The Atlanta Opera: Frankenstein, October 2023

T H E AT L A N TA O P E R A

Michael Shapiro’s

Frankenstein–The Movie Opera Saturday, October 28, 2023 Cobb Energy Performing Arts Center

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4 | welcome On the surface, our fall season is horror-Halloween inspired with Frankenstein and Rigoletto, as well as our sold-out run of The Shining. My shrewd marketing team was thrilled about these repertoire choices and is selling tickets like hotcakes. But let us put themes and tropes (as fun as they may be!) aside and see those works for what they truly are—timeless masterpieces.

Behind the pop culture notoriety of Frankenstein is the genre defining novel that threw a truly revelatory light on the human condition. A story that may have been written in a different century, but managed to capture a universal truth that rings profoundly relevant. Especially today.

More than 200 years have passed since Mary Shelley published her book that epitomized the outsider. When the creature in Frankenstein says: “I am an unfortunate and deserted creature. I look around and I have no relation or friend upon earth. I am full of fears, for if I fail there, I am an outcast in the world forever.” What comes to my mind are not only dozens of 1980’s rock and pop songs (The Smiths anyone?), but many real people I know today. Any outsider, be it an immigrant, a teenager, or even a grownup who is struggling with their identity, may say something similar. Whether that identity question is sexual, social, or religious similar thoughts emerge ... in other words: “What did this mean? Who was I? What was I? Whence did I come? What was my destination? These questions continually recurred, but I was unable to solve them.” Again, not my words, but the words of the creature from Frankenstein.

This fall we look at characters that are horrifically flawed, yet deeply human. Rigoletto the jester, the creature in Frankenstein and Jack Torrance from The Shining are all too human characters, profoundly real and lonely as they can be. They struggle mightily with their inner demons: isolation, anger, depression, alcoholism, mental health, and debilitating fear. Sometimes they win, more often they lose. But that’s what makes these stories timeless.

That’s why we are so thrilled to share them with you.

Enjoy your evening as Frankenstein comes to The Atlanta Opera!

Tomer Zvulun Carl W. Knobloch, Jr. General & Artistic Director

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sponsors

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6 | credits

THE 2023-24 SEASON SPONSOR

Official Beverage of The Atlanta Opera

THE 2023-24 DISCOVERIES SERIES SPONSOR

The Molly Blank Fund of the Arthur M. Blank Family Foundation WITH SIGNIFICANT SUPPORT FROM

The Livingston Foundation

THE VETERANS TICKET PROGRAM SPONSOR

THE ATLANTA OPERA IS GRATEFUL FOR PUBLIC SUPPORT FROM

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.

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credits

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Michael Shapiro’s

The Movie Opera

CONDUCTED & COMPOSED BY Michael Shapiro 1931 FILM DIRECTED BY James Whale LIBRETTO Latin Requiem mass

STAGING SUPERVISOR Gregory Boyle ASSISTANT CONDUCTOR Rolando Salazar SINGERS SOPRANO SOLOIST Amanda Sheriff† CONTRALTO SOLOIST Aubrey Odle† TENOR SOLOIST Kameron Lopreore† BARITONE SOLOIST Andrew Gilstrap BASS-BARITONE SOLOIST Jason Zacher† MUSICAL PREPARATION Elena Kholodova STAGE MANAGER Cason Gilmore Performed in Latin.

Approximate running time: 70 minutes, with no intermission.

This performance is the East Coast Premiere of Michael Shapiro’s Frankenstein-The Movie Opera.

Frankenstein © COPYRIGHT MCMXXXI BY UNIVERSAL PICTURES CORP. All Rights Reserved.

Michael Shapiro’s music is published by Universal Edition/Wien, https://www.universaledition.com/michael-shapiro-8499 The purchase of equipment for The Atlanta Opera is supported by a gift from Eva & Robert Ratonyi. †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, John & YeeWan Stevens, and Jerry & Dulcy Rosenberg.

Frankenstein— In Hollywood Filmmaking WRITTEN BY

Michelle Winters

Michael Shapiro’s BrianFrankenStaufenbiel stein-The Movie Opera

ARTWORK BY ERIK TEAGUE

8 | productionnote

Frankenstein is a 1931 “pre-Code” science fiction horror film directed by James Whale, produced by Carl Laemmle, Jr., and adapted from a 1927 play by Peggy Webling, which in turn was based on Mary Shelley’s 1818 novel Frankenstein; or, The Modern Prometheus.

The Webling play was adapted by John L. Balderston and the screenplay written by Francis Edward Faragoh and Garrett Fort, with uncredited contributions from Robert Florey and John Russell. The film was released by Universal Pictures.

Filmmaking in “pre-Code” Hollywood (1927-1934) was a wild enterprise when sensational content shocked (or delighted) early moviegoers. At a time when morality was rigidly defined by religious entities and laws and codes were created and enforced by the government, Hollywood had slipped by without oversight. Making

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money and getting audiences trumped any perceived social responsibility during the time that movies transitioned from the silent era to early “talkies.” Lax censorship slowed this free-wheeling creativity when the Hays Code was enacted, but restrictions and strict controls were strongly enforced with the establishment of the Production Code Administration in 1934.

Sex, drugs, prostitution, portrayals of homosexuality and a host of other topics were exploited as the subject of movies that would later be banned from general distribution or controlled. Titles such as Call of the Flesh, Children of Pleasure, Fast and Loose, Life of the Party, Sin Takes A Holiday and many more, were produced and distributed by the studios to make fast cash in the booming economy that preceded the Great Depression.

Titles and content became even more lurid as movie makers used sensationalism to lift their sagging profits during the throes of that era.

COURTESY MICHAEL SHAPIRO

Frankenstein, as one of the first of the pre-Code movies in the horror genre, was among the most chilling and challenging movies of the time. Evoking the powerful premise of “man as God” and the thought-provoking concepts of belonging and identity, Frankenstein still impacts today’s audiences.

The audience in Los Angeles waiting for the performance of Michael Shapiro’s Frankenstein-The Movie Opera.

10 | cast & creative

MICHAEL SHAPIRO CONDUCTOR & COMPOSER ATLANTA OPERA DEBUT

Michael Shapiro’s works have been performed throughout the United States, Canada, and Europe—with broadcasts of premieres on National Public Radio (NPR), the British Broadcasting Corporation (BBC), the Canadian Broadcasting Corporation (CBC), the Israel Broadcasting Authority (IBA), Polskie Radio (Poland), Australian and South African stations, Sender Freies Berlin, WQXR, WCBS-TV, SiriusXM Symphony Hall Living American and Vincent Caruso’s Classics on Film, and over 50 United States, Canadian, and British public and commercial radio stations. His music, which spans across all media, has been characterized in a New York Times review as “possessing a rare melodic gift.” His oeuvre includes more than 100 works for solo voice, piano, chamber ensembles, chorus, orchestra, as well as for opera, film, and television, with recordings on Naxos and Paumanok Records.

His exclusive publisher is Universal Edition/Wien.

Michael Shapiro has collaborated with such artists as Teresa Stratas, José Ferrer, Janos Starker, Sir Malcolm Arnold, Marin Alsop, Sergiu Comissiona, Jerry Junkin, Paul Shaffer, Eugene Drucker, Kim Cattrall, Tim Fain, Lara Downes, Gottfried Wagner, Alexis Cole, Brad Lubman, Edward Arron, Jerome Rose, Mariko Anraku, Elliott Forrest, Steven Beck, Ariadne Greif, Deborah Simpkin King, Daniel Mutlu, and many others, and organizations such as the LA Opera, BBC National Orchestra of Wales, Royal Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Orchestra Sinfonica di Milano, Philharmonisches Orchester der Stadt Trier (Theater Trier), symphony orchestras in Houston, Virginia Charleston, Springfield, Beloit, Garden State, Traverse, Western Piedmont, and New York, United States Navy Band, West Point Band, Royal Canadian Air Force Band, Dallas Winds, Dragefjetts Musikkorps, Springfield Symphony Orchestra, Opera Theatre of Northern Virginia, Steamboat Springs Festival, Westchester Concert Singers, Zürich Opera, U.S. Holocaust Memorial Museum, Israel Broadcasting Authority, Sender Freies Berlin, Canadian Broadcasting, National Public Radio (NPR), WCBS, WQXR Radio, Milken Archive of Jewish Music, American Jewish Committee, Hawthorne, Amernet, and Argus Quartets, Artemis, Cabrillo Festival, Festspillene i Bergen (Bergen International Festival), and Dateline NBC, and universities throughout the United States.

The son of a Klezmer band clarinetist, Michael Shapiro was born in Brooklyn, New York, and spent most of his high school years in Baldwin, a Long Island suburb, where he was a music student of Consuelo Elsa Clark,

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William Zurcher, and Rudolf Bosakowski. The winner of piano competitions during his youth, he earned his B.A. at Columbia, where he majored in English literature and concentrated in music, benefiting most from some of the department’s stellar musicology faculty, which, at that time, included such international luminaries as Paul Henry Lang, Denis Stevens, Joel Newman, and others. He studied conducting independently with Carl Bamberger at the Mannes and later with Harold Farberman at Bard.

At Juilliard, where he earned his master’s degree, he studied solfège and score reading with the renowned Mme. Renée Longy—known to generations of Juilliard students as “the infamous madame of dictation” for her rigorous demands and classic pedagogic methods—and composition with Vincent Persichetti. His most influential composition teacher, however, was Elie Siegmeister, with whom Shapiro studied privately.

Happy Halloween to all you classic horror fans!

It is with immense pleasure and excitement that I extend my warmest welcome to each and every one of you to this remarkable evening, celebrating the timeless tale of Frankenstein through the power of music and the movies. As the composer of the film score that will accompany this extraordinary performance, I am deeply honored to be a part of this creative journey.

Frankenstein has held a special place in our collective imagination for centuries, captivating hearts and minds with its themes of creation, responsibility, and the boundaries of human endeavor. Back in 1931, when movies were young, the young British director James Whale conceived the idea of adapting a stage play based on the gothic horror novel by Mary Shelley into a movie. When he cast the nearly-unknown Boris Karloff as “the Monster,” history was made! I am eager for you to experience the operatic, symphonic interpretation of this iconic story.

With my score, I have sought to infuse the music with the same sense of grandeur, emotion, and depth that has made the novel a literary classic.

The singers and musicians have poured their passion and expertise into bringing my composition to life, and I am confident that their performances will transport you to the world of 19 th-century Europe, where science and the supernatural collide.

I’m thrilled to share this “electrifying” experience with you.

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12 | cast&creative Born in Santiago, Chile, and adopted at birth, Gregory Boyle is grateful to have lived and traveled all around the United States to pursue his passion for opera and happily calls Philadelphia his home. Boyle has recently directed Don Pasquale for Inland Northwest Opera in Coeur D’Alene, Idaho, and revival directed Michael Shell’s The Barber of Seville at Austin Opera. He has directed a concert version of Tosca for Opera Philadelphia’s outdoor series at The Mann Center. He has also produced a new production of La Favorite at The Academy of Vocal Arts GREGORY BOYLE in Philadelphia and a new production of Mignon, which STAGING SUPERVISOR was postponed indefinitely. Most recently, he assisting on Tomer Zvulun’s new production of Das Rheingold, a ATLANTA OPERA DEBUT co-production between The Atlanta Opera and The Dallas THE PIRATES OF PENZANCE, 2016 Opera. Boyle assisted on Stephan Barlow’s The Barber of Seville production at Santa Fe Opera. He has also worked with the Bonfils-Stanton Foundation Artists at Central City Opera as a director, giving young students the opportunity to explore and develop new roles in opera through a scenes program. Highlights from that summer include Die Fledermaus, A Midsummer Night’s Dream, The Elixir of Love, Dialogues of the Carmelites, and A Little Night Music.

Boyle has also worked with the Academy of Vocal Arts in Philadelphia, The Santa Fe Opera, and the Herndon Foundation of Emerging Artists of Virginia Opera. Previously, Boyle has held associate and assistant director engagements at companies including Opera Philadelphia, the Santa Fe Opera, The Dallas Opera, Central City Opera, and Virginia Opera among others.

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. Salazar 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, ROLANDO SALAZAR Ozark Family Opera, and Permian Basin Opera. He keeps ASSISTANT CONDUCTOR an active coaching and collaborative piano schedule in Atlanta, preparing numerous singers for engagements ATLANTA OPERA DEBUT with major orchestras and opera houses worldwide. A LA TRAVIATA, 2013 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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14 | cast&creative American soprano Amanda Sheriff was recently a Young Artist at the Glimmerglass Festival, where she made her debut as Calista in the youth opera The Rip Van Winkles.

This upcoming spring, Sheriff made her company and role debut as Musetta (La bohéme) with Opera Bozeman.

Earlier in 2023, Sheriff performed as the soprano soloist in Carmina burana and Brahms’ Requiem and was a grant winner in the Gerda Lissner Competition. In 2022, Sheriff was awarded first prize in the highly esteemed Lotte Lenya Competition and returned to Opera Delaware, where she AMANDA SHERIFF performed Despina (Così fan tutte) and also rejoined Opera GLYNN STUDIO ARTIST Baltimore as Miss Jessel (Turn of the Screw). During 2021, SOPRANO SOLOIST Sheriff joined Des Moines Metro Opera as an Apprentice Artist and made her debut as Miss Lightfoot (Fellow ATLANTA OPERA DEBUT Travelers), and covered Clarine and L’amour in (Platée).

Prior to that, Amanda was a Studio Artist at Florida Grand Opera, and performed the roles of Beatrice (Three Decembers), First Trio member (Trouble in Tahiti) Célie (Signor Deluso), and Babs (New York Stories). Sheriff also made her debuts with Opera Delaware in the role of Norina (Don Pasquale) and Monica (The Medium) with Opera Baltimore. Sheriff was a Young Artist at Seagle Music Festival in 2019 and performed Susanna (Le Nozze di Figaro).

She holds bachelor’s and master’s degrees in music from Stephen F. Austin State University.

Aubrey Odle (mezzo-soprano) is known for her “warm, plummy” and “luscious” sound and a competitive up-andcoming vocalist. The 2022-23 season featured Aubrey in roles with Lyric Opera of Kansas City, including Flora (La traviata), Mercédès/Carmen cover (Carmen) and Mother (Amahl and the Night Visitors). She also found success in competitions this past year, winning second place in the Opera Birmingham Vocal Competition, as well as second place in the Carolyn Bailey Argento Vocal Competition with the National Opera Association (Marjorie Gordon Award).

AUBREY ODLE In the summer of 2023, Odle joined Des Moines Metro GLYNN STUDIO ARTIST Opera, covering Judith in Bluebeard’s Castle, in addition to CONTRALTO SOLOIST other performances. In the 2021-22 season, she was first year Resident Artist with the Lyric Opera of Kansas City ATLANTA OPERA DEBUT where Odle performed Mother in Amahl and the Night Visitors and A Teacher in The (R)evolution of Steve Jobs (Laurene cover). Other operatic role experience includes La Zia Principessa (Suor Angelica), Zita (Gianni Schicchi), Gertrude (Roméo et Juliette), Dame Quickly (Falstaff), and others. Equally experienced in concert, Odle has performed concert works with the Arkansas Symphony Orchestra, Knoxville Opera, and Utah Valley Symphony. She also has great interest in new opera and has sung leading roles in the U.S. Premiere of Evan Fein’s City of Ashes, as well as the world premiere of Frank Pesci’s Royal Flush. Additionally, she has received accolades from other notable competitions including Saengerbund Awards in Houston, the Orpheus Vocal Competition, and The American Prize competition.

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Tenor Kameron Lopreore is thrilled to be returning to The Atlanta Opera as a Glynn Studio artist. This season, he looks forward to performing the roles of Bill Watson and Lloyd in Paul Moravec’s The Shining, Mattea Borsa in Verdi’s Rigoletto, and Lysander in Britten’s A Midsummer Night’s Dream. Recently, he enjoyed participating in The Santa Fe Opera’s prestigious young artist program. Additionally, he sang Tamino in The Magic Flute and Panatellas in the world premiere of Songbird at The Glimmerglass Festival. He performed the roles of Le Remendado in Bizet’s Carmen KAMERON LOPREORE and Nemorino in Donizetti’s L’elisir d’amore with Pensacola GLYNN STUDIO ARTIST Opera. In November of 2019, and he travelled with The TENOR SOLOIST Glimmerglass Festival to perform the role of the Marquis in the culmination of Corigliano’s The Ghosts of Versailles ATLANTA OPERA DEBUT THE SHINING, 2023 at the Château de Versailles in France. He is a prominently featured artist with the Louisiana Philharmonic Orchestra where he regularly performs major works such as Handel’s Messiah, J.S. Bach’s Christmas and Easter Oratorios, and Rossini’s Stabat Mater. He has enjoyed a two year resident artist position with Shreveport Opera where he performed roles such as Tamino in Mozart’s The Magic Flute, Ferrando in Mozart’s Così fan tutte, and Motel the tailor in Fiddler on the Roof. He holds both bachelor’s and master’s degrees in voice from Loyola University New Orleans and he is the recipient of the first Italian American Scholarship Award as well as two Metropolitan Opera National Council district winner awards. In the summer of 2017, he performed in Chautauqua Opera’s studio artist program. Recent roles include E.T.A. Hoffman in Offenbach’s The Tales of Hoffman, Roméo in Gounod’s Roméo et Juliette, Rinuccio in Puccini’s Gianni Schicchi and Candide in Bernstein’s Candide.

Atlanta local Andrew Gilstrap is quickly rising to be one of the premier bass-baritones of his generation, known for his dramatic interpretations and musical sophistication.

He is an alumnus of the respective studios/apprentice programs of Bayerische Staatsoper, Des Moines Metro Opera, Minnesota Opera, and Wolf Trap Opera. Career highlights include the roles of Leporello in Don Giovanni with Wolf Trap Opera, Antonio in Le nozze di Figaro and Il padre di Nencio in L’infedeltà delusa with Bayerische Staatsoper, Basilio in Il barbiere di Siviglia and Immigration ANDREW GILSTRAP Officer in Flight with Minnesota Opera, and Sourin in BARITONE SOLOIST Pique Dame with Des Moines Metro Opera. Last season, he performed the role of Masetto in Don Giovanni with The ATLANTA OPERA DEBUT Atlanta Opera. Gilstrap holds degrees from the University MADAMA BUTTERFLY, 2022 of Houston’s Moores School of Music, where he studied with Timothy Jones. He graduated with a Bachelor of Music in 2016 and a Master of Music in 2018. In his spare time, Gilstrap enjoys cooking and baking for his family and long walks with his Yorkie mix, Westley, who will make his Atlanta Opera debut this season as Musetta’s Dog in La bohème.

18 | cast&creative Jason Zacher (bass-baritone) is a native of New Jersey and is quickly gaining attention on a national level as a rising new talent and versatile performer. For the 2022-23 season, Zacher joined the acclaimed Barbara and Halsey Sandford Studio Artist Program at Kentucky Opera. While in Kentucky, Zacher was featured in roles such as Colline (La bohème), Alidoro (La Cenerentola), and Henry (The Gift of the Magi). In the summer of 2023, he then joined The Glimmerglass Festival where he covered the roles of Pangloss/Voltaire in Candide, as well as Argante in JASON ZACHER Rinaldo. In summer 2022, Zacher returned to Des Moines GLYNN STUDIO ARTIST Metro Opera, singing the role of Jimmy in the Midwest BASS-BARITONE SOLOIST premiere of American Apollo (Geter/Palmer), as well as covering Bottom and Theseus in Benjamin Britten’s A ATLANTA OPERA DEBUT Midsummer Night’s Dream. A frequent participant on the competition circuit, he was recently named an NY District Winner for the Metropolitan Opera Laffont Competition. In addition, Jason has earned top accolades from the Jensen Foundation, Annapolis Opera, James Toland Vocal Arts, Rochester Oratorio Society, Opera Birmingham, National Opera Association, among others. Equally at home on the concert stage, Zacher was recently featured as the bass soloist in W.A. Mozart’s Requiem alongside The Masterwork Chorus. Other notable credits include bass soloist in George Handel’s Messiah, J.S. Bach’s Hercules at the Crossroads (BWV213), Felix Mendelssohn’s St. Paul, W.A. Mozart’s Coronation Mass, Benjamin Britten’s Rejoice in the Lamb, and Ralph Vaughan Williams’ Songs of Travel. He currently holds degrees from both the University of Houston (M.M. Vocal Performance) and Montclair State University (B.M. Music Education).

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20 | theatlantaoperaorchestra MICHAEL SHAPIRO’S FRANKENSTEIN-THE MOVIE OPERA ORCHESTRA VIOLIN

FLUTE

TUBA

Fia Durrett Acting Concertmaster

James Zellers Principal

Donald Strand Principal

Lisa Morrison Acting Assistant Concertmaster

OBOE

TIMPANI

Christina Gavin Principal

John Lawless Principal

CLARINET

PERCUSSION

David Odom Principal

Michael Cebulski Principal

BASSOON

PIANO/KEYBOARD

Sally Gardner-Wilson

Carlos Clark Principal

Elena Kholodova

VIOLA

FRENCH HORN

William Johnston Principal

David Bradley Principal

Catherine Allain Assistant Principal

TRUMPET

Virginia Respess-Fairchild Acting Prinicipal Second Shawn Pagliarini Acting Assistant Principal Second Violin Patrick Ryan

Joli Wu CELLO Charae Krueger Principal Cynthia Sulko Acting Assistant Principal

Yvonne Toll-Schneider Principal TROMBONE William P. Mann Principal

BASS Daniel Tancredi Principal

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PERSONNEL MANAGER James Zellers

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THE ATLANTA OPERA ORCHESTRA VIOLIN

CELLO

FRENCH HORN

Peter Ciaschini, The Loraine P. Williams Orchestra Concertmaster Chair

Charae Krueger Principal

David Bradley Principal

Assistant Principal

Jason Eklund

David Hancock

TRUMPET

Mary Kenney

Helen Kim Assistant Concertmaster Fia Durrett Prinicipal Second Violin

Cynthia Sulko

Yvonne Toll-Schneider Principal

BASS

Alexander Freund

Edward Eanes

Daniel Tancredi Principal

TROMBONE

Felix Farrar Sally Gardner-Wilson

Emory Clements

William P. Mann Principal

Robert Givens

Samuel Dugo

Richard Brady

Patti Gouvas

FLUTE

TUBA

Lisa Morrison Shawn Pagliarini

James Zellers Principal

Donald Strand Principal

Virginia Respess-Fairchild

Kelly Bryant

TIMPANI

Patrick Ryan

OBOE

Angèle Sherwood-Lawless* Jessica Stinson

Christina Gavin Principal

John Lawless Principal

Rafael Veytsblum

CLARINET

Michael Cebulski

VIOLA

David Odom Principal

HARP

William Johnston Principal Catherine Allain Assistant Principal

John Warren BASSOON

Ryan Gregory

Carlos Clark Principal

Julie Rosseter

Debra Grove

PERCUSSION

Susan Brady PERSONNEL MANAGER James Zellers * Core Musician on Leave † Non-Core Musician

Karl Schab Joli Wu

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