The Atlanta Opera: Madama Butterfly, O

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THE ATLANTA OPERA puccini nov 5 - 13, 2022 cobb energy performing arts centre


ROFFMAN Page 8 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 ................ 16 BEHIND THE CURTAIN Cast & Creative ............ 20 The Atlanta Opera Chorus ...... 38 The Atlanta Opera Orchestra .... 39 COMMUNITY
Donor Profile: William Pennington .. 40 Director’s Circle ............ 41 Annual Giving ............. 41 The Barbara D. Stewart Legacy Society/ Tributes & Memorials .......... 44 Corporate/Foundations & Government Support ........ 45 LEADERSHIP Board of Directors .......... 46 Executive Committee/Advisory Council . 47 Staff ................... 48

Welcome to our 2022-23 season and our Mainstage season opener Madama Butterfly.

They say that no man steps in the same river twice, for it’s not the same river, and he is not the same man. This particular production was planned three seasons ago, before the long odyssey of the pandemic started. Performing it for you today feels like we are finally coming home after a long tumultuous journey. The world today is so vastly different than the world we knew prior to the pandemic

This production has held a special place in my heart ever since my esteemed, Lorin Maazel invited me to direct this show at his festival, in Castleton, Virginia. It ended up not only being the last performance that maestro Maazel ever conducted, but also my very first show as Artistic Director at The Atlanta Opera in 2014. As I reflect on 10 years with this fine company, I can confidently state that this work is one of my favorites.

The entire season this year is epic. January brings Mozart’s seductive Don Giovanni, and in March we move to Bernstein’s witty Candide, which seems particularly apt during these times of frenetic change. After all, we all want to believe that we live in the best of all possible worlds, despite frequent reminders to the contrary.

In May, we close our Mainstage with Wagner’s grand Das Rheingold, another production that has been in the works for three plus years.

This season really speaks to what opera can do. From grand theatrics to massive orchestrations, and from larger-than-life characters, we embrace storytelling. Even though the scale is large, stories about the human condition resonate through the power of the human voice.

Madama Butterfly is a phenomenal beginning to a season of epic operas for us. We hope you enjoy and join us for what’s next.

| welcome


Official Beverage of The Atlanta Opera


The Molly Blank Fund of the Arthur M. Blank Family Foundation





The Karina Miller Trust

FRIDAY PERFORMANCE SPONSOR  Victoria & Howard Palefsky




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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The Atlanta Opera dedicates these performances in memory of LORIN MAAZEL

COMPOSER Giacomo Puccini

LIBRETTIST Luigi Illica & Giuseppe Giacosa

FIRST PERFORMANCE February 17, 1904, La Scala, Milan

CONDUCTOR Timothy Myers



COSTUME DESIGNER Allen Charles Klein




WIG & MAKEUP DESIGNER Heather Sterling


FILMED MEDIA Felipe Barral & Amanda Sachtleben


CIO-CIO-SAN Yasko Sato

LT. PINKERTON Gianluca Terranova

SUZUKI Nina Yoshida Nelsen

SHARPLESS Craig Colclough

GORO Julius Ahn


THE BONZE Suchan Kim


SUPERNUMERARY Gregg Spiro Winsett


CHORUS MASTER Rolando Salazar


INTIMACY DIRECTOR Michelle Ladd Williams


PROJECTED TITLES Brendan Callahan-Fitzgerald


KATE PINKERTON Gretchen Krupp*



SORROW Abigail Hale

COUSIN Carrie Anne Wilson MOTHER Nicole Lewis AUNT Tiffany Uzoije

ASSISTANT STAGE MANAGERS Caitlin Denney-Turner, Kristin Kelley

Performed in Italian with English supertitles.

Approximate running time: two hours and 34 minutes, with one intermission.

English Captions by Jonathan Dean

English Captions for Madama Butterfly owned by Jonathan Dean © 2017

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

*Member of The Atlanta Opera Glynn Studio. Sponsored in name this season by a gift from Beth and Gary Glynn, The Glynn Studio Artists also receive significant support from the Donald and Marilyn Keough Foundation, and John and YeeWan Stevens. The Studio Artist director position is funded by Jerry and Dulcy Rosenberg in honor of Tomer Zvulun.

Some costumes for Madama Butterfly designed by Allen Charles Klein for Florida Grand Opera.

Some costumes for Madama Butterfly were realized at the Arizona Opera Costume Shop and are courtesy of Arizona Opera.

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Production Notes

In January of 1898, a seemingly unambitious little story appeared in the pages of Century Magazine penned by one John Luther Long, a Philadelphia lawyer and writer of short fiction. Crafted from reminiscences of his sister, who was the wife of a Methodist missionary in Japan (as well as from elements obviously lifted from the French novel Madame Chysanthème), Long’s narrative spun the sad account of a Japanese geisha who is betrothed and betrayed by a U.S. naval officer. The piece was titled Madama Butterfly

The novella could not have appeared at a more opportune time. As prospects for travel became increasingly available in the latter 19 th century, Westerners journeyed to exotic lands that were previously unknown to them. In America, Commodore Matthew C. Perry’s opening of Japan to the West with the Convention of Kanagawa in 1854 engendered a wave of curiosity about the country. Fascination with the so- | @theatlantaopera 8 | productionnote
B.F. Pinkerton (Adam Diegel) and Cio-Cio-San (Dina Kuznetsova) from The Atlanta Opera’s 2014 production.


called “Far East” was at fever pitch and vividly reflected in the arts and pop culture of the day. Consequently, Madama Butterfly was a runaway success.

Long’s story presents an antiquated view of Asian culture and makes for uncomfortable reading today. Nonetheless, his empathy for his protagonist is palpable. Those who know the story through Giacomo Puccini’s opera are in for a surprise when they turn to the source material. Long leaves no ambiguity as to who the bad guys are. Before B. F. Pinkerton became a romantic operatic tenor, he was an irredeemable cad who is disliked by the American consul. His wife Adelaide (“Kate” in the opera) is a frivolous piece of work who blithely dismisses Cio-Cio-San as a “pretty plaything”. The novella’s real shocker however is that Butterfly does not die at the end. Cio-Cio-San and her faithful servant Suzuki bundle up her beloved child and steal away into the night, thus thwarting the Pinkertons’ plan to take the boy away. In other words, in the original story the Asian women win the battle.

Those details were significantly tweaked by American theatrical impresario David Belasco, who saw an opportunity for a smash hit of his own, and secured permission for a stage adaptation. Belasco rewrote the ending, giving us Butterfly’s suicide, and ingeniously conceived an extended vigil scene in which Butterfly awaits Pinkerton’s return (later reflected in Puccini’s opera as the “Humming Chorus”). Belasco’s Madame Butterfly opened at New York’s Herald Square Theatre on March 5, 1900, where it was received with wild enthusiasm and catapulted actress Blanche Bates to Broadway stardom. Seven weeks later, an expanded version opened to huge acclaim in London. Among those cheering was Puccini, who happened to be in the city for the opening of Tosca at Covent Garden. The composer immediately contacted Giuseppe Giacosa and Luigi Illica with instructions to begin work on a libretto.

The premiere of Puccini’s Madama Butterfly at Milan’s Teatro alla Scala in 1904 remains one of opera’s most notorious fiascos. The music wasn’t really the problem. Certain claques resented Puccini’s elevation as the successor to Verdi — a perception fueled by rival composer Alberto Franchetti, who Puccini had “helpfully” discouraged from adapting Sardou’s play La Tosca, only to then secure the rights for himself. | @theatlantaopera 10
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Conductor Arturo Toscanini was also a target of hostility. It is said that when a breeze puffed up soprano Rosina Storchio’s kimono in front, someone yelled “Look, it’s Toscanini’s bambino!” (Storchio, who created the title role, was known to be Toscanini’s lover). Undeterred, Puccini set about making revisions, among them the addition of Pinkerton’s apologetic aria “Addio, fiorito asil” (which yet further softened the character). Butterfly’s subsequent mountings in Brescia, and particularly at the Metropolitan Opera in 1907 secured the opera’s position among the most popular in the Italian repertory.

Madama Butterfly is now the seventh most frequently produced opera in Met history, with almost 900 performances to date. The work’s presence in our culture is so powerful it has spawned several new creations. In 1989, the hit stage musical Miss Saigon, which reimagines Puccini’s opera into the Vietnam era, opened in London’s West End, then transferred to Broadway where it ran for over 4,000 performances. David Henry Hwang’s Pulitzer-nominated drama M. Butterfly serves as a deconstruction of the piece that plays on issues of racial stereotype and identity. Closing the circle, M. Butterfly was itself adapted for the operatic stage by Chinese-American composer Huang Ruo.

Beloved though it may be, Butterfly has seen controversy. With the bombing of Pearl Harbor in 1941, the opera was seen as inflammatory, and was formally banned at the Met for the duration of the war. More recently, the piece has come under scrutiny for issues of cultural appropriation. A Met production from the 1950’s created by the Japanese director/designer team Yoshio Aoyama and Motohiro Nagasaka was hailed for its “authenticity” — despite the fact that the entire cast was Caucasian. Such an assessment would be problematic today.

The quality of the score however defies argument. It is one of Puccini’s strongest and best known. Even the man-on-the-street with little knowledge of opera might be able to hum a few bars of “Un bel di”, Butterfly’s great aria. The work is cleverly peppered with quotations of “The Star-Spangled Banner” to denote Pinkerton’s expansiveness and the familiar Japanese folk song “Sakura”. The almost unbearably erotic love duet in the first act is one of the most glorious pieces the composer | @theatlantaopera 12

ever created, while the flower duet “Tutti i fior” remains among the most exquisite pairings of two female voices in 20 th century music.

One wonders what John Luther Long would have thought about the journey his modest tale has seen. Long wrote other things, some with more literary merit; but he never equaled the success he had with Madama Butterly. He was good with that too, later stating that he was “a sentimentalist, and a feminist, and proud of it.” Considering that his vision inspired one of the most beautiful and enduring of Puccini’s operas, he had a great deal to be proud of.

The Atlanta Opera would like to thank The Japan America Society of Georgia for its partnership and hosting of the Madama Butterfly Community Conversation. Additional special thanks to the following community members who assisted with feedback and planning:


Japanese Chamber of Commerce of Georgia


Japanese Chamber of Commerce of Georgia

JESSICA CORK Japan-America Society of Georgia

YOSHI DOMOTO Japan-America Society of Georgia


Consulate General of Japan

KAZUKO LILLIE JapanFest Atlanta


Japan-America Society of Georgia

& Japanese Chamber of Commerce of Georgia


Consulate General of Japan


Tomodachi Club


Whos’s Who in Asian-American Communities | @theatlantaopera 14 | productionnote
BLUMENTHAL PERFORMING ARTS CONTACT Hila Johnson 305-978-2922 Our audience is your audience. Advertise with Encore and reach a targeted group of performing arts lovers. CONTACT Donna Choate 678-778-1573


At the turn of the century, on the outskirts of the harbor town of Nagasaki, U.S. Navy Lieutenant Benjamin Franklin Pinkerton inspects the house which he has leased and is soon to occupy with his Japanese bride, Cio-Cio-San, known as Madama Butterfly. Goro, the marriage broker, has arranged both the match and the house with a 999year contract cancelable at a month‘s notice. Presently, Sharpless, the United States Consul arrives, and Pinkerton shares with him his carefree philosophy of a sailor and the beautiful Japanese girl who has captivated him. Sharpless tries to persuade him that there is danger in this convenient arrangement; the girl may not regard her vows so lightly. The Lieutenant laughs at such apprehension and proposes a toast to America and the American girl who will someday be his “real” wife.

The hour for the wedding ceremony approaches. Butterfly, accompanied by her friends, arrives joyously singing of her wedding. She tells Pinkerton that since the death of her father she has had to earn her living as a geisha. Her relatives noisily bustle in, commenting on the bridegroom. In a quiet moment, Cio-Cio-San shows Pinkerton her | @theatlantaopera 16 | synopsis
The wedding photo from The Atlanta Opera’s 2014 production.

few earthly treasures and tells him that she has secretly renounced her traditional faith in favor of Christianity.

The Imperial Commissioner performs the brief ceremony, and the guests toast the couple when, suddenly Cio-CioSan‘s uncle, the Bonze, bursts in shouting. A Buddhist priest, he curses her for renouncing her ancestor’s religion. The relatives instantly turn on the young bride. When Pinkerton angrily orders all the guests away, Butterfly is left weeping. Pinkerton consoles her with tender words, and as night falls, the lovers share a moonlit duet.


Three years later, with a gaze fixed upon the horizon, Cio-Cio-San patiently awaits her husband’s return. Beside her, Suzuki prays to an image of Buddha, imploring the gods for aid. The money Pinkerton left is now almost gone. Butterfly bids her maid to have faith. One day, Pinkerton’s ship will appear in the harbor and he will again embrace his beloved wife.

Soon Sharpless enters with a letter from the Lieutenant and tries several times unsuccessfully to explain the reason for his visit. The letter tells of Pinkerton’s marriage to an American girl. But before he can break the news to Butterfly, Goro interrupts, bringing with him a noble suitor, the wealthy Prince Yamadori. Cio-Cio-San greets the prince with dignity but firmly refuses his offer of marriage, insisting that her American husband has not deserted her. Sharpless again attempts to read the letter and gently advises the girl to accept the prince. He asks her what she would do if Pinkerton never returned. Cio-Cio-San proudly carries forth her young son, “Sorrow” or “Trouble.” As soon as Pinkerton knows of his son, she insists, he will return to them, and that day, “Joy” will become the child’s name. If her husband does not come back, she says she would rather die than return to her former life. Utterly defeated, but moved by Butterfly‘s devotion, Sharpless quickly exits.

A cannon roars from the harbor. Seizing a spyglass, Butterfly discovers that Pinkerton’s ship, the Abraham Lincoln, is coming into port. Deliriously happy, she orders Suzuki to help her strew the house with blossoms.

As evening falls, Cio-Cio-San dons her wedding gown and with her maid and her son, she prepares to keep vigil throughout the long night.


The pale light of dawn finds Suzuki and the baby asleep. Butterfly still stands watching and waiting. Suzuki


awakens with the sunshine and insists that Cio-CioSan rest. Humming a lullaby, the young mother carries her boy to another room. Before long, Sharpless, Pinkerton and Kate, his new wife, approach the house. Suzuki almost at once realizes who the strange woman is. Overcome with despair, she reluctantly agrees to aid in breaking the news to her mistress. Pinkerton, now surrounded by evidence of his fragile Butterfly’s unwavering faith and devotion, bids an anguished farewell to the scene of his former happiness. He then rushes away leaving the consul to arrange things as best he can. Cio-Cio-San hurries in expecting to find her husband, and instead finds Kate. She instantly guesses the truth and with touching dignity, Butterfly wishes “the real American wife” happiness. She asks Kate to tell Pinkerton that he may have his son if he will return for him in half an hour. Kate sadly departs with Sharpless.

Butterfly orders Suzuki and the child away. She pulls from its sheath the dagger with which her father committed suicide. She reads aloud its inscription, “To die with honor when one no longer can live with honor.”

As she raises the blade to her throat, Suzuki pushes the boy into the room. Cio-Cio-San drops the knife and embraces her child, passionately imploring him to look well upon his mother’s face. After finally sending him off to play, she takes her father’s dagger and stabs herself. As Butterfly dies, Pinkerton’s voice is heard crying out her name.

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B.F. Pinkerton finds Cio-Cio-San after she has stabbed herself.



Timothy Myers is internationally acclaimed for his eloquence, energy and command on the podium. Maestro Myers enters his second season as Austin Opera’s Sarah and Ernest Butler Principal Conductor and Artistic Advisor, where he conducts productions of Le nozze di Figaro, The (R)evolution of Steve Jobs, and Fidelio. He will also conduct programs with the North Carolina Symphony and a selection of opera favorites with the Sacramento Philharmonic and Opera. With Austin Opera he will conduct both Sweeney Todd and The Pearl Fishers. In the 2020-21 season, he began his tenure as Principal Conductor of Austin Opera with a concert featuring Isabel Leonard, filmed for broadcast on PBS. He also filmed David T. Little’s opera Vinkensport at Houston Grand Opera and conducted a subscription concert with the North Carolina Symphony. Highlights of past seasons include company debuts with Santa Fe Opera for Les pêcheurs des perles, Minnesota Opera for the world premiere of Joel Pucketts’ The Fix, Wexford Festival Opera for Barber’s Vanessa, Florida Grand Opera for Salome, The Atlanta Opera for Sweeney Todd, and Lyric Opera of Chicago to conduct the Rising Stars Concert. From 2009 to 2018, Myers was the Artistic and Music Director of North Carolina Opera. Repertoire highlights included Das Rheingold, Act II of Tristan und Isolde, Act I of Die Walküre, Eugene Onegin, and Rusalka. A protégé of Lorin Maazel, Myers was the first associate conductor of the Castleton Festival. He has worked internationally with the American, Jerusalem, Beijing NCPA, North Carolina, and Chautauqua Symphonies, as well as the Malaysian, Johannesburg, and Brooklyn Philharmonic Orchestras.




General and Artistic Director of The Atlanta Opera since 2013, Israeli born Tomer Zvulun is also one of opera’s most exciting stage directors, earning consistent praise for his creative vision, often described as cinematic and fresh. His work has been presented by prestigious opera houses around the world, including The Metropolitan Opera, the opera companies of Israel, Buenos Aires, Wexford, Glimmerglass, Houston, Washington National Opera, Seattle, Detroit, San Diego, Minnesota, Boston, Cleveland, Dallas, Cincinnati, Pittsburgh, New Orleans, and Wolf Trap, as well as leading educational institutes and universities such as The Juilliard School, Indiana University, Boston University, and IVAI in Tel Aviv. Since becoming General and Artistic Director in Atlanta a decade ago, he has increased the operations of the company from three to six productions per season, while stabilizing the financials. Some of his noted achievements include launching the successful Discoveries series, creating the first young artist program, tripling the company’s annual fundraising, creating a film studio, and building a theatre in a circus tent where performances were conducted safely during the pandemic. His work has attracted international attention by earning numerous awards and prizes including nomination of The Atlanta Opera for the International Opera Awards in London and the selection of his production Silent Night as both the Irish Times and the Atlanta Journal-Constitution’s production of the year. His focus on innovation led to an invitation to deliver a TED Talk as well as a case study being taught at Harvard Business School. Zvulun’s upcoming productions include Rigoletto (Dallas), The (R) evolution of Steve Jobs (Salt Lake City, Calgary) and Das Rheingold (Dallas and Atlanta). | @theatlantaopera 20 | cast&creative


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Erhard Rom has designed settings for more than 250 productions around the globe, and in 2015 he was named as a finalist in the designer of the year category for the International Opera Awards in London. Over the years, his designs have frequently been featured in the Prague Quadrennial International Design exhibition. Credits include: San Francisco Opera (The Marriage of Figaro, Susannah, Lucia di Lammermoor, Nixon in China, Don Giovanni, Così fan tutte), Royal Swedish Opera (Nixon in China), Seattle Opera (Semele, Eugene Onegin, La bohème), Washington National Opera (Don Giovanni, Samson and Delilah, Silent Night, Written in Stone, Così fan tutte), Wexford Festival (Silent Night), Houston Grand Opera (Rigoletto), Vancouver Opera (Dead Man Walking, Otello), Glimmerglass Festival (A Blizzard on Marblehead Neck, Later the Same Evening, Silent Night), Opera Theatre of St. Louis (Faust, Jane Eyre, Carmen), Minnesota Opera (The Shining, Dead Man Walking, Rusalka, Romeo and Juliet) Utah Opera (Moby-Dick). Other companies include; Boston Lyric Opera, Opéra de Montréal, The Atlanta Opera, and Wolf Trap among many others. In 2014 he designed the European premiere of Silent Night for the Wexford Festival and the 2015 Irish Times Theatre Awards Ceremony gave it two accolades, including audience choice and best opera production of 2014. Upcoming engagements include new productions of Elektra and Il trovatore for the Washington National Opera and Das Rheingold for Dallas Opera and The Atlanta Apera. Mr. Rom also teaches design at Montclair State University in New Jersey.


Allen Charles Klein, a native New Yorker, studied painting and sculpture at the Art Students League and the High School of Music and Art. He completed his studies in theater design at Boston University under Horace Armistead and Raymond Sovey. He is the only American designer to have focused his career exclusively to the production of design for the opera stage, and together with Bliss Hebert as director, has created more than 112 new productions over a period of 50 years. His work has been seen in America in virtually every opera house, including San Francisco, Dallas, Santa Fe, Seattle, Portland, Houston, Baltimore, Miami, San Diego, Detroit, Vancouver, Toronto, Montreal, Mexico City, and the Metropolitan Opera. In Europe, Mr. Klein has designed productions for the Scottish Opera, Edinburgh Festival, Opera Northern Ireland, the Glyndebourne Festival, Deutsche Oper Berlin, and the Vienna Staatsoper. His work has also been seen on the stages of the Schwetzingen Festival, Frankfurt Oper, Barcelona, Madrid, and at the Teatro alla Fenice in Venice. He has designed the world premieres of Floyds’ Of Mice and Men and The Passion of Jonathan Wade, Villa-Lobos’ Yerma, Thomas Pasatieris’ The Sea Gull, and John Eatons’ The Tempest. Together with Bliss Hebert, Mr. Klein divides his time between homes in Miami and Ribeauville, France. | @theatlantaopera 22 | cast&creative





Kathleen Trott is the Manager of the Marlu Allan and Scott Stallard Costume Artisan Workshop for Arizona Opera. Now living in the Phoenix Valley, Arizona she is originally from Northern Nevada. Other theatrical companies Kathleen has worked for include PCPA, the Oregon Shakespeare Festival, the Alabama Shakespeare Festival, and Southern Oregon University. Other design credits include the world premiere of Riders of the Purple Sage for Arizona Opera, Sweeney Todd: The Demon Barber of Fleet Street, and Mamma Mia! for Arizona Broadway Theatre, Don Pasquale for Cincinnati Opera and The Atlanta Opera, La bohème for Arizona Opera and Omaha Opera, La Fille du Régiment at Greensboro Opera, Madama Butterfly and Don Giovanni for Arizona Opera, and Dido and Aeneas at Central City Opera.




Robert Wierzel has worked in opera, theater, dance, museums, and contemporary music. Opera credits include productions with the opera companies of Paris Garnier, Tokyo, Toronto, Bergen, Norway, Glimmerglass Festival, Seattle, Boston Lyric, Minnesota, San Francisco, Houston, Virginia, Chicago Lyric, Opera Theatre of Chicago, Montreal, Vancouver, Portland, Wolf Trap, NYCO, and San Diego. His dance work includes the Bill T. Jones/Arnie Zane Company. Broadway credits include Lady Day at Emerson’s Bar & Grill starring Audra McDonald; Fela! (Tony Award nomination), and David Copperfield’s Broadway debut, Dreams and Nightmares. Off-Broadway includes productions with the NYSF/Public Theater, The Signature Theatre, Roundabout Theatre Company, and Playwrights Horizons. Robert’s extensive regional theater work includes productions at the Alliance Theatre (Atlanta); Goodman Theatre; A.C.T. San Francisco; Arena Stage (Washington, D.C.), Center Stage, Chicago Shakespeare Theater; Shakespeare Theatre (Washington, D.C.); Hartford Stage; Long Wharf Theatre; The Guthrie; Mark Taper Forum; Actors Theatre Louisville, and The Old Globe. He is adjunct faculty at N.Y.U.’s Tisch School and a guest lecturer at the Yale School of Drama. |




Greg Emetaz is a filmmaker and video designer based in New York. For stage: Fire Shut Up in My Bones, The Metropolitan Opera; La Fanciulla Del West, National Center for Performing Arts – Beijing; La Clemenza Di Tito, LA Opera; Tristan Und Isolde, Croatian National Theatre. World premieres of Bel Canto, Chicago Lyric Opera; Dolores Claiborne, San Francisco Opera; Champion, An American Soldier, Shalimar, 27 and The Golden Ticket, Opera Theatre Saint Louis; Enemies a Love Story, Palm Beach Opera. For screen: feature film Camp Wedding (Nevermore audience Award, Jim Thorpe Best Comedy). Short films: Bowes Academy, Spell Claire, Get the F K Outta Paris!, Death by Omelette (SNCF Prix Du Polar Finalist). Webseries Do it Yourselfie (Friar’s Club special Jury Award, iTVfest Best Director award), co-directed with Amanda DeSimone. He’s also served as video director for the 2008-11 NEA Opera Honors, the 2011, 2013 NEA Jazz Masters and created behind-scenes documentaries for Julie Taymor’s The Tempest, Spider-Man: Turn Off the Dark and numerous productions at Opera Theatre St. Louis and New York City Opera.




Heather Sterling has been designing wigs and makeup for theatrical productions for the past 20 years. Recent wig/ makeup designs include Tosca (Opera Santa Barbara), Il Nozze di Figaro (Opera San Jose), Nan and the Lower Body (TheatreWorks of Silicon Valley),, La Traviata (OSB), The Enchanted Pig (San Francisco Conservatory of Music), Radamisto (Philharmonia Baroque Orchestra & Chorale), La Clemenza di Tito (SFCM), Semele (OSB), Hansel and Gretel (SFCM), Dido and Aeneas (OSJ), El Amor Brujo/ El Tabarro (OSB), and Cruzar la Cara de la Luna (OSB). Up-coming productions are La Scala di Seta (OSB), Une Education Manquee/Le Docteur Miracle (SFCM), In Every Generation (TheatreWorks of SV), An American Dream (OSB), The Consul (SFCM), L’enfant et les sortilege (SFCM) and Die Walkure “The Valkyrie” (OSB). She is also a theatrical makeup educator at SFCM and assistant director at Studio 10 Dance in San Jose, CA. Heather feels immense gratitude for the opportunity to share her artistry on one of her favorite operas. This is her first production with The Atlanta Opera. | @theatlantaopera 24 | cast&creative






Clinton Smith’s 2020-21 season included a virtual recital for Opera Orlando’s Summer Concert Series. He spent his seventh summer on the music staff at Santa Fe Opera playing continuo and covering music director Harry Bicket’s performances of Cosí fan tutte. His recent conducting credits include Charlie Parker’s Yardbird at The Atlanta Opera and Arizona Opera, Pagliacci and Pulcinella at Opera Orlando, Il barbiere di Siviglia at Dayton Opera and the University of Michigan, Le nozze di Figaro at Tacoma Opera, Alcina at Fargo-Moorhead Opera, Turandot, Norma, and Hansel und Gretel with Pacific Northwest Opera, The Mikado for Kentucky Opera, and Noah’s Flood with Opera Las Vegas. He has served on the music staff of Santa Fe Opera, Juilliard Opera, Minnesota Opera, Atlanta Opera, Portland Opera, Kentucky Opera, Ash Lawn Opera, and Skylark Operas and has included the preparation of over fifty operas in German, Italian, French, English, Czech, Russian, and Mandarin. He recently concluded a collective nine years as music and artistic director of both Orchestra Seattle/Seattle Chamber Singers and the St. Cloud Symphony. His many accomplishments include conducting subscription concerts every season, creating a chamber music series, annual Messiah performances, and partnering with numerous cultural and educational organizations. Mr. Smith holds degrees in orchestral conducting from the University of Michigan and piano performance from the University of Texas at Austin.





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, the Rome Symphony Orchestra, The Atlanta Ballet, the Atlanta Symphony Orchestra, Georgia State University Orchestra, Johns Creek Symphony Orchestra, the Ozark Family Opera, and the 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. | 25



Michelle Ladd has been working as a professional action director, choreographer, and performer of stunts, staged combat, dance, and acting for over 20 years. Although a native of the Southeast, she honed her stage fight skills in Britain at the Royal Academy of Dramatic Art and built her career in Los Angeles. She is a recognized Fight Director with the Society of American Fight Directors and the International Order of the Sword and the Pen. She has worked throughout North America, the United Kingdom, Scandinavia, and Asia. Her credits span theater, film, and motion capture and include Motion Capture Stunt Coordinator for Thor; Motion Capture Fight Director for Pirates of the Caribbean: At World’s End; Motion Capture Combat Choreographer for The Lord of the Rings: Return of the King and The Lion, the Witch, and the Wardrobe; performer with Barneville/Carteret Viking Fest – Freiki Klan Denmark; fight instruction and demonstration of Parnü Vöitlus Estonia; and featured guest for Korea’s Theatre Magazine. Michelle has staged fights at such venues as Drury Lane and North Park Opera. She and her husband own RE:Action Stunts and Broad-Motion Entertainment while raising their three young stunt boys. | @theatlantaopera 26 | cast&creative




After graduating and obtaining a doctorate with highest honors at the Tokyo National University of Fine Arts and Music, Yasko Sato completed her training in Italy with Raina Kabaivanska. She placed in several international competitions including the XLI “Toti Dal Monte” Competition for the role of Cio-Cio-San (Madama Butterfly), the IX Concurso Internacional de Cant “Jaume Aragall” (First prize and special prize Amics de l’opera de Sabadell), the Music Competition of Japan in Tokyo (First prize and Audience Award). She made her debut in 2005 in Japan with the role of Leonora in Oberto Conte di San Bonifacio by Verdi while on tour for the Teatro Lirico Sperimentale di Spoleto which subsequently invited her to sing Mimi in La bohème, Leonora in Il trovatore and in concert with Leo Nucci in the 40th anniversary of his debut. She thereafter explored the scope of the role of Cio-Cio-San in Madama Butterfly, publishing a work in Japan titled “Madama Butterfly: evolution of a woman”, which investigates the ultimate intentions of the composer through the analysis of the evolution of the character among the various revisions of the work. She debuted in the title role of Madama Butterfly in Sabadell, where she obtained great success and vast appreciation of the critics, with rave reviews in major Spanish newspapers. She later had the opportunity to sing the role of Cio-Cio-San in many houses across Europe. Recently she had a great success in Madama Butterfly at Teatro Regio di Parma, Teatro dell’Opera di Firenze and at Trapani Festival, Seattle Opera in U.S, and she debuted Tosca at the Bunka Kaikan in Tokyo.



Gianluca Terranova is becoming one of the most soughtafter lyric tenor with his ease in the high register and great stage presence. In 2010 he had great personal success on the occasion of his Teatro alla Scala debut as the Duke of Mantua in Rigoletto under the baton of James Conlon, with whom he also appeared as the Duke at the Los Angeles Opera for his successful American debut. Past engagements: La bohème, Rigoletto, Beethoven’s Ninth Symphony (under Mehta) in Florence; Lucia di Lammermoor in Frankfurt, Naples; La traviata in Berlin, Sydney, Verona, Venice with Chung; La Damnation de Faust in Palermo; Un Ballo in Maschera and Verdi’s Requiem in Trieste, Gelmetti conducting. More recently: La bohème in Torre del Lago, Bologna, Seoul, Venice Amsterdam, Tokyo, London, Naples, Atlanta, Sydney; Lucia di Lammermoor, Adriana Lecouvreur, Simon Boccanegra in Genoa; Simon Boccanegra in Turin under Noseda; Madama Butterfly in Dallas, Athens, Verona; Don Carlos, Maria Stuarda in Dusseldorf; Norma in Essen; Il trovatore in Modena; Puccini’s Messa di Gloria in Madrid; Aida in Liège; Mefistofele in Stuttgart. After his recent success starring in La bohème at the Wiener Staatsoper, in Madama Butterfly in London, and in Puccini’s Messa di Gloria in Toulon, Gianluca Terranova’s plan include Luisa Miller in Angers, Rennes, and Nantes. Mr. Terranova conferred face and voice to Enrico Caruso in the Italian TV-movie “Caruso, la voce dell’amore.” In October 2012 he released his first CD: “Gianluca Terranova canta Caruso” (EMI). Born in Rome and graduated in piano with honor, he attracted international attention jumping in as Duke of Mantua in Rigoletto at Arena in Verona, he also sang the role at La Scala Milan, Venice, Rome, Warsaw, Los Angeles, Australia. | @theatlantaopera 28 | cast&creative



Hailed as a “richly powerful singing actress” (Broadway World), Nina Yoshida Nelsen captivates audiences throughout North America and Europe with her world class voice and magnetic stage presence. This past season, Ms. Nelsen made her Boston Lyric Opera debut as Mama Lucia in Cavalleria Rusticana and her Bard Opera debut singing Mother Chen in Huang Ruo’s An American Soldier, returned to Opera Santa Barbara for a double bill of El Amor Brujo and Frugola in Il Tabarro, and made her Chicago Opera Theater debut singing Queen Sophine in Mark Adamo’s Becoming Santa Claus. She also performed in the Uplifting Asian Voices concert at Boston Lyric Opera, joined Santa Fe Opera for a performance of Huang Ruo’s Angel Island, made her Washington National Opera debut as Phoung Tran in the world premiere of The Rift (Ruo/Hwang), sang Mama in Jack Perla’s An American Dream at Kentucky Opera and performed as the alto soloist in Beethoven’s Symphony No. 9 with the Rhode Island Philharmonic. In the 2022-23 season, Ms. Nelsen will reprise the role of Suzuki in Madama Butterfly with New Orleans Opera, perform selections of orchestrated lieder by Alma Mahler with the Toledo Symphony, return to Seattle Opera as Khanh in Bound and join her home company of Opera Santa Barbara as Mama in An American Dream and Fricka in the Dove reduction of Die Walküre In 2019-20, Ms. Nelsen made her Portland Opera debut as Suzuki in Madama Butterfly, performed in the world premiere of Blood Moon at Prototype Festival in New York City and returned to Lyric Opera of Chicago to cover Suzuki in Madama Butterfly. Performances canceled due to COVID-19 included a return to the Santa Barbara Symphony to perform Beethoven’s Mass in C and a reprisal of the role of Khanh in Huang Ruo’s Bound at The Juilliard School. Ms. Nelsen is a graduate of Boston University and the Academy of Vocal Arts in Philadelphia.





Following his notable role debut as Alberich in Das Rheingold with the Tiroler Festspiele Erl during the summer of 2021, bass-baritone Craig Colclough began the 2021-22 season with his debut at Lyric Opera of Chicago, singing the title role in Verdi’s Macbeth. Mr. Colclough returned to Royal Opera, Covent Garden as Telramund in David Alden’s production of Lohengrin, and to The Metropolitan Opera to sing Monterone in a new production of Rigoletto. In the summer of 2022 he joined Opera Saratoga as the titular Sweeney Todd and the Ravinia Festival as Leporello in Don Giovanni. Next season features returns to The Metropolitan Opera in a reprisal of Monterone in Rigoletto, Atlanta Opera as Sharpless in Madama Butterfly, Tiroler Festspiele Erl for performances of Alberich in both Siegfried and Götterdämmerung, and his home company of Los Angeles Opera, who named him a 2021 recipient of the Eva and Mark Stern Artist Award, for performances of the title role in Le nozze di Figaro. Previous notable engagements include Pistola in Falstaff with Royal Opera, Covent Garden, Macbeth with The Metropolitan Opera and Opera Vlaanderen, Scarpia in Tosca with Canadian Opera Company and English National Opera, Telramund in Lohengrin and the title role in Falstaff with Opera Vlaanderen, Fra Melitone in La forza del destino with Oper Frankfurt, Peter Vogel in Der Ring des Polykrates with Dallas Opera, and Kurwenal in Tristan und Isolde and Jack Rance in La fanciulla del West with English National Opera. | 29




Versatile tenor Julius Ahn delights audiences around the world with his unique interpretations. Of his signature role, Goro in Madama Butterfly, critics hail “As the marriage broker Goro, tenor Julius Ahn was in his element, delivering the wickedness of his character with gusto.” Mr. Ahn performed the role in his début at San Francisco Opera and returned there to reprise it, as well as with the Canadian Opera Company, Palm Beach Opera, Vancouver Opera, Michigan Opera Theatre, Opera Carolina, Nashville Opera, Pittsburgh Opera, Lyric Opera of Kansas and Virginia Opera, and at the Royal Albert Hall in London. Last season, Ahn reprised the role of Pang in Turandot with Canadian Opera Company, sang the First Jew in Salome with The Atlanta Opera, performed Goro in Madama Butterfly with Tulsa Opera, Spoletta in Tosca with Cincinnati Opera, and both La traviata and La fanciulla del West at Korean National Opera. Recent engagements include Gherardo in Gianni Schicchi with Tulsa Opera and Spoletta in Tosca with Cincinnati Opera. Upcoming engagements include his signature role of Goro in Madama Butterfly with Canadian Opera Company, Borsa in Rigoletto with Opera Philladelphia, and a return to the Metropolitan Opera for The Magic Flute. Future seasons see returns to San Francisco Opera, Dallas Opera, Opera Colorado, and Michigan Opera Theatre. In recent seasons, Mr. Ahn grabbed the attention of operagoers as he joined the roster of the Metropolitan Opera for performances of The Nose, Turandot, Rigoletto, and Die Fledermaus making his main stage début as the Second Priest in Die Zauberflöte. He has now performed the role of Pang in Turandot in over 10 productions including, San Francisco Opera, Vancouver Opera, Michigan Opera Theatre, Utah Symphony & Opera, Opera Philadelphia, Pittsburgh Opera, The Atlanta Opera, Tulsa Opera, Seattle Opera and Cincinnati Opera.



As a proud member of the Patrick G. and Shirley W. Ryan Center Ensemble at the Lyric Opera of Chicago, Baritone Leroy Davis sang or covered roles in Macbeth, Die Zauberflöte and Florencia en el Amazonas. In 2022, he sings the Jailor in Tosca, and debuts as Pastor/Kaboom, covering Chester in Fire Shut Up In My Bones. He makes a role and company debut with Opera on the Avalon as Charlie in Three Decembers, and returns to Florentine Opera for his first Figaro in Il barbieri di Siviglia in 2023. Leroy’s 2020 engagements included his Lincoln Center debut in the world premiere of Ricky Ian Gordon and Bartlett Sher’s Intimate Apparel, a concert with New York Festival of Song, and the world premiere of Completing the Picture by Michael Ching with Opera Company of Middlebury. In 2019, he appeared with Boston Opera Collaborative as Leporello in Don Giovanni, the Forrester in Cunning Little Vixen and Joe St. George in Dolores Claiborne. He also debuted at the Phoenicia Festival as Belcore in L’elisir d’amore and Odyssey Opera as Ernesto Malcom in Maria, Regina d’Inghilterra. In 2018, Leroy was a resident studio artist with Florentine Opera where he sang Aeneas in Dido and Aeneas, Adonis in Venus and Adonis, and Fiorello in Il barbiere di Siviglia. That same season he sang Papageno in Die Zauberflöte, Mandarin/Ping in Turandot with the Shreveport Opera, and Don Alfonso in Così fan tutte as a guest artist with the New England Conservatory, followed by Maximillian in Candide with Chautauqua Opera. | @theatlantaopera 30 | cast&creative


Suchan Kim (Baritone), a native of Busan, South Korea, recently sang the role of Marcello in Opera in Williamsburg’s production of Puccini’s La bohème. He has performed as a resident in San Francisco Opera’s Merola Opera Program as well as with The Metropolitan Opera Guild, The Metropolitan Opera Education, Carnegie Hall, Sarasota Opera, The Phoenicia International Festival of The Voice, Opera in Williamsburg, Presidio Theater, Bare Opera, New Rochelle Opera, Teatro Grattacielo, Decameron Opera Coalition, Jamestown Concert Association, Fairfield County Chorale, Lyric Chamber Music Society of New York, National Theater of Korea, and Seoul Arts Center. His role credits include Don Giovanni in Mozart’s Don Giovanni, Count in Mozart’s Le Nozze di Figaro, Guglielmo in Mozart’s Così fan tutte, Papageno in Mozart’s Die Zauberflöte, Hoël in Meyerbeer’s Dinorah, Enrico in Donizetti’s Lucia di Lammermoor, Belcore in Donizetti’s L’Elisir D’amore, Marcello and Schaunard in Puccini’s La bohème, Ford in Verdi’s Falstaff, Silvio in Leoncavallo’s I Pagliacci, David in Mascagni’s L’Amico Fritz, Giorgio Germont and Barone Douphol in Verdi’s La traviata, Tarquinius in Britten’s The Rape of Lucretia, Dandini in Rossini’s La Cenerentola, Germano in Rossini’s La Scala di Seta, Tobia Mill in Rossini’s La cambiale di matrimonio, Le Marquis de la Force and Jailer in Poulenc’s Dialogues of the Carmelites, Salieri in Rimsky-Korsakov’s Mozart and Salieri, Paquiro in Granados’ Goyescas, Simeon from Debussy’s L’Enfant Prodigue, Father in Kamala Sankaram’s Thumbprint, and Jinzo Matsumoto in Max Giteck Duykers and Philip Kan Gotanda’s Both Eyes Open. He was an Eastern District Winner in the Metropolitan Opera National Council Auditions in 2011 and he received the Opera Award from Mannes Opera in 2013. Mr. Kim holds a Bachelor of Music from Korea National University of Arts and a Master’s Degree and a Professional Studies Diploma from Mannes College, the New School for Music.



Bass Allen Michael Jones is rapidly building an exciting and varied up-and-coming career. As a Resident Studio Artist with Minnesota Opera for the 2020-21 season, where he was scheduled to cover Osmin in Die Entführung aus dem Serail, Prince Gremin in Eugene Onegin, Don Magnifico in La Cenerentola, and the Father in Jeanine Tesori’s awardwinning new opera, Blue. He was also slated to make his house debuts at Minnesota Opera, singing as Zaretsky in Eugene Onegin, Police Buddy No. 3 in Blue, and Singer Ranger in The Shining (all canceled due to COVID-19), but now he is scheduled to sing Man in Don’t Tread On Me: A Century of Racism and Superintendent Budd in Albert Herring. During the summer of 2021, Mr. Jones joined the Santa Fe Opera, singing Zaretsky in Eugene Onegin, as well as covering Snug in A Midsummer Night’s Dream, and Van Helsing in the world premiere of The Lord of Cries. During the 2021-22 season, Mr. Jones looks forward to making his role debuts as Ferrando in Il trovatore and the Father in Blue with Toledo Opera, performing as the bass soloist in Handel’s Messiah with Dayton Philharmonic, returning to Minnesota Opera to sing Zuniga in Carmen, and reprising the role of Zaretsky in Eugene Onegin with Dallas Symphony under the baton of Fabio Luisi. In the spring of 2020, he was scheduled to make his house debut with Washington National Opera as Police Buddy No. 3 in Blue, but was cancelled due to COVID-19. | 31



Gretchen Krupp, lauded for her “ripe, round mezzo” (Opera News) and “searing delivery” (Opera Today), is gaining recognition in major competitions and festivals on the operatic scene. She most recently made her Atlanta Opera debut as Edith in The Pirates of Penzance. Last fall, she appeared as a featured soloist in concerts with Baltimore Concert Opera and The Dallas Opera. During the summer of 2021, she returned to Wolf Trap Opera as a Filene Artist where she performed in Bologne’s L’amant Anonyme and Viardot’s Cendrillon, in addition to her first performance of Wagner’s Wesendonck Lieder and was a soloist in concert with the National Symphony Orchestra. Her scheduled debut with The Dallas Opera in Don Carlo was unfortunately canceled due to the pandemic. Gretchen was the mezzo soloist in Beethoven@250 with the Cathedral Choral Society at The National Cathedral in Washington DC. Prior to the pandemic, she made her European debut at the Château de Versailles Spectacles as Samira in The Ghosts of Versailles, a role she earlier debuted at The Glimmerglass Festival. She was the recipient of the prestigious Georgina Joshi International Fellowship for vocal studies in Berlin. Other credits include the role of the Witch in Hansel and Gretel with Greensboro Opera, being a Grand Finalist in the Metropolitan Opera National Council auditions (newly renamed The Eric and Dominique Laffont Competition), and her Glimmerglass Festival debut singing multiple roles in Janácˇek’s The Cunning Little Vixen. Gretchen was also a finalist in the Houston Grand Opera 29th Annual Eleanor McCollum Competition. She is an alumna of programs at The Glimmerglass Festival, Wolf Trap Opera, Des Moines Metro Opera, and Dolora Zajick’s Institute for Young Dramatic Voices. Gretchen holds degrees from the Indiana University Jacobs School of Music and the University of North Carolina at Greensboro. She is currently a Glynn Studio Artist.



Bass-baritone Andrew Gilstrap makes his Atlanta Opera debut as the Official Registrar in Madama Butterfly. A native of Nashville, Tenn., Gilstrap is a recent alumnus of the Opernstudio at the Bayerische Staatsoper in Munich. While there, he performed in a variety of concerts, recitals, and opera roles, including Antonio in Le nozze di Figaro and the Deuxième Sentinelle in Les Troyens. Gilstrap is also an alumnus of the respective training programs of Des Moines Metro Opera, Minnesota Opera, and Wolf Trap Opera. Career highlights include the roles of Basilio in Il barbiere di Siviglia and the Immigration Officer in Flight with Minnesota Opera, as well as the role of Sourin in Pique Dame with Des Moines Metro Opera. More recently, he covered four roles in the world premiere of Paola Prestini and Mark Campbell’s Edward Tulane, produced by Minnesota Opera and based on the popular children’s novel by Kate DiCamillo. Gilstrap holds degrees from the University 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. He has also studied with prominent singing teachers Jason Ferrante, Edith Wiens, Margreet Honig, and John Norris. Gilstrap attended his very first opera performance in 2012 while in high school and considering a career in opera; the performance was The Atlanta Opera’s production of Peter Ash’s The Golden Ticket at the Cobb Energy Performing Arts Centre. | @theatlantaopera 32 | cast&creative
©2021 The Coca-Cola Company.


Korean-American Baritone Dr. Jaenam Teri Lee makes his debut with The Atlanta Opera. He has been singing at Washington National Opera as a chorus member since 2014 and he appeared in many of the company’s productions including Carmen, Tosca, and Faust. He performed at the John F. Kennedy Center for the Performing Arts in Washington, D.C. and he sang many main roles of operas including Enrico in Lucia di Lammermoor, Count Almaviva in Le nozze di Figaro, St. Peter in Too Many Sopranos, L’Aumonier in Dialogue of the Carmelites, and Tamino in The Magic Flute. He earned a degree of Doctoral Musical Arts from the Catholic University of America in 2020 and he finished his master’s and bachelor’s degrees from Peabody Institute of the Johns Hopkins University and Yonsei University. Also, he is an adjunct professor at the global music department of Kyonggi University in Seoul, Korea and a lecture professor and instructor of dissertation at Remnant University in CA.




Abigail Hale has always known the bright lights of the stage. She made her debut to millions around the world as she was born while her older sister, Angelica Hale, was competing on the show America’s Got Talent. Abigail’s earliest days were spent watching her “sissy” perform on stages all around the world. Now, it’s her turn. With The Atlanta Opera, Abigail has the opportunity to literally follow in her sister’s footsteps, by performing as “Sorrow,” which is the very same role in that her older sister performed eight years ago. While Abigail is just now beginning to write her story, she will always have her older sister to look up to for inspiration. | 35


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.

Tenor Kameron Lopreore has just enjoyed his first year apprenticeship with Santa Fe Opera where he could be 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. Last season, he performed the roles of Le Remendado in Bizet’s Carmen and Nemorino in Donizetti’s L’elisir d’amore with Pensacola Opera. In November of 2019, he travelled with The Glimmerglass Festival to perform the role of the Marquis in the culmination of Corigliano’s The Ghosts of Versailles 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, 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. Some more of his 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 | @theatlantaopera 36 | cast&creative




Italian-American soprano Alexis Seminario is a singer-artist dedicated to sharing stories that empower people and inspire vulnerability. Operatic roles include Forester’s Wife (The Cunning Little Vixen), Monica (The Medium), Atalanta (Xerxes), Lusya (Moscow Cheryomushki) and Helena (A Midsummer Night’s Dream). In April of 2022, Alexis appeared as the Soprano soloist in the Fisher Center’s performance of Brahms’ German Requiem. In 2021, she was an apprentice artist at Bard SummerScape in Le roi Arthus and was a featured soloist in Bard Music Festival’s Nadia Boulanger and Her World. She returned to BMF for Rachmaninoff and His World in the summer of 2022. This past summer, Alexis was an apprentice artist with Des Moines Metro Opera where she covered the role of Rose in the premiere of A Thousand Acres and appeared in scenes as Fiordiligi (Così fan tutte) and Ma Zegner (Proving Up).

In the fall of 2022, Alexis will perform the Soprano solo in Dvorˇák’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. Find more at

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. | 37


Rolando Salazar



Gabrielle Bennett

Kelly Goodson

Shala Jenkins

Molly Jennings

Angela Lamar Nicole Lewis

Emily Roberts

Tiffany Uzoije

Carrie Anne Wilson

Erika Wuerzner


Lara Longsworth Melissa Godbee

Eva Lukkonen

Alvard Mayilyan Laurie Tossing

Yafang Qiu



Levi Adkins

Austin Cripe

Ethan Godfrey

Michael Grant Jones

Tetra Lloyd

Philip McCown Tyrone Webb Daniel Weisman | @theatlantaopera 38
*Member of The Atlanta Opera Glynn Studio
| theatlantaopera


Peter Ciaschini

The Loraine P. Williams Orchestra Concertmaster


Helen Kim*

Assistant Concertmaster

Lisa Morrison

Acting Assistant Concertmaster

Fia Durrett

Principal Second Jessica Stinson

Acting Assistant Principal Second Edward Eanes Felix Farrar

Robert Givens

Patti Gouvas

Shawn Pagliarini Virginia Respess-Fairchild Patrick Ryan

Angèle Sherwood-Lawless Rafael Veytsblum

Kevin Chaney†

Nina Fronjian†

Kim Hain† Alison James†

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 Adam Bernstein†


James Zellers Principal Kelly Bryant Piccolo Nicole Frankel†

OBOE Christina Gavin Acting Principal Kaitlyn Smith†


Alexandra Shatalova-Prior†


David Odom Principal Justin Stanley†


John Warren

BASSOON Carlos Clark Principal Debra Grove

HORN David Bradley Principal Jason Eklund Eric Hawkins† Mackenzie Newell†

TRUMPET Yvonne Toll Principal Alexander Freund Paul Poovey†


William P. Mann Principal Richard Brady Donald Strand Ed Nicholson†

TIMPANI John Lawless Principal


Michael Cebulski

Courtney McDonald-Bottoms† Jeff Kershner† Scott Pollard†

HARP Susan Brady


James Zellers

*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.

39theatlantaoperaorchestra |

Donor Profile: Bill Pennington

In the words of Jean-Paul Sartre, “Commitment is an act, not a word.” Mr. William “Bill” Pennington, an Atlanta native and devoted patron of The Atlanta Opera, is a person of action.

Among Bill Pennington’s many virtues — generosity, passion, kindness — is a sense of loyalty. After earning his degree at Emory, he joined SunTrust Bank as a mainframe computer programmer. Bill moved up the ranks and became one of the bank’s audit department data analysts. He worked for the bank until the day he retired.

Bill’s loyalty and dedication extend to opera, an art form that has provided him with joy and a sense of belonging for more than four decades. He remembers his first opera, a performance by The Metropolitan Opera during one of their last Atlanta tours, and how Boyce and Shepard Ansley made him feel welcomed in the opera family. Bill has attended performances at The Atlanta Opera since their first season, and in 2008, he increased his commitment by joining the company’s board of directors.

Bill is passionate about The Atlanta Opera’s future. Beyond his board contributions, he sponsors The Studio Tour performances, giving students in Atlanta public schools the opportunity to experience opera each year. He also believes in the importance of the Opera’s Glynn Studio Artist training program, asserting, “If we want to see stars on our stage, we must help to develop future stars and provide the means for them to grow.”

When considering the future of The Opera, Bill joined the Barbara D. Stewart Legacy Society by including the company in his will. “I love the art form, and to the extent that I am able, I want to help ensure that the company survives and even thrives for generations to come.”

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 Bill.

To find out how to become a member of the Barbara D. Stewart Legacy Society, contact Jonathan Blalock at 336-512-6832 or | @theatlantaopera 40 | 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

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. Alfredo Martin & Beau Aero Mary Ruth McDonald James B. Miller, Jr. Talia & John Murphy

Victoria & Howard Palefsky Mr. William E. Pennington Jerry & Dulcy Rosenberg Katherine Scott 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 Sept 1, 2021 and Sept 15, 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

Laura & Cosmo Boyd

The Gable Foundation, Inc.†

Alfredo Martin & Beau Aero†

Mary & EP Rogers 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†

Connolly Family Foundation

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. Richard P. Nicholas III†

Mr. & Mrs. Michael E. Paulhus†

Larry & Beverly Willson†

The Mary & Charlie Yates Family Fund

GOLD $10,000+

Elizabeth & Jeremy Adler†

Mrs. Phillip E. Alvelda†

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 Dieter Elsner Ms. Ariana B. Fass Dr. Donald J. & Janet Filip†


Lynn & Fred Hanna Roya & Bahman Irvani

Mary & Wayne James

Dr. & Mrs. David Kavtaradze Slumgullion Charitable Fund† Stephanie & Gregor Morela† Sandra & Peter Morelli†

Clara M. & 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. Christine & Mark St.Clare† Mr. & Mrs. William E. Tucker Wadleigh C. Winship Charitable Fund Mr. Tomer Zvulun & Mrs. Susanna Eiland

SILVER $5,000+

Anonymous 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. Richard H. Delay & Dr. Francine D. Dykes† 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 Candy & Greg Johnson Elizabeth Klump 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+

Mr. Mark du Mas

Mr. & Mrs. Lance Fortnow Dr. Thomas N. Guffin, Jr. Mr. Joey Gyengo Stuart Jackson & Robyn Jackson

Mr. & Mrs. Gert Kampfer Mr. Alfred D. Kennedy & Dr. Bill Kenny Ms. Salli LeVan

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 Dr. Jane T. St. Clair & Mr. James E. Sustman Ms. Virginia S. Taylor Mr. Johnny Thigpen & Mr. James Martin in Memory of Mr. Chip Johnston & Mr. Frank Monger Thurman Williams


Karyn Alexander

Mr. & Mrs. Robert O. Banker Ms. Hope M. Barrett Christine M. Beard Jonathan E. Blalock Ms. Martha S. Brewer Stanford M. Brown Dr. Lawrence Cohen T. Dennis Connally John & Linda Cooke Mr. & Mrs. Edward S. Croft III Mrs. Lavona Currie Dr. & Mrs. F. Thomas Daly Jr. Jim & Carol Dew

Drs. Morgan & Susan Horton Eiland Mr. Thomas Emch Mrs. Anne J. Ederington Mr. Michael D. Golden James C. Goodwyne & Christopher S. Connelly Ms. Louise S. Gunn Atlanta Neurology 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 Mr. & Mrs. Larry Kurlander Mrs. Treville Lawrence Chris & Jill Le Dr. Carlos E. Lopez Samantha & William Markle Mr. Stedman C. Mays , Jr. & Mr. Charles Bjorklund | @theatlantaopera

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 Dr. & Mrs. Donald Reitzes Richard Restagno Mr. & Mrs. Nicholas Shreiber Adhishesh Sood Gail & Barry Spurlock Mr. & Mrs. Robert Stansfield

Steve & Christine Strong Sharon Daniels Sullivan Mrs. Hugh Tarbutton Mr. Stephen H. Thompson & Mr. Drew Mote Ms. Betsy K. Wash 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


Dr. Raymond Allen Paula Stephan Amis Colonel & Mrs. John V. Barson Mr. & Mrs. Bruce Benator Mr. Matt Blackburn Mr. & Mrs. George Cemore Mr. & Mrs. Robert B. Church Mrs. Carol J. Clark Mr. & Mrs. Charles Cohn Ms Lillianette Cook & Ms. Carol Uhl Mr. & Mrs. Michael J. Curry 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 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 Dr. & Mrs. James Lowman Dr. Jo Marie Lyons & Mrs. Betty C. Lyons Mr. M. Reynolds McClatchey Jr. Sally & Allen McDaniel Mr. & Mrs. M. Sean Molley Terri & Stephen Nagler

42 | giving&support

Mr. & Mrs. Duane T. Nakahata Carol S. Niemi

Mr. John Owens Christine & Jim Pack Mrs. Polly N. Pater

Mr. Darryl-Christopher Payne†

Dr. & Mrs. Lawrence S. Phillips Mr. Lawrence F. Pinson

Dan Pompilio & Lark Ingram

The Reverend Neal P. Ponder, Jr.

Mr. James D. Powell

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

Daniel Shea

Mr. Fred B. Smith

Mr. Paul Snyder

*Peter Stelling & Jody C. Weatherly Judge Mike & Mrs. Jane Stoddard

Mr. & Mrs. Jeff Stratton

Dr. & Mrs. William H. Stuart Kay Summers Carolyn & Robert Swain Mr. Tarek Takieddini

Dr. & Mrs. Kenneth G. Taylor Ms. Nancy A. Thomas

Dr. & Mrs. Joel D. Todino Alan & Marcia Watt Kiki Wilson

Sherrilyn & *Donn Wright Barbara Zellner Dr. & Mrs. Ben Zinn


Sheryl A Myers

Judith M. Alembik

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

Mr. & Mrs. David S. Baker Dr. & Mrs. Frank C. Bell Elena Belykh Claire & Bryan Benedict

Daniel & Bethann Berger Mr. & Mrs. Sid Besmertnik

Mr. & Mrs. George Beylouny Ms. Martha Bobo

Mr. Sean Bowen

Mrs. Karen Bradford

Ms. Louise Bray Paul Brenner

James & Nancy Bross 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. Mrs. Jan W. Collins Sheela Collins

Mellisa A. Cotton Ms. Marcia Cupery

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 Eric Dykes

Ms. Margaret Eisenhauer Judy & Stan Fineman

Mr. James W. Floyd Mr. Robert J. Fornal & Mr. John A. Watson Micah Fortson & Georgia Jarman

Mr. John Frontera Mr. Glen Galbaugh Mr. Kevin Gallagher Olga Gazman

Ms. Tabitha Gibbs

Dr. & Mrs. Joseph D. Giovinco Ms. Diana Glad Ms. Pat Godbe

John Greer

Drs. Nancy & Robert Griner Dr. & Mrs. Bannester L. Harbin 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

Kennesaw State University Foundation

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

Dr. & Mrs. T. A. Moore Ms. Priscilla M. Moran Mr. Albert B. Moravitz Daniel Orlich Zuzana Osburn Clara M. & John S. O’Shea Paul Parisi

Mr. John Patchoski, Jr. Horatiu V. Penescu Victoria Peterson Frank Pinkerton Daniel Pittaluga Mary & Rex Pless

Mr. Mitesh A. Prema & Ms. Kristina Prema *Sharon & Jim Radford Renee Reddic Misty Reid Megan Retter Virginia Rolfes Keith Romich Weslyn A. Samson 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 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

†Indicates our extraordinary donors who have committed to continue their annual giving for three years or more *deceased | 43


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

*Michael A. McDowell

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


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 Mr. Thurman Williams

Mr. John Thompson, II

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

In Honor of John & Rosemary Brown

Cathy & Mark Adams 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 Don & Janet Filip Daniel Shea

In Honor of Sam & Marti Hagan Ashley Derrick

In Memory of Harriet Harris Carlquist Harris Freya Harris Karen Rajczi

In Honor of Jeff & Jeanette Hoopes

Larry & Beverly Willson

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

Ms. Hazel Sanger

Mr. D. Jack Sawyer, Jr. 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 Honor of Howard & Victoria Palefsky Mr. & Mrs. Larry Kurlander Betty Londergan Donna Burchfield & Penn Nicholson

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 Mr. Robert Grubert 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 John Greer

@theatlantaopera |
44 | giving&support



The Coca-Cola Company

The Home Depot Foundation


Gas South UPS


The Capital Group Companies Charitable Foundation

Federal Home Loan Bank of Atlanta

Homrich-Berg, Inc. - Buckhead Warner Bros. Discovery


Batdorf & Bronson Coffee Roasters Wallace Graphics




Donald & Marilyn Keough Foundation

The Molly Blank Fund of The Arthur M. Blank Family Foundation

Lettie Pate Evans Foundation

$50,000+ Anonymous

Atlanta Music Festival Fund of The Community Foundation for Greater Atlanta

The Gable Foundation

The Halle Foundation

Livingston Foundation, Inc.

Rich Foundation, Inc.

Mary & EP Rogers Foundation, Inc.

The Sara Giles Moore Foundation

The Zeist Foundation, Inc.


Roy & Janet Dorsey Foundation

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


George M. Brown Trust Fund

The Jim Cox, Jr. Foundation

JBS Foundation

Nordson Corporation Foundation


Camp-Younts Foundation

Charles Loridans Foundation, Inc.


Mary Brown Fund of Atlanta, Georgia

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

Kiwanis Foundation of Atlanta


City of Atlanta Mayor’s Office of Cultural Affairs Fulton County Arts & Culture Georgia Council for the Arts National Endowment for the Arts | 45



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 46 | 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 |


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

Technical Director Joshua Jansen Assistant Technical Director

Ben Cole

Production Coordinator

Jocelyn Gresham

Production Stage Manager Megan Bennett

Assistant Stage Managers

Caitlin Denney-Turner Kristin Kelley

Lighting Supervisor Marissa Michaels

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

Chorus & Orchestra Manager Chris Bragg Orchestra Librarian Phil Parsons

Props Manager & Artisan Wanda Amanda Creech Assistant Lighting Designer Josh Martinez-Davis Costume Shop Director Sarah Burch Gordon Costume Shop Manager Cristine Reynolds Cutter/Draper

Fiona Leonard First Hand Paula Peasley-Ninestein Stitcher

Allison Hines Wardrobe Supervisor Kelly Chipman†

†denotes members of the International Alliance of Theatrical Stage Employees - Local 859 | @theatlantaopera 48 | staff


Director of Community Engagement & Education

Jessica Kiger

Education Manager

Kendall Roney

Community Engagement & Education Coordinator Jonesia Williams


Chief Advancement Officer Paul Harkins

Associate Director of Development

– Leadership Giving

Jessica Langlois

Associate Director of Development – Major & Planned Gifts

Jonathan Blalock


Director of Finance Kathy J. White


Inga V. Murro

Human Resources & I.T. Manager Kenneth R. Timmons


Chief of Marketing & Audience Development

Ashley Mirakian

Director of Sales & Marketing Rebecca Brown

Senior Manager, Ticketing Services Renee Smiley


Associate Director of Development – Operations Sandy Feliciano Senior Institutional Giving Officer Elana Grossman

Development Operations Coordinator Diana Burns Annual Giving & Events Coordinator Gloria Lin

Administrative Manager Michael Tarleton

Bookkeeper Ruth Strickland Staff Accountant Camelia Johnson

Guest Services Concierge Emily Crisp

Creative Services Manager Matt Burkhalter Digital Content Manager Matt Dykeman

Director of Film Studio Felipe Barral Film Associate Amanda Sachtleben


Bruno Baker Edwin Jhamal Davis Gretchen Krupp Kameron Lopreore

Alexis Seminario

49staff |



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.


There are 1,000 parking spaces available at $10 per car. Valet service is available for $15. Please be sure to allow enough time for travel to the theater and parking as there is no late seating.


There is one Synovus ATM located in the grand lobby.


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.


Lost and Found items are turned into the concierge desk on the day of a performance. To inquire about a lost item, please call the House Manager at 770-916-2828.


Smoking is prohibited inside the building.


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

Audio-clarification devices are available to our hearing-impaired guests at no charge. This is on a first-come, first-served basis, or you may call the House Manager ahead of time to reserve one at 770916-2828.

A limited number of booster seats are also available. 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 50
| house

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