bachelor of Science in Biology Pre-Medicine with dual minors in Chemistry and Music. In the Spring of 2014, while studying voice with soprano Phyllis Lewis-Hale, he made his professional debut with the Mississippi Opera Company in the role of Simone in Puccini’s Gianni Schicchi. He is a Master’s Degree recipient of the prestigious Manhattan School of Music where he studied with well-acclaimed baritone, Mark Oswald, and has participated in a number of professional and academic engagements in the concert and opera repertoire; these include appearing as guest soloist at various national venues such as Pompano Beach Orchestra’s presentation of Handel’s Messiah, Bronx Concert Singers’ Winter and Spring presentations, St. Mark’s presentation of Messiah, Verdi’s Luisa Miller as Wurm, Osmin in Mozart’s Die Entführung aus dem Serail, Mozart’s Don Giovanni as Masetto, and covering Reverend Olin Blitch in Susannah by Carlisle Floyd. He sang in the world premiere of Brother Nat: Rise, Revolt, Redemption in the role of Will at the Boston Paramount theater. He was also recently a featured vocalist in the symphonic premiere of Without Regard to Sex, Race or Color, a musical work inspired by the photographic artistry of Andrew Feiler and composed by Doug Hooker. He was crowned the national title for the Marian Anderson Vocal Arts Competition hosted by the National Association of Negro Musicians in its centennial celebration and is also a Metropolitan Opera Eastern Region award winner. He has made 2021-22 debuts with On Site Opera, Florentine Opera and Detroit Opera. He debuted the role of Sarastro in Mozart’s Die Zauberflöte at the world renowned Merola Opera in San Francisco.



George Andguladze has performed in the most important opera stages, such as the Théâtre des Champs-Élysées in Paris, State Opera House of Georgia and Philharmonic, Arena di Verona, Teatro Regio di Parma, Opera de Lausanne, and shared the stage with renowned conductors such as Vladimir Minin, Givi Azmaiparashvili, Rezo Takidze, Daniel Oren, Andrea Battistoni, Giampaolo Bisanti, Giacomo Sagripanti, and Gianluigi Gelmetti. He completed his education attending masterclasses with Renato Bruson, Lella Cuberli, Bonaldo Giaiotti, and Badri Maisuradze. His first debut took place while still being a student of the conservatory with the principal role of Buonafede in Il Mondo della Luna by F.J. Haydn at the Teatro Comunale di Ferrara in 2009, showing his voice qualities and talent as an actor. Repertoire: Aida, L’Elisir d’amore, Simon Boccanegra, Carmen, Il Trovatore, The Servant Mistress, I Masnadieri, Turandot, and Don Giovanni. He debuted with big success the role of Oroveso in Norma at the Teatro Municipale Giuseppe Verdi in Salerno, and the role of Zaccaria in Nabucco at Teatro Goldoni di Livorno. He has also made his house and role debut of Il Grande Inquisitore in Don Carlo at The Israeli Opera. He made his house debut at the Teatro San Carlo di Napoli with the role of Sparafucile in Rigoletto and the role of Timur in Turandot at Savonlinna Opera Festival. He came back to Salerno at Teatro Giuseppe Verdi to debut the role of Don Basilio in Il Barbiere di Siviglia | @theatlantaopera 26 | cast&creative
Mar 4 - 12, 2023 Cobb Energy Performing Arts Centre 404.881.8885 Join us live in the theater, or stream from your favorite device. Experience The Atlanta Opera your way. 2022-23 SEASON MAR 31 - APR 2, 2023 MOREHOUSE COLLEGE DAS RHEINGOLD WAGNER APR 29 - MAY 7, 2023 COBB ENERGY PERFORMING ARTS CENTRE

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, John & Yee-Wan Stevens, and Jerry & Dulcy Rosenberg.

BRUNO BAKER ASSISTANT DIRECTOR ATLANTA OPERA DEBUT THE BIG TENT SERIES 2021 Bruno Baker is a Latinx NYC-based American/Brazilian multidisciplinary stage director. Baker has worked as an assistant director at 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. In February 2022, Baker directed a revival of Fellow Travelers at Opera Columbus.


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 28 | glynnstudioartists


ATLANTA OPERA DEBUT THE PIRATES OF PENZANCE, 2022 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. | 29


Rolando Salazar



Angela Lamar

Julia Metry Johnson

Natalie Rogers

Tiffany Uzoije


Valerie Hamm

Alvard Mayilyan

Laurie Tossing

Jessica Wax


Levi Adkins

Austin Cripe

Tetra Lloyd

Philip McCown


Mitch Gindlesperger

Samuel Itskov

Stephen McCool

Michael O’Hearn | @theatlantaopera 30
| theatlantaoperachorus


Peter Ciaschini, The Loraine P. Williams Orchestra Concertmaster Chair

Helen Kim Assistant Concertmaster*

Lisa Morrison Acting Assistant Concertmaster Fia Durrett Prinicipal Second Violin

Jessica Stinson Acting Assistant Principal Second Violin Edward Eanes

Felix Farrar

Robert Givens

Patti Gouvas

Shawn Pagliarini Virginia Respess-Fairchild Patrick Ryan Angèle Sherwood-Lawless Rafael Veytsblum

Kevin Chaney†

Kim Hain†

Kathryn Koch† Serena Scibelli†

Elonia Varfi†

VIOLA William Johnston Principal

Michael Fernandez Assistant Principal Ryan Gregory

Julie Rosseter Karl Schab Joli Wu


Charae Krueger Principal Hilary Glen Assistant Principal* Mary Kenney Acting Assistant Principal David Hancock Cynthia Sulko* Harrison Cook† Alexis Lee†

BASS Emory Clements Acting Principal Samuel Dugo Rob Henson†

FLUTE James Zellers Principal Kelly Bryant OBOES Christina Gavin Acting Principal Natalie Beckenbaugh†


David Odom Principal John Warren BASSOON Carlos Clark Principal Debra Grove


David Bradley Principal Jason Eklund

TRUMPET Yvonne Toll-Schneider Principal Alexander Freund

TROMBONE William P. Mann Principal

Josh Bynum† Christopher Brown†

TIMPANI John Lawless Principal MANDOLIN David C. Cooper

HARPSICORD Elena Kholodova


*Core Musician On Leave †Non-Core Musician

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

theatlantaoperaorchestra |

Education Updates

The Atlanta Opera Film Studio filming the Studio Tour’s Hansel and Gretel at Clayton County Performing Arts Center.

A core mission of The Atlanta Opera is to provide opportunities for students of all ages — we believe opera is for everyone and we are committed to ensuring that the art form is available to the widest possible crosssection of our community. Each year, our education programs serve more than 37,000 students in Metro Atlanta and throughout the state of Georgia.

Founded in 1980, The Atlanta Opera Studio Tour is the company’s longest running educational initiative. Over the past 42 years, more than one million students have been introduced to opera through the Studio Tour. Designed to travel, Studio Tour productions are presented in schools and community venues across the state of Georgia each season. Educators are provided with comprehensive Study Guides, which feature an indepth look at opera as well as cross-curricular activities corresponding to the Georgia Standards of Excellence.

This season features a return of Humperdinck’s enchanting fairy tale Hansel and Gretel, in which students are invited to take center stage alongside The Atlanta Opera artists as puppeteers. Suitable for all ages, Hansel and Gretel | @theatlantaopera 34
| communityengagement

brings students on an adventure through a magical world filled with mystical forest animals, a captivating Sandman, and lots of sweets! Adapted and directed by Brenna Corner, an alumna of the Opera’s Studio Artist program, the 45-minute English version of Humperdinck’s classic opera, teaches valuable lessons about listening, kindness, and not judging a Witch by her wardrobe.

The Studio Tour will travel across the state of Georgia for 12 weeks with more than 80 performances. Also, in partnership with Clayton County Public Schools, The Atlanta Opera Film Studio has filmed the production for distribution to students in areas outside of MetroAtlanta. This film is sponsored by Gas South and is being offered as a virtual tour.

Through our educational programs, we hope to inspire the next generation of artists and audiences. The power of music is deeper than notes on a page. It inspires, it ignites imagination, and it teaches lifelong lessons that go beyond academic outcomes, including social and emotional skill development and growth. When students are introduced to opera for the first time, they sit wideeyed and in awe of the power of the human voice. They leave with an energized confidence and open to new ideas that help them to succeed in the classroom. We can’t wait to get back out on the road and see students in person this fall!

Learn more about the Opera’s education and community programs by visiting us at

35 |

Donor Profile: Bunny Winter

Equal parts grace, intellect, wit, passion, warmth, and a tenacious ability to get things done, Bunny Winter is a beloved member of The Atlanta Opera Board of Directors. Her involvement with opera in Atlanta began more than four decades ago when she volunteered with the Atlanta Music Festival Association during the years of The Metropolitan Opera’s Atlanta tours. Alfred Kennedy asked if Bunny would help lead during The Atlanta Opera’s early days, and she gladly accepted.

A native of Albany, Georgia, Bunny earned her undergraduate degree in political science at Wellesley College. She graduated from Harvard with an MBA and went on to a career as vice president and controller of Coca-Cola Enterprises, retiring in 1998 after 20 years with the company.

In 1986, she was invited to join The Atlanta Opera Board of Directors. Bunny’s advancement in executive and volunteer leadership in Atlanta represented trailblazing strides for working women at the time, and her distinguished work ethic continues to inspire. Bunny’s dedication to The Atlanta Opera is steadfast. After nearly forty years of service, which include a prior position as the board chair and multiple ongoing committee posts, she continues to provide financial contributions and volunteer her time and talent.

Bunny and her husband, Michael, took their support of the Opera one step further by making a planned gift. When asked about her personal motivations – whether preserving her legacy or the tax advantages of testamentary giving – Bunny’s genuine altruism rose to the surface: “What matters most to me is knowing that we can help perpetuate broad enjoyment and benefit to our community through music and the arts. It’s very satisfying.”

Planned giving can offer considerable tax savings while providing lasting income for The Atlanta Opera. Legacy gifts include bequests, trusts, life insurance, and retirement assets. We are grateful to receive support from our faithful legacy donors like Bunny. To find out how to become a member of the Barbara D. Stewart Legacy Society, contact Jonathan Blalock at 336-512-6832 or | @theatlantaopera 36 | donorprofile


Cathy & Mark Adams

Mr. & Mrs. Ronald R. Antinori

Mr. & Mrs. Bryan Barnes Mr. & Mrs. Paul Blackney

Laura & Cosmo Boyd

Harold Brody & Donald Smith

John & Rosemary Brown Mr. J. Lawrence Connolly

Dr. Frank A. Critz & Dr. Ann Critz

Mr. Robert P. Dean & Mr. Robert Epstein

*Martha Thompson Dinos

Triska Drake & G. Kimbrough Taylor Carl & Sally Gable Beth & Gary Glynn

Dr. & Mrs. Alexander Gross John L. Hammaker Howard Hunter, Gramma Fisher Foundation Mr. & Mrs. Michael L. Keough


*Mr. & Mrs. Carl W. Knobloch, Jr. Beau & Alfredo Martin Mary Ruth McDonald 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 T. & Carolyn Wilson Ms. Bunny Winter & Mr. Michael Doyle

We are grateful for the following donors’ generous support. This list reflects gifts and annual pledges to unrestricted operating expenses, special projects, and/or endowment made between Nov 15, 2021 and Dec 1, 2022.



Harold Brody & Donald Smith† John & Rosemary Brown†

Dr. Frank A. Critz & Dr. Ann Critz†

*Martha Thompson Dinos

Mr. Howard W. Hunter - Gramma Fisher Foundation†

*Mr. & Mrs. Carl W. Knobloch, Jr.† Jerry & Dulcy Rosenberg†

*Mrs. Lessie B. Smithgall


Beth & Gary Glynn

Mr. James B. Miller, Jr.†

*Bruce & Karen Roth Katherine Scott John & Yee-Wan Stevens† Rhys & Carolyn Wilson†


The Antinori Foundation Beau & Alfredo Martin† Connolly Family Foundation Mary & EP Rogers Foundation, Inc.

The Gable Foundation, Inc.† Mary Ruth McDonald

Mr. William E. Pennington*† Mr. William F. Snyder† Triska Drake & G. Kimbrough Taylor Ms. Bunny Winter & Mr. Michael Doyle†


Cathy & Mark Adams† Bryan & Johanna Barnes† Mr. & Mrs. Paul Blackney† Laura & Cosmo Boyd

Mr. Robert P. Dean & Mr. Robert Epstein† Dr. & Mrs. Alexander Gross† Talia & John Murphy† Victoria & Howard Palefsky† Judith & Mark Taylor Carol B. & Ramon Tomé†



Mr. David Boatwright† Mr. John Haupert & Mr. Bryan Brooks† Mr. & Mrs. Michael L. Keough Mr. & Mrs. Michael E. Paulhus† Larry & Beverly Willson†

37 giving&support |

GOLD $10,000+

Elizabeth & Jeremy Adler† Mrs. Phillip E. Alvelda† A. James Anderson & Susan M. Anderson John & Wendy Anzalone†

Julia & Jim Balloun† Dr. & Mrs. Asad Bashey Mr. & Mrs. C. Duncan Beard Mr. & Mrs. Dante Bellizzi Mr. Frank H. Butterfield† Mr. Mario Concha

Mr. Richard H. Delay & Dr. Francine D. Dykes† Dieter Elsner Ms. Ariana B. Fass Dr. Donald J. & Janet Filip† Lynn & Fred Hanna Roya & Bahman Irvani Dr. & Mrs. David Kavtaradze Stephanie & Gregor Morela† Sandra & Peter Morelli†

Mr. & Mrs. Richard P. Nicholas III† Clara M. and John S. O’Shea† Mr. Milton J. Sams† Thomas R. Saylor Charles T. & Donna Sharbaugh†

Mr. & Mrs. Timothy E. Sheehan Ms. Janine Brown & Mr. Alex J. Simmons, Jr. Slumgullion Charitable Fund† Christine & Mark St.Clare†

Mr. & Mrs. William E. Tucker Wadleigh C. Winship Charitable Fund

The Mary & Charlie Yates Family Fund Mr. Tomer Zvulun & Mrs. Susanna Eiland

SILVER $5,000+


Mr. & *Mrs. Shepard B. Ansley

Natalie & Matthew Bernstein Dr. R. Dwain Blackston

Eda L. Hochgelerent, M.D. & Bruce A. Cassidy, M.D.† John W. Cooledge† Jean & Jerry Cooper

Mr. & Mrs. Robert G. Edge† Sally & Hank Fielding† Ms. Rebecca Y. Frazer & Mr. Jon Buttrey† Mr. Ethan Garonzik

Kevin Greiner & Robyn Roberts

Judge Adele P. Grubbs

Mr. & Mrs. Edward J. Hardin

Deborah & Paul Harkins

Donna & *Richard Hiller Mr. L. D. Holland† Gail Johnson Elizabeth Klump Mrs. Dale Levert & Mr. George W. Levert Mr. & Mrs. Andrew Long Belinda & Gino Massafra Mr. Creel McCormack

Erica McVicker

Lynn & Kent Regenstein

Mr. James L. Rhoden Baker & Debby Smith† Mr. & Mrs. Richard Sproul Lynne & Steven Steindel George & Amy Taylor† Dr. & Mrs. Nicholas Valerio III† Bob & Cappa Woodward Charitable Fund

BRONZE $2,500+

Ms. Mary Calhoun Mr. Mark du Mas Mr. Thomas Emch Mr. & Mrs. Lance Fortnow Dr. Thomas N. Guffin, Jr. Mr. Joey Gyengo

Stuart Jackson & Robyn Jackson Mary & *Wayne James Candy & Greg Johnson Jim Kelley & Anne Morgan Mr. & Mrs. Gert Kampfer Mr. Alfred D. Kennedy & Dr. Bill Kenny Mr. & Mrs. Larry Kurlander Linda L. Lively & James E. Hugh III Mimi & Dan Maslia *Peggy Weber McDowell & *Jack McDowell

John & Agnes Nelson Mr. & Mrs. Steve Paro Mrs. Betsy Pittman Mr. & Mrs. J. Barry Schrenk Morton & Angela Sherzer Beverly & Milton Shlapak Dr. Jane T. St. Clair & Mr. James E. Sustman Mr. Johnny Thigpen & Mr. James Martin Mr. & Mrs. Thomas R. Williams, Jr. Thurman Williams


Karyn Alexander

Ms. Casey Armanino Atlanta Neurology Mr. & Mrs. Robert O. Banker Ms. Hope M. Barrett Christine M. Beard Jonathan E. Blalock

Raphael Bostic Ms. Martha S. Brewer Stanford M. Brown Dr. Lawrence Cohen Mr. & Mrs. Charles Cohn T. Dennis Connally John & Linda Cooke Mr. & Mrs. Edward S. Croft III Mrs. Lavona Currie Dr. & Mrs. F. Thomas Daly Jr. Jim & Carol Dew Eve Eckardt Mrs. Anne J. Ederington Mr. Michael D. Golden | @theatlantaopera
38 | giving&support

James C. Goodwyne & Christopher S. Connelly

Ms. Louise S. Gunn

Mr. Robert & Dr. Ada Habl

George L. Hickman III

The Hills Family Foundation, Mr. & Mrs. Thomas D. Hills, Trustees

Douglas Hooker & Patrise Perkins Hooker

Mr. & Mrs. Harry C. Howard Ann P. Howington

Richard & Linda Hubert

Mr. & Mrs. David C. Huffman Mrs. Peter G. Kessenich Mrs. Treville Lawrence Chris & Jill Le Ms. Salli LeVan Samantha & William Markle Mr. Stedman C. Mays , Jr. & Mr. Charles Bjorklund John S. Metz Barbara & Mark Murovitz

*The Honorable & Mrs. George A. Novak

The Opera Guild for Atlanta Dr. & Mrs. Donald A. Paul George Paulik Lucy S. Perry

*Richard Restagno Mr. & Mrs. Nicholas Shreiber Adhishesh Sood Gail & Barry Spurlock Mr. & Mrs. Robert Stansfield Steve & Christine Strong Sharon Daniels Sullivan Mr. Tarek Takieddini Mrs. Hugh Tarbutton Ms. Virginia S. Taylor Mr. Stephen H. Thompson & Mr. Drew Mote Rae & George Weimer

Dr. & Mrs. James O. Wells, Jr. Ms. Kathy J. White Adair & Dick White Dr. & Mrs. Hamilton Williams

*Dr. & Mrs. R. Craig Woodward


Martha Allday

Dr. Raymond Allen Paula Stephan Amis Mr. John Baker

Colonel & Mrs. John V. Barson

Mr. & Mrs. Bruce Benator Mr. Matt Blackburn

Mr. & Mrs. Robert B. Church Mrs. Carol J. Clark

Ms Lillianette Cook & Ms. Carol Uhl Maureen & Michael Dailey

Mr. & Mrs. Harold T. Daniel Jr. Mr. James M. Datka & Ms. Nora P. DePalma

Mr. & Mrs. Robert R. Eckardt

Mr. & Mrs. Robert F. Engeman Sr. Mrs. Robin Engleman Col. & Mrs. Donald Gilner

Mr. & Mrs. Richard P. Grodzicki Mr. & Mrs. Sam Hagan Jim & Virginia Hale Mr. Ronald L. Harris & Mrs. Jacqueline Pownall Terry Hong

Mr. & Mrs. Jeffrey R. Hoopes Ms. Jan W. Hughen Mr. & Mrs. Edward Katze Joan & Arnold Kurth

Mr. & Mrs. Robert S. Lane Livvy Kazer Lipson Allan & Vaneesa Little

Mr. M. Reynolds McClatchey Jr. Sally & Allen McDaniel

Mr. & Mrs. M. Sean Molley

Terri & Stephen Nagler Mr. & Mrs. Duane T. Nakahata

Carol S. Niemi Mr. John Owens Christine & Jim Pack Mr. Darryl-Christopher Payne† Dan Pompilio & Lark Ingram

The Reverend Neal P. Ponder, Jr. Mr. Stephen L. Rann & Ms. Dytre Fentress Dr. & Mrs. Colin Richman

R.J. & D.G. Riffey, Jr. Mr. Forrest Roberston Sidney & Phyllis Rodbell Mrs. Arshia Sabet-Payman Dr. & Mrs. William M. Scaljon Ms. Regina Schuber Mr. Fred B. Smith Mr. Paul Snyder Judge Mike & Mrs. Jane Stoddard Mr. & Mrs. Jeff Stratton Dr. & Mrs. William H. Stuart Kay Summers

Carolyn & Robert Swain Dr. & Mrs. Michael Szikman Dr. & Mrs. Kenneth G. Taylor Ms. Nancy A. Thomas Alan & Marcia Watt

Ed Willard & J. R. Attaway Kiki Wilson

Sherrilyn & *Donn Wright Barbara Zellner



Dr. Catherine Allard

Mr. & Mrs. Gunnar Andersen Ms. Victoria Anderson Chris Bailey

Mr. & Mrs. David S. Baker Dr. & Mrs. Frank C. Bell

Elena Belykh

Daniel & Bethann Berger Mr. & Mrs. Sid Besmertnik Mr. & Mrs. George Beylouny Ms. Martha Bobo Mr. Sean Bowen Mrs. Karen Bradford Ms. Louise Bray James & Nancy Bross | 39

Lou & Tom Jewell

Mr. Thomas Budlong Mark & Peg Bumgardner Craig & Brenda Caldwell *Michael J. & Debra M. Caldwell Mrs. Faye Carles

Mr. & Mrs. Charles T. Carlin Chris Casey & Douglas Weiss Dr. & Mrs. Harold L. Chapman, Jr. Edward Chung Mr. & Mrs. William A. Clineburg, Jr. Sheela Collins Mellisa A. Cotton Ms. Marcia Cupery Mr. & Mrs. Michael J. Curry Mr. David D’Ambrosio Carol Comstock & Jim Davis Ms. Elizabeth A. DeAngelo Matthew Denton Ashley Derrick John C. Durham *Col. & Mrs. Edgar W. Duskin Mr. & Mrs. David R. Dye Mrs. Teresa Elbel Eric Dykes Ms. Margaret Eisenhauer Allison Fichter & Phillip O’Brien Judy & Stan Fineman Mr. James W. Floyd Mr. Robert J. Fornal & Mr. John A. Watson Mr. John Frontera Mr. Glen Galbaugh Mr. Kevin Gallagher Olga Gazman Ms. Tabitha Gibbs Dr. & Mrs. Joseph D. Giovinco Ms. Diana Glad Drs. Nancy & Robert Griner Andrew Harrell Ms. Sharon E. Hill James Hilton Mr. William Holland Mr. & Mrs. Douglas M. Holly, Jr. Ms. Betsy Horton Drs. Jordan & Jocelyn Howard Dr. Dorothy M. Huenecke Mr. Rolf Ingenleuf

Jason Ingraham Ms. Dianne Inniss Ms. Charlene Johnson Mr. & Mrs. Thomas E. Johnston Mr. J. Carter Joseph John & JoAnn Keller

Dorothy Yates Kirkley Seth kirschenbaum

Dian D. Knight

Elena Kochutin

Mr. Melvin Konner Ms. Sandra L. Kroll

Mr. & Mrs. Gedas Kutka Jena C. Lanham

Mr. & Mrs. David W. Larson Lucy R. & Gary Lee, Jr. Melanie D. Lighthall Mr. Scott Liniado

Richard Lodise & Valerie Jagiella

Mr. & Ms. Michael W. Luz Dr. Joe Massey

Warren Matthews

Ms. Kathrin Mattox Mr. & Mrs. Francis A. Mazzocchi Mr. Simon Miller

Jessica Mincey

Mr. & Mrs. David N. Minkin Berthe & Shapour Mobasser

Dr. & Mrs. T. A. Moore Ms. Priscilla M. Moran Mr. Albert B. Moravitz

Sheryl A. Myers

Daniel Orlich Zuzana Osburn

Paul Parisi

Mr. John Patchoski, Jr. Mrs. Polly N. Pater

Horatiu V. Penescu Ms. Sophia B. Peterman

Victoria Peterson

Frank Pinkerton

Daniel Pittaluga

Mary & Rex Pless Mr. Mitesh A. Prema & Ms. Kristina Prema *Sharon & Jim Radford

Renee Reddic

Megan Retter

Virginia Rolfes

Mr. Donald Schreiber & Ms. Barbara Seal Shannon Scott

Emmanuel Seuge Carrie L. Shaeffer

Rob Shaw

Ms. Laurie Shock Dr. & Mrs. William E. Silver Mary S. Slider

Jeff Smathers Cathleen Smith

April Sneed Paul Song Mr. Thomas Striedinger Mr. Gary Stuart Sarah & David Sutherland Pierre Tarantelli

Lazaro Tenreiro

Mr. & Ms. Wolfgang Tiedtke Mr. & Mrs. Charles D. Tuller Ms. Ellen H. Ulken & Mr. Jerald L. Watts

Vanguard Charitable Dr. Evis Babo & Mr. Stephen Weizenecker Ms. Parsla A. Welch

Mr. & Mrs. T. A. Wessels Mr. & Mrs. Robert P. White Ms. Jone Williams & Ms. Barbara Robb

†extraordinary donors who have committed to continue their annual giving for three years or more | @theatlantaopera
40 | giving&support


The Atlanta Opera established the Barbara D. Stewart Legacy Society to recognize donors who have designated The Opera as a beneficiary in their estate plan. In honor of Barbara D. Stewart’s many contributions to The Atlanta Opera, our planned giving division, the Encore Society, has been renamed the Barbara D. Stewart Legacy Society.

Cathy Callaway Adams & Mark Adams

Anonymous (5)

Mr. & *Mrs. Shepard B. Ansley Mrs. Wallace F. Beard

The Bickers Charitable Trust Mr. Jonathan Blalock

*Jim & *Nancy Bland

Mr. Montague L. Boyd, IV Mr. Robert Colgin

*Martha Thompson Dinos

The Roy & Janet Dorsey Foundation

Arnold & Sylvia Eaves

*Ms. Dorothy E. Edwards

*Heike & Dieter Elsner

Ms. Melodi Ford

Carl & Sally Gable

*Ms. Anne Marie Gary

Mr. & Mrs. Sidney W. Guberman

Ms. Judy Hanenkrat

Richard & Fern Hartnig

The Hilbert Family Trust

Eda L. Hochgelerent, M.D. & Bruce A. Cassidy, M.D.

Mr. L. Don Holland Mr. Hilson Hudson

*Mrs. Joseph B. Hutchison Gail Johnson

Mr. J. Carter Joseph

*Mrs. Alfred D. Kennedy, Sr

*Mrs. Isabelle W. Kennedy

Donald & Marilyn Keough Mr. & Mrs. Michael L. Keough

Ms. Corina M. LaFrossia

Mr. & Mrs. John G. Malcolm

Mr. Robert L. Mays

Mr. & Mrs. Allen P. McDaniel

*Peggy Weber McDowell & *Jack 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. James Paulk Mr. William E. Pennington*

*Mr. Bruce Roth Ms. Hazel Sanger Mr. D. Jack Sawyer, Jr.


In Honor of Cathy & Mark Adams

Mr. J. Carter Joseph

In Memory of Dr. Florence C. Barnett Katherine Hansil John Tanzola

In Honor of Mr. Jonathan Blalock Mr. Michael Colbruno Mr. Darryl-Christopher Payne Thurman Williams

Mr. John Thompson, II

In Honor of Dr. Hal Brody & Mr. Don Smith

Jonathan Blalock

In Honor of John & Rosemary Brown Mr. Barry F. Ross & Mrs. Jane M. Rooks Ross

In Honor of Jerry Cooper Stanley Daniels

In Honor of Brother George Councill Barbara Bonner

In Memory of Mrs. Mot Dinos Allison Fitcher & Phillip O’Brien

In Honor of Mr. Robert G. Edge Mrs. Eleanor Crosby

In Honor of Sam & Marti Hagan Ashley Derrick

In Memory of Harriet Harris Carlquist Harris Freya Harris

Karen Rajczi

In Memory of Ruth Haston Brisbois Ellen & Andrew Luger

In Memory of Mr. Chip Johnston & Mr. Frank Monger Mr. Johnny Thigpen & Mr. James Martin

In Memory of Craig Lewis Judge Adele P. Grubbs

In Honor of Terry Martin Barbara Zellner

In Memory of The Honorable George A. Novak Jana M. Novak

In Honor of Howard & Victoria Palefsky Mr. & Mrs. Larry Kurlander

Betty Londergan Donna Burchfield & Penn Nicholson

Anita & J. Barry Schrenk

Katherine Scott

Elizabeth N. Shapiro

*Mrs. Lessie B. Smithgall

Elizabeth Morgan Spiegel

Christine & Mark St.Clare

*Ms. Barbara D. Stewart

*Mrs. Eleanor H. Strain

Mr. Tarek Takieddini

Sandra & *Tom Teepen

Dr. & Mrs. Harold Whitney

*Mrs. Jane S. Willson

Rhys T. Wilson

Ms. Bunny Winter & Mr. Michael Doyle

Mr. Charles R. Yates, Jr. & Mrs. Mary Mitchell Yates

*Mr. & *Mrs. Charles R. Yates, Sr. *Jay & Barbara Zellner Mr. Tomer Zvulun & Mrs. Susanna Eiland

In Memory of Mr. William Pennington

Jonathan Blalock

In Honor of Betsy Pittman Ann P. Howington

In Memory of Margaret Williams Thurman Williams

In Memory of Marya Gabrielle Williams

Jone Williams & Barbara Robb

In Honor of Charlie & Mary Yates

Josh Stevens

Sarah & David Sutherland

Dorothy Yates Kirkley

In Memory of Jay Zellner

Mrs. Barbara Zellner

In Honor of Mr. Tomer Zvulun & Ms. Susanna Eiland

Mr. Michael D. Golden & Dr. Juliet Asher | @theatlantaopera 42 | giving&support



The Coca-Cola Company

The Home Depot Foundation $50,000+

Gas South UPS


The Capital Group Companies Charitable Foundation

Federal Home Loan Bank of Atlanta

Hillbert Law Firm

Homrich-Berg, Inc. - Buckhead Warner Bros. Discovery Nordson Corporation Foundation


Batdorf & Bronson Coffee Roasters

KaneTreadwell Law LLC

McMaster-Carr Supply Company Wallace Graphics




Donald & Marilyn Keough Foundation

The Molly Blank Fund of The Arthur M. Blank Family Foundation $50,000+


Atlanta Music Festival Fund of The Community Foundation for Greater Atlanta

Capital Group Companies, Inc. Dorsey Foundation /Ray & Janet

The Gable Foundation

The Halle Foundation Rich Foundation, Inc. Mary & EP Rogers Foundation, Inc.

The Sara Giles Moore Foundation

The Zeist Foundation, Inc. $20,000+

Roy & Janet Dorsey Foundation

Livingston Foundation, Inc. J. Marshall & Lucile G. Powell Charitable Trust Ray M. & Mary Elizabeth Lee Foundation, Inc.


George M. Brown Trust Fund

The Jim Cox, Jr. Foundation $5,000+

Camp-Younts Foundation $1,000+

The Hills Family Foundation, Mr. & Mrs. Thomas D. Hills, Trustees

Kiwanis Foundation of Atlanta

Charles Loridans Foundation, Inc. Mary Brown Fund of Atlanta, Georgia Wilson/Frances Wood


City of Atlanta Mayor’s Office of Cultural Affairs Fulton County Arts & Culture Georgia Council for the Arts National Endowment for the Arts | 43




Mr. Rhys T. Wilson Vice Chair

Mr. John L. Hammaker Treasurer

Ms. Bunny Winter Secretary Mr. John Haupert


Ms. 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. 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*

Dr. Carlos del Rio

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


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 | @theatlantaopera 44 | leadership


Board Chair

Mr. Rhys T. Wilson


Mr. John L. Hammaker

Nominating & Board Engagement Chair

Mrs. Talia Murphy


Mr. John Haupert

Treasurer | Finance Committee Chair

Ms. Bunny Winter

Audit Chair

Mr. Bryan H. Barnes

Community Engagement Chair Mr. Alex Simmons, Jr. Development Chair

Mr. Howard Palefsky

Equity, Diversity & Inclusion Chair Mrs. Stephanie Morela Investment Co-Chairs

Mr. Frank Butterfield Mrs. Sandra S. Morelli

Strategic Planning Committee Chair Mrs. Christine St.Clare

At-Large Members

Ms. Cathy Callaway Adams Mr. Howard W. Hunter

Mr. Charles Sharbaugh

Carl W. Knobloch, Jr. General & Artistic Director, ex-officio member Mr. Tomer Zvulun


Mr. Andrew J.M. Binns

Mr. Kenny L. Blank

Mrs. Inge Bledel

Ms. Mary Calhoun

Ms. Sally Bland Fielding

Mrs. Beth W. Glynn

Dr. Thomas N. Guffin, Jr.

Mrs. Erin Quinn Martin Mr. Paul Snyder

45 |


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

Assistant Stage Managers

Caitlin Denney-Turner Kristin Kelley

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

Chorus & Orchestra Manager Chris Bragg Orchestra Librarian Phil Parsons

Lighting Supervisor

Marissa Michaels Props Manager & Artisan Wanda Amanda Creech Costume Shop Director Sarah Burch Gordon Costume Shop Manager Cristine Reynolds Cutter/Draper Fiona Leonard First Hand Paula Peasley-Ninestein Stitcher Allison Hines Stefanie Pifer Jenn Rogers Wardrobe Supervisor Kelly Chipman

†denotes members of the International Alliance of Theatrical Stage Employees - Local 859 | @theatlantaopera 46 | staff


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 Controller

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 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

Annual Giving & Events Coordinator

Gloria Lin

Development Operations Coordinator Diana Burns

Senior Institutional Giving Officer Elana Grossman

Staff Accountant Camelia Johnson


Ruth Strickland

Administrative Manager

Michael Tarleton

Creative Services Manager

Matt Burkhalter

Digital Content Manager

Matt Dykeman

Film Associate

Amanda Sachtleben

Kameron Lopreore

Alexis Seminario

47 staff |


Concession stands are located in the center of the lobbies on all three levels. Food and beverage items are prohibited inside the theater. Thank you for your cooperation.


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.


On the performance page on the Cobb Energy Centre website there is a link to purchase parking in advance for $17.85. Day of parking is available for $15 (credit or debit card only). There are 1,000 on-site parking spaces; 700 in a four-level deck and 300 more in a surface lot.


In the event of an emergency, please locate the nearest usher who will direct you to the appropriate exit.


Elevators are located on each side of the lobbies on all levels.


Items are turned into the Synovus Box Office on the day of a performance. To inquire about a lost item, please call Public Safety at 770-916-2911.


Smoking is prohibited inside the building.


Persons requiring access assistance are asked to contact the Ticketmaster at 800-982-2787 for advance arrangements.

Audio clarification devices are available to our hearing impaired guests at no charge. This is on a firstcome, first-served basis and are available at the main desk in the lobby.

Wheelchairs are available upon request. All items require a form of identification to be held until the item is returned.


• 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. Closed-circuit monitors are provided in the lobby as a courtesy to latecomers.

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

• Please limit conversation during the performance.

• Cameras (including use of cellphone 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. | @theatlantaopera 48
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