PiraTesof Penzance GilberT & sullivan March 5, 8, 11, 12, 13, 2016
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8 Welcome TOMER ZVULUN 16 producTion noTe THE PIRATES OF PENZANCE 40 behind The curTAin Q&A WITH THE PIRATE KING, KEVIN BURDETTE
performAnce 10 11 12
SeASon SponSorS crediTS SynopSiS
depArTmenTS 44 47 55 56
communiTy engAgemenT AnnuAl giving corporATe pArTnerS, foundATionS, & governmenT SupporT TribuTeS & memoriAlS
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7 CIRQUE – KURIOS 25 CENTER FOR CIVIL & HUMAN RIGHTS 27 EMORY VOICE CENTER 29 FIFTH GROUP – LURE 63 CHÂTEAU ÉLAN
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cAST & creATive choruS orcheSTrA
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encore circle boArd of direcTorS STAff houSe policieS
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Welcome The season opens at the Cobb Energy Performing Arts Centre with Mozart’s mesmerizing, colorful caper, The Abduction From the Seraglio. Next, we present the Southeastern debut of the Pulitzer Prize-winning Silent Night, a holiday story that will warm your heart. We mark another first for Atlanta in the spring: Donizetti’s bel canto jewel, Don Pasquale, transposed to Hollywood’s glamourous silent film era. We close with Puccini’s grand opera Turandot, the first opera ever seen at the magnificent Cobb Energy Centre. photo: Jeff Roffman
Our popular Discoveries series returns for audiences looking for new works, new ideas, and fresh perspectives. We will stage the steamy, tango opera Maria de Buenos Aires Welcome to The Pirates of Penzance! in February. In collaboration with On We continue our season of adventure Site Opera, we will produce Mozart’s with a swashbuckling operetta by story of love, The Secret Gardener, Gilbert & Sullivan, whose buoyant in the lush setting of a beautiful music and lyrics are sure to stick in garden in Atlanta after it debuts on Lenox Square Mall (404) 841-0840 your head. New York’s Upper West Side. This production is historic for The Atlanta Opera, because for the first time, we added a fifth performance due to overwhelming demand. In our upcoming 2016-17 season, you’ll be able to see six operatic productions. We are tremendously excited to return to four mainstage operas, while our successful Discoveries series is back with two productions. The visually arresting season will take us to exotic worlds filled with adventure and, above all, will show us that love and friendship can overcome anything. 8
We’re thrilled to present six productions that will bring some of the most magnificent voices in the world to Atlanta. Great opera and memorable moments lay ahead. Thank you for joining us on this adventure. Enjoy the show!
Tomer Zvulun General & Artistic Director The Atlanta Opera
www.cartier.us On view through March 29, 2016 Cartier Lenox Square Mall, Atlanta (404) 841-0840
ExCLUSIVE PRESENTING SPONSOR OF ThE PiraTEs of PEnzancE
Mayor’s Office of Cultural Affairs
This program is 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.
The PiraTes of Penzance CREDITS MUSIC Arthur Sullivan LIBRETTO W.S. Gilbert FIRST PERFORMANCE: Fifth Avenue Theatre, NYC, Dec. 31, 1879 CONDUCTOR David Agler STAGE DIRECTOR Seรกn Curran SET DESIGNER James Schuette COSTUME DESIGNER James Schuette LIGHTING DESIGNER Robert Wierzel WIG & MAKEUP DESIGNER Richard Jarvie CHORUS MASTER Walter Huff ASSOCIATE DIRECTOR Keturah Stickann cAST (IN ORDER OF VOCAL APPEARANCE) SAMUEL Will Liverman
ISABEL Abigail Halon
RUTH Victoria Livengood
MABEL Maureen McKay
THE PIRATE KING Kevin Burdette MAJOR-GENERAL STANLEY Curt Olds FREDERIC Matthew Newlin
SERGEANT OF POLICE Kyle Albertson
EDITH Jasmine Habersham
QUEEN VICTORIA Corinne Scott
KATE Jessica Wax MUSICAL PREPARATION Lynn Baker ASSISTANT CHORUS MASTER Rolando Salazar ASSISTANT LIGHTING DESIGNER Brian Jones STAGE MANAGER Greg Boyle ASSISTANT STAGE MANAGERS Nan Luchini & Julie Hurley This production of The Pirates of Penzance is an original production of Opera Theater of Saint Louis. The scenery was revised as a co-production of The Alanta Opera and Palm Beach Opera. Costumes are the property of Opera Theater of Saint Louis. Performed in English with English supertitles Approximate running time: two hours, 20 minutes with one intermission 11
SynopSiS AcT i
A rOCKY SeAShOre On The COAST OF COrnWAll, enGlAnd (1873) The pirates are toasting Frederic, who has finished his apprenticeship and is now a full-fledged pirate. Some years earlier, Ruth, Frederic’s nurse, accidentally bound him to serve a pirate instead of a pilot. Frederic abhors this occupation, but due to an absurdly overdeveloped sense of duty he refused to leave until his contractual obligation was met. Now he invites the pirates to return to civilization with him, but their King points out that piracy is comparatively honest when contrasted with respectability.
The pirates return, kidnap the girls, and declare their immediate intention of being “conjugally matrimonified,” a situation averted by the arrival of the MajorGeneral. Knowing one of the pirates’ weaknesses, he throws himself on their mercy, declaring that he is an orphan, and the tender-hearted pirates agree not to take away his daughters. 12
©Ken Howard/Opera Theatre of St. Louis
Frederic has never laid eyes on any woman other than the middle-aged and very plain Ruth who has remained by his side, and whom he thinks of as beautiful. He is soon met with reality when he spies the daughters of Major-General Stanley arriving for a picnic on the beach. Frederic begs one of them to take pity on his lot and marry him. He finds a most willing accomplice to this plan in Mabel Stanley.
SynopSiS AcT ii
A ruined ChApel BY MOOnliGhT
In the ruins of a chapel that the upwardly mobile Major-General Stanley has purchased to boost a sagging family reputation, his daughters are trying to comfort him. He has a guilty conscience because he lied to the pirates about being an orphan and has brought shame upon his ancestors who lie buried in the nearby graveyard. Frederic, now associated with the Major-General because of his alliance with Mabel, declares his intentions to exterminate
the pirates, a change of view that again stems from his sense of duty, this time to Mabel and her family and to society in general. The Pirate King and Ruth return to tell Frederic that he must rejoin their band, because a slight error in calculation in his pirate apprenticeship was made and he is not yet free from his indentures. The wording in the contract that bound him to the pirates stipulates his 21st birthday, not his 21st year. Frederic was born on the 29th of February in a leap year, and will not reach his 21st birthday for another 67 years.
ÂŠKen Howard/Opera Theatre of St. Louis
SynopSiS Mabel agrees to wait for him until he is once again free and resolves to lead the police expedition against the pirates herself, and against Frederic whose sense of duty has once again brought about a change of alliances. The police arrive and quickly lose a battle with the pirates; however, the pirates promptly surrender when the name of Queen Victoria is invoked by the police.
Ruth saves the day by revealing that the pirates are really misguided noblemen. Realizing the boost this could give to his social position, the Major-General urges the ex-pirates to resume their legislative duties and marry his large family on the spot, thus affecting a happy and tuneful reunion for all of the couples. Courtesy of Lyric Opera of Kansas City
photo: Elise Bakketun Photography, Seattle Opera, 2013
ÂŠKen Howard/Opera Theatre of St. Louis
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©Ken Howard/Opera Theatre of St. Louis
The pirATeS of penzAnce By Nicholas Beard We’re forever fascinated by pirates. It’s a child’s fantasy to battle pirates — think Peter Pan vs. Captain Hook — but it’s also an adult metaphor elastic enough for a range of social commentary. By our romanticized view, pirates live off their wits, live a hedonist life. They have escaped the conventions of a society which, as every free-spirit knows, stifles creativity. As escapist fiction, literature (Defoe’s Robinson Crusoe from 1719) and opera (Bellini’s Il Pirata, 1827) are no less enthralling than swashbuckling films starring Douglas Fairbanks and Errol Flynn and, today, the Pirates of the Caribbean franchise. So it was in the 1870s, when composer Arthur Sullivan and librettist William Schwenck Gilbert started collaborating on English-language comic operas, a cousin to sweetly sophisticated Parisian and Viennese operettas. The British duo had a commercial hit with the nautical-themed HMS Pinafore in 1878. But within months 16
Pinafore was spreading across America through — ahem — pirated productions, earning the creators no income. For their next collaboration, The Pirates of Penzance in 1879, they followed their familiar patterns by lampooning the police and the military, poking fun at empty patriotism and, above all, satirizing the stupidity of a literal devotion to duty. Our hero Frederic is “the slave of duty,” personifying the operetta’s subtitle. In Victorian England, with an Empire stretching around the globe, protected by the most powerful naval fleet that ever existed, The Pirates of Penzance was social satire with a sharp edge. That Gilbert’s lyrics and Sullivan’s music does all this with such a light touch — tuneful, infinitely clever, unexpectedly warm — is the stuff of genius. Early in their collaborations, Gilbert and Sullivan established a formal structure to their works: two acts, the first act
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producTion noTe concluding with a complicated finale in several sections and the second act reprising tunes heard earlier. Like other operettas, spoken dialogue (instead of operatic recitative) moves the action forward, although their best works, including The Mikado, have found a home in opera houses across the English-speaking world. Gilbert’s political iconoclasm matched perfectly with Sullivan’s gift for melody and his skills in orchestration, where he could parody music by a Handel, Donizetti or Verdi and twist it to his own comic needs. As with the best satire, the more you know the funnier it gets. Key points of The Pirates of Penzance plot are so daffy that audiences can’t help but groan and giggle. And there’s no irony: All the characters are “naïve” to their world, with no winks from the stage at their increasingly ridiculous situations. For starters, the work’s title is funny:
British audiences would have known Penzance as a mild and slightly boring beach town on the English Channel, the last place you’d expect to find bloodthirsty bandits of the high seas. The characters are introduced by a series of wacky missteps. The nursery maid Ruth had misheard “pirate” (instead of “pilot”) and had mistakenly apprenticed the boy Frederic to the Pirate King — as if one trained into piracy as into any other respectable trade. Gilbert’s lyrics emphasize the not-so-subtle difference in pronunciation with over-the-top rhymes: “my lot/pilot” and “gyrate/pirate.” Now 21, bidding farewell to his masters, Frederic had accepted his duty (despite Ruth’s mistake) and reveals his literal mindset: “It was through an error — no matter, the mistake was ours, not yours, and I was in honor bound to it.” When we meet the pirate band, we soon learn they are uncommonly polite and
©Ken Howard/Opera Theatre of St. Louis
Christiane Karg, soprano Malcolm Martineau, piano Saturday, April 2, 2016 • 7:30 PM
“Crystalline purity and musicality... an ethereal voice” - Le Figaro, Paris
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producTion noTe empathetic, and word has spread that they will release all victims who claim to be orphans. As in grand opera, the work thrives on its songs, and this is what makes “Pirates” among the greatest of any operetta in the language. Mabel’s coloratura showpiece, “Poor wand’ring one,” is set as a graceful, French-style waltz. In the ensemble number “How beautifully blue the sky,” Sullivan sets the love duet between Frederic and Mabel as a fresh, lilting waltz, dovetailing it into the chitterchatter of the women’s chorus in 2/4 time. It’s as silly, tender and brilliant as anything in the G&S canon. Perhaps the most famous number of the score is the Major-General’s charming, clueless patter-song “I am the very model
of a modern Major-General.” At top speed, he spits out ghastly rhymes with the high-falutin’ language of educated men — “mathematical/quadratical” and “a lot ’o news/hypotenuse” — all delivered in a mock-pompous style. (As a comedy technique, it was adopted by generations of British satirists, including Monty Python in our own time.) The Major-General’s song in the second act, “Sighing softly to the river,” features a rippling watery accompaniment that wouldn’t be out of place in Schubert lieder. But the context is hilarious, with the men’s choruses mocking him unseen in the background, parodying a similar scene from Verdi’s Il Trovatore. As with almost every detail in The Pirates of Penzance, it’s easy to forget about the richness of invention because the lyricsmusic fusion seems so effortless.
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cAST & creATive Kevin burdeTTe THE PIRATE KING ATLANTA OPERA DEBUT
Praised by The New York Times for “singing with earthy power and flair,” the highly-sought after bass Kevin Burdette has impressed audiences on both sides of the Atlantic. The San Francisco Chronicle called his Leporello in Don Giovanni a “tour de force of vocal splendor and comic timing,” and The New York Times dubbed him “the Robin Williams of opera.” Kevin Burdette’s 2015-16 season includes creating the roles of Eric Gold and the Ghost of Vittorio Bazzetti in Heggie’s Great Scott and a principal role in the world premiere of Mark Adamo’s Becoming Santa Claus (Dallas Opera); performing Dulcamara in L’elisir d’amore and reprising his roles in Cold Mountain (Opera Philadelphia); portraying Koko in The Mikado (Chautauqua Opera); and reprising his role as Judge Turpin in Sweeney Todd (Portland Opera). In the 2014-15 season he sang as Beck Weathers in the world premiere of Talbot’s Everest (Dallas Opera); sang T.J. Rigg in Elmer Gantry (Florentine Opera); and as Leporello in Don Giovanni (Boston Lyric Opera ). He was featured in the Metropolitan Opera DVD as Stefano in Adès’ The Tempest (released on Deutsche Grammophon), which received a French Diapason d’Or and the 2014 Grammy Award for Best Opera Recording.
mAureen mcKAy MABEL
ATLANTA OPERA DEBUT: cold sassy TrEE, 2008 In the 2015-16 season, Ms. McKay makes her mainstage debut with Seattle Opera in her role debut as Léïla in Bizet's Les pêcheurs de perles. She also joins The Danish National Symphony Orchestra for performances of Handel's Messiah (in the Mozart version) and the Choir and Orchestra of Teatro Carlo Felice in Genoa for Mahler’s Symphony No. 2, both under the baton of Fabio Luisi. Other engagements include performances of Pamina in Die Zauberflöte with Grand Teatre del Liceu and Portland Opera. In 2015, she sang her first Anne Trulove in The Rake’s Progress at Portland Opera. She also made her debut with the Edinburgh International Festival as Pamina. Ms. McKay recently joined The Sound of Music 50th Anniversary Festival at the Mozarteum in Salzburg to perform a program of Rodgers and Hammerstein classic. Other past successes include performances with Opera Company of Philadelphia, Bayerische Staatsoper, Washington National Opera, and Lyric Opera of Kansas City, among others across the United States and Europe. Ms. McKay is a former member of the ensemble at the Komische Oper Berlin, Seattle Opera's Young Artists Program, and was a Filene Young Artist with Wolf Trap Opera Company. She earned her Bachelor of Music at Columbus State University in Georgia (summa cum laude) and her Master of Music at The Ohio State University. 22
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cAST & creATive mATTheW neWlin FREDERIC ATLANTA OPERA DEBUT
A native of Georgetown, Ill., Matthew Newlin is a member of the ensemble at Deutsche Oper Berlin, where he performs such lyric tenor roles as Tamino, Count Almaviva, Don Ottavio, and more. This season at Deutsche Oper, he will add Belmonte to his repertoire in a new production of Mozart's Die Entführung aus dem Serail conducted by Donald Runnicles. In the next, he will continue building an international career making his debut at Paris Opèra. Matthew recently debuted the role of Ferrando in Mozart's Cosí fan tutte with Stadttheater Klagenfurt in Austria and made two appearances in concert with the San Francisco Symphony under the baton of Michael Tilson Thomas. Previous engagements include leading roles with Opéra Royal de Wallonie in Belgium, Wexford Festival Opera in Ireland, The Buxton Festival in England, and New World Symphony in Miami. Matthew holds a Master’s degree and Artist Diploma from the Chicago College of Performing Arts, and he trained further in prestigious American Young Artist programs at Santa Fe Opera, Merola, and Florida Grand Opera.
curT oldS MAJOR-GENERAL STANLEY ATLANTA OPERA DEBUT
Active in both opera and musical theater, baritone Curt Olds’ performance experience ranges from Don Pasquale and The Magic Flute to Sondheim’s A Little Night Music, The Threepenny Opera, Broadway’s Riverdance and Cats. This season brings Papageno in Die Zauberflöte (Hawaii Opera Theatre), Njegus in The Merry Widow (Utah Opera), and Ko-Ko in The Mikado (Anchorage Opera). Curt has garnered international acclaim for his creative portrayals in operetta repertoire including Captain Corcoran in H.M.S. Pinafore (Arizona Opera, Central City Opera); Ko-Ko in The Mikado (Hawaii Opera Theatre, Central City Opera, Opera New Jersey, Arizona Opera); The Pirate King in Pirates of Penzance (Edmonton Opera, Lake George Opera, Hawaii Opera Theatre, Arizona Opera); Falke in Die Fledermaus (Lake George Opera); Dick McGann in Street Scene (Central City Opera); and Major-General Stanley in The Pirates of Penzance (Nashville Opera). A consummate crossover artist, Olds has performed theater repertoire favorites on opera stages throughout the country, including Anthony Hope in Sweeney Todd (Opera Omaha); Henry Higgins in My Fair Lady (Ash Lawn Opera); Will Parker in Oklahoma!; Frank Schultz in Show Boat (Central City Opera); Herman in The Most Happy Fella (Tulsa Opera); and Luther Billis in South Pacific with Hawaii Opera Theatre. 24
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cAST & creATive vicToriA livengood RUTH
ATLANTA OPERA DEBUT: ThE MarriagE of figaro, 2015
Victoria Livengood’s 2015-16 season includes returns to Hawaii Opera Theater for Azucena in Il trovatore, and Utah Opera for Hoiby’s Bon Appetit! Last season, she returned to Los Angeles Opera as the Woman with a Hat in Corigliano’s The Ghosts of Versailles, Houston Grand Opera as Emilia in Otello, and Florida Grand Opera as the Mother in The Consul. Past performances include Marquise in La fille du regiment for Gran Teatre del Liceu, Washington National Opera, and Teatro Municipal de Santiago; Klytämnestra in Elektra for Festival de Opera de Las Palmas and Taipei Symphony Orchestra; Baba the Turk in The Rake’s Progress at Teatro Colón and Vancouver Opera; Eunice Hubbell in A Streetcar Named Desire for Lyric Opera of Chicago and Los Angeles Opera; Herodias in Salome with Utah Opera; Katisha in The Mikado with Hawaii Opera Theater; Old Woman in The Passenger for Houston Grand Opera; Marcellina in Le nozze di Figaro for Washington National Opera and Hawaii Opera Theatre; and the title role of Menotti’s The Medium, Akrosimova in War and Peace, Ortrud in Lohengrin for Spoleto Festival dei due Mondi. Additionally, Ms. Livengood has given over 100 performances at the Metropolitan Opera in diverse roles from the title role in Carmen to Herodias in Salome.
Kyle AlberTSon SERGEANT OF POLICE
ATLANTA OPERA DEBUT: MadaMa BuTTErfly, 2015 Bass-baritone Kyle Albertson is renowned not only for his versatile voice, confidence, and style, but also for his ability to bring a character to life onstage. In recent seasons, Mr. Albertson has made his mark on the operatic world performing a wide variety of roles such as Leporello in Don Giovanni, Papageno in Die Zauberflöte, Baron Zeta in The Merry Widow, the title role of Sweeney Todd, and Henry Kissinger in Nixon in China. Other noted roles in Mr. Albertson’s repertoire include Blitch in Susannah, Méphistophélès in Faust, and the Four Villains in Les contes d’Hoffmann. This season’s engagements include a Houston Grand Opera main stage début as Sacristan in Tosca, Sharpless in Madama Butterfly at Northern Lights Music Festival, a début with Fort Worth Opera to sing Bartolo in Il barbiere di Siviglia, and Lyndon B. Johnson in the workshop of David T. Little’s new opera JFK, recounting the final evening the 35th president of the United States spent in Fort Worth. He also covers the role in the world premiere in the Spring of 2016. 26
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cAST & creATive Will livermAn SAMUEL ATLANTA OPERA DEBUT
This season, Will Liverman reprises his performances of Dizzy Gillespie in Schnyder’s Charlie Parker’s Yardbird with Opera Philadelphia on tour to Apollo Theater after creating the role in the world premiere last season with Opera Philadelphia. He debuts with Seattle Opera as Raimbaud in Le comte Ory, returns to Wolf Trap Opera for Tarquinius in The Rape of Lucretia and his alma mater of Wheaton College as a guest artist as Mr. Noye in Noye’s Fludde, and sings Beethoven’s Missa solemnis with the South Dakota Symphony. Recent performances include Figaro in Il barbiere di Siviglia with Utah Opera and Madison Opera, Beaumarchais in The Ghosts of Versailles, Husband in Les mamelles de Tirésias with the Civic Orchestra of Chicago, and Andrew Hanley in the world premiere of Puts’ The Manchurian Candidate with Minnesota Opera. He is a previous member of the prestigious Ryan Opera Center at the Lyric Opera of Chicago, where his performances included Figaro in student matinee performances of Il barbiere di Siviglia, Fiorello in the same opera, Marquis in La traviata, and Frazier in Porgy and Bess. On the concert stage, he has sung Mozart’s Mass in C minor with the Civic Orchestra of Chicago, Orff’s Carmina Burana, and Handel’s Messiah as a guest artist at the University of Chicago.
JASmine hAberShAm EDITH ATLANTA OPERA DEBUT
Soprano Jasmine Habersham, is a native of Macon, Ga. She recently performed the role of Papagena in The Magic Flute and as an Apparition in Macbeth at the 2015 Glimmerglass Festival in Cooperstown, N.Y. Her numerous awards include the John Alexander Award in the Corbett Scholarship Competition in 2014 and as a semifinalist in the 2015 Lotte Lenya Competition. Jasmine is a 2015 graduate of The University of Cincinnati College-Conservatory of Music (CCM) where she received her Master’s and Artist Diploma. As a student at CCM she performed the roles Despina (Così fan tutte), Norina (Don Pasquale), and Mrs. Julian (Owen Wingrave). Her upcoming performances include Clara (Porgy and Bess) and as the cover for Sarah (Ragtime) and Utah Festival Opera and Musical Theater this summer. Jasmine will be making her debut as Yum-Yum (The Mikado) at Kentucky Opera in 2017. 28
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cAST & creATive JeSSicA WAx KATE
ATLANTA OPERA DEBUT Jessica Wax is a mezzo-soprano from Baton Rouge, Louisiana. She received her Bachelor’s degree in vocal performance from Louisiana State University. While there she performed in La traviata, Twelfth Night, Orfeo ed Euridice, and played the role of Mrs. Anderssen in A Little Night Music. In 2012, Jessica spent a summer in Graz, Austria, where she was chosen to perform as a soloist with the Aims in Graz Orchestra and appear in a master class with world-renowned mezzosoprano Christa Ludwig. Jessica has recently received her Master’s degree from Florida State University. While there she performed the roles of Olga in Eugene Onegin, Thelma Predmore in Cold Sassy Tree, and Stephano in Roméo et Juliette. Since graduating, Jessica has performed the roles of the Wife in Stephen Sondheim's Putting It Together and Victoria in the Gilbert and Sullivan revue, A Grand Night for Singing.
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cAST & creATive dAvid Agler CONDUCTOR ATLANTA OPERA DEBUT
David Agler is Artistic Director of the Wexford Festival Opera. He has previously served as Music Director of the Vancouver Opera, Principal Conductor of the Australian Opera, Resident Conductor of the San Francisco Opera, Principal Guest Conductor of the Oper der Stadt Köln, conductor and administrator of the Spoleto Festival, Artistic Director of the Opera Festival of New Jersey, and Music Director of the Syracuse Opera. Recent guest-conducting engagements include productions of Dead Man Walking and Ariadne auf Naxos for Calgary Opera; Tosca, Bluebeard's Castle, and Romeo et Juliette in Vancouver; Transatlantic for the Minnesota Opera; Manon and Salome for L'Opera de Montreal; Manon for the State Opera, Pretoria, South Africa; The Cunning Little Vixen for Portland Opera; Si j’etais Roi by Adolph Adam for the Wexford Opera Festival; Orphee ed Eurydice by Gluck and Il Barbiere di Siviglia for Opera Colorado and New York City Opera; Gluck’s Il Trionfo di Cielia for Teatro Comunale Rossini in Lugo, Italy; Le Nozze di Figaro for Opera Colorado and the New National Theater, Tokyo; Die Zauberflöte for the New York City Opera; La Boheme for Boston Lyric Opera; and The Rape of Lucretia for the Opera Festival of New Jersey. This past season, he conducted Puccini’s Turandot for the Utah Opera. As a symphonic conductor, he has led concerts with the San Francisco Symphony, Minnesota Orchestra, Sydney Symphony Orchestra, Winnipeg Symphony, Warsaw Philharmonic, National Arts Center (Ottawa) Orchestra, and Netherlands Radio Symphony.
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cAST & creATive Seรกn currAn STAGE DIRECTOR
ATLANTA OPERA DEBUT: ThE flying duTchMan, 2009 Seรกn Curran, artistic director of Seรกn Curran Company, began his dance training in traditional Irish step dancing as a young boy in Boston. He made his mark on the dance world as a leading dancer with the Bill T. Jones/Arnie Zane Dance Company. Curran was an original member of the off-Broadway percussion extravaganza Stomp, performing in the show for four years. He has performed his solo evening of dances at venues throughout the United States as well as at Sweden's Danstation Theatre and France's EXIT Festival. Notable commercial projects include productions of Salome for Opera Theatre of St. Louis, San Francisco Opera, and Opera Montreal; the 20th anniversary production of Nixon in China, as well as Street Scene, Daughter of the Regiment, and The Pirates of Penzance at Opera Theater of St. Louis. Choreography credits include New York City Opera productions of L'Etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons' production of My Life With Albertine; Shakespeare in the Park's As You Like It; and the Metropolitan Opera production of Romeo and Juliette. Curran's work has also appeared on Broadway in James Joyce's The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater. A graduate and faculty member of New York University's Tisch School of the Arts, Curran is chair of the dance deparment. He has more than 20 years of teaching experience in modern technique, improvisation, body percussion, and composition. Happiest when making new work, Curran hopes to continue to be an ambassador for the art of dance by building and educating the dance audiences of tomorrow.
cAST & creATive roberT Wierzel LIGHTING DESIGNER ATLANTA OPERA DEBUT lucia di laMMErMoor, 2011
Robert is happy to be returning to The Atlanta Opera. Other credits include productions with the opera companies of Paris-Garnier, Tokyo, Toronto, New York City, Glimmerglass, Seattle, Boston Lyric, Minnesota, San Francisco, Houston, Virginia, Chicago Lyric, Montreal, Vancouver, Portland, Wolf Trap, and San Diego. Dance work includes 27 years with choreographer Bill T. Jones (Bessie awards) including productions at the Lyon Opera Ballet, Berlin Opera Ballet, and Walking the Line at The Louvre Museum, Paris. Broadway credits include Lady Day at Emerson’s Bar & Grill starring Audra McDonald, Fela! (Tony nomination), productions at the National Theatre, London, international and American tours), and David Copperfield’s Broadway debut, Dreams and Nightmares. OffBroadway includes productions with the New York Shakespeare Festival/ Public Theater, the Signature Theatre, the Roundabout, Playwrights Horizons. Extensive regional theater work includes productions at Atlanta’s Alliance Theatre Company, A.C.T. San Francisco, Berkeley Rep, Center Stage, Arena Stage, Hartford Stage, Long Wharf Theatre, Westport Country Playhouse, Goodman Theatre, The Guthrie, Mark Taper Forum, Actors Theatre of Louisville, and The Old Globe. Wierzel holds a Master of Fine Arts degree from the Yale School of Drama and is an adjunct faculty member at NYU Tisch School of the Arts and the Yale School of Drama.
WAlTer huff CHORUS MASTER ATLANTA OPERA DEBUT: Tosca, 1988
Last season, Walter Huff celebrated 25 years as Chorus Master for The Atlanta Opera. Mr. Huff is an associate professor and faculty director of opera choruses at Indiana University’s Jacobs School of Music. In the past three seasons, he has led choruses in IU Opera Theater’s productions of Don Giovanni, The Merry Widow, Akhnaten, the world premiere of The Tale of Lady Thi Kinti, H.M.S. Pinafore, La traviata, Dead Man Walking, The Last Savage, and South Pacific. Mr. Huff studied piano with Sarah Martin, Peter Takacs, and Lillian Freundlich. He has performed with singers throughout Europe and the United States and served as coach with the Peabody Opera Theatre and Washington National Opera. Mr. Huff also has performed in master classes given by renowned singers and pianists such as Sir Peter Pears, Licia Albanese, Eileen Farrell, Dalton Baldwin, Leon Fleisher, and Elly Ameling. He has been musical director for The Atlanta Opera Studio, Georgia State University Opera, and Actor’s Express, and served as chorus master for Faust and Der Rosenkavalier with The San Diego Opera. In 1984, he received Tanglewood’s C.D. Jackson Master Award for Excellence, presented by Seiji Ozawa and the Boston Symphony Orchestra. Mr. Huff was one of four Atlanta artists chosen for the first Loridans Arts Awards, given to artists who have made exceptional contributions to the cultural life of Atlanta.
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The ATlAnTA operA choruS choruS mASTer Walter Huff ASSiSTAnT choruS mASTer Rolando Salazar choruS memberS Jacob Augsten Kyle Barnes Zachary Brown John Burnett Brendan Callahan-Fitzgerald Bill Fair Mitch Gindlesperger Christopher Grider Brandon Odom Marc Porlier Jonathan L. B. Spuhler John M. Young
Sakinah Davis Melissa Godbee Jasmine Habersham Abigail Halon Christina Howell Julia Metry Laurie Tossing Leah Parris Laura Porlier Rebecca Shipley Jeanette Simpson Jessica Wax
The ATlAnTA operA orcheSTrA violinS Peter Ciaschini Concertmaster
cello Charae Krueger Principal
horn David Bradley Principal
Helen Kim Assistant Concertmaster
Cynthia Sulko Acting Assistant Principal
Fia Durrett Principal Second
Rafael Veytsblum Acting Assistant Principal Second Violin
bASS Lyn DeRamus Principal
Felix Farrar Robert Givens Patti Gouvas Jeanne Johnson Michele Mariage-Volz Lisa Morrison Shawn Pagliarini Patrick Ryan Angele Sherwood-Lawless Elonia Varfi Sally Wilson Martin violA William Johnston Principal Elizabeth Derderian-Wood Assistant Principal Amy Chang Julie A Rosseter
Adam Bernstein Christina Ottaviano fluTe/piccolo James Zellars Principal Kelly Bryant
TrumpeT Yvonne Toll Principal Kevin Lyons Trombone Mark McConnell Principal Edmon Nicholson TimpAni John Lawless Principal percuSSion Michael Cebulski Principal
oboe Diana Dunn Acting Principal clArineT David Odom Principal Jeanne Heinze bASSoon Eryn Oft Acting Principal
Musicians employed in this production are represented by the American Federation of Musicians of the United States and Canada. *String sections are listed in alphabetical order
Karl Schab Joli Wu
photo: Simon Pauly
behind The curTAin
Q&A WiTh The pirATe King, Kevin burdeTTe By reBecca daNis
The ATlAnTA OperA: Did you grow up going to the opera?
Kevin BurdeTTe: I grew up around classical music and went to a lot of orchestra concerts and musical theater (in fact, I played viola in the Knoxville Youth Symphony Orchestra starting in 7th grade and performed in school and church musical theater earlier than that), but I didn’t go to the opera until I was in high school — a performance of Don Giovanni, and I’m embarrassed to say that I fell asleep in the second act! One of the singers in that show was the wonderful Phil Cokorinos, with whom I have since sung, in The Nose at the Metropolitan Opera (I never told about my dozing off…). I’ve performed more performances of Don Giovanni than perhaps any other opera: as an undergrad at the University of Tennessee, as a young
artist in San Francisco and Wolf Trap, as a young professional at New York City Opera, and recently in productions with Boston Lyric Opera and the Los Angeles Philharmonic. So it was a serendipitous choice of operas, if not, perhaps, the most graceful entry into the opera world! AO: Do you remember the moment that captured your interest in music and singing? Was there a particular artist that influenced you? KB: I am not certain there was a specific moment that captured my interest — it was more like the confluence of a lot a separate moments: sitting backstage, while in the chorus of The Marriage of Figaro, listening to the Countess singing “Dove sono,” and being struck by opera’s unique ability and power to move a listener in moments of a character’s vertical
behind The curTAin development and looking within; sitting in rehearsal of La traviata and getting overwhelmed by the beauty and sorrow of the final act (especially from “Addio del passato” to the end). Everyone in the room that afternoon, from the director, conductor, diction coach, on down, was bawling at the final chord, moved by a transcendent moment only opera can provide. Also, sitting in Giovanni rehearsals at the Bastille and watching Bryn Terfel and Jose van Dam as Giovanni and Leporello do recitatives over and over, changing every time, digging down to find any and everything the words could mean. Most important, though, was the time I spent in Vienna, Austria — I was there between my junior and senior years of undergrad, and I got standing-room tickets at the Staatsoper at least once a week. The dozens of performances I saw at the Staatsoper, especially superimposed on the backdrop of Vienna, where music is the lifeblood, were invaluable in showing what opera can be and can do. As for artists who influenced me, I was extremely fortunate to have cut my teeth in opera at the New York City Opera – I started there while still in grad school and performed over 100 times with the company over the subsequent decade or so. The roster of New York City Opera when I was there was full of the great American singing actors of that time. I performed with, and learned from, singers like Bob Orth, Joyce Castle, Lauren Flanigan, Mark Delevan, David Daniels, Bill Burden, Elizabeth Futral, the list goes on and on. Being able to sit in rehearsal and watch those artists work and hone their craft, that was the best influence I could have ever asked for.
Also, I would be remiss not to mention one other singer who shaped my career profoundly: Paolo Montarsolo. When I was a young artist in Paris, I had the honor of working with Paolo on a production of The Elixir of Love. Dulcamara was one of Paolo’s great roles, and we worked extensively for weeks on my interpretation of that role. That work was invaluable and laid the foundation for the work I do now as a singing actor. AO: How have you prepared for the Pirate King, both as a vocalist and an actor? KB: I have had the good fortune of being in The Pirates of Penzance multiple times now, so I am very familiar with the piece, having been around so many rehearsals and performances of it. My preparation, therefore, has been relatively straightforward: diving first into the words to make sure I am comfortable with them and where they are going, and then adding in the music (which rings prevalently in my ear already). The lyrics are extremely clever, and the musical setting varies among funny, beautiful, moving, and rousing moments. The best thing to do, for me, is simply to honor the source material by learning it, repeating it, trying to find every bit of wisdom Gilbert and Sullivant added, and then doing it again. It helps, of course, to know that Seán Curran will be waiting when we arrive in Atlanta. Seán is one of the funniest and cleverest people in opera, and it is extremely comforting to know that we, and the operetta, are in his incredibly capable hands. Basically, I am just looking forward to having fun! 41
behind The curTAin AO: You’ve performed so many kinds of opera. How does Gilbert & Sullivan differ from the traditional works and contemporary pieces you’ve sung?
and British silliness. Its wordplay and penchant for absurd physical comedy is just about the funniest thing to me, both to watch and to perform.
KB: In some sense, Gilbert & Sullivan does not differ much from the traditional works and contemporary opera I have performed. Opera, to me, is all about telling the story – and G&S write as good of a story as anyone. There are twists and turns, to be sure, but part of telling the story is not anticipating those turns and simply being in the moment when they occur.
AO: What is your favorite moment in “The Pirates of Penzance?”
Of course, The Pirates of Penzance is a comedy, so in that sense, it is different from Everest or Cold Mountain or La bohème. It’s not too far removed, though, from a Daughter of the Regiment or an Elixir of Love, as far as I am concerned. Donizetti was a genius at writing music that allows for the humor of a text or of a situation to come to the fore, and Sullivan was much the same. Dulcamara’s opening patter aria in Elixir has a lot in common, I think, with the Major-General’s opening aria in Pirates. And just like with Marie and Tonio in Daughter of the Regiment, the audience connects with Frederic and Mabel and is genuinely delighted when they find a way to be together. So saying, the rousing music of Sullivan definitely provides a wonderful impetus to dance (not unlike the music of Offenbach), and the English text provides more immediacy to native English speakers, both of which make G&S particularly fun to perform. And there is a certain strain of silliness in G&S that I adore – I grew up on Monty Python, “Fawlty Towers,” “The Black Adder,” 42
KB: Oh, it’s so difficult to name one. Thinking of that silliness I referenced, the “ ‘often, frequently’ only once” exchange is epic – so funny. And the Major-General’s opening aria is one of the funniest pieces of music ever written. Even better, to me, though, are the rousing tunes of the Pirates: “With Catlike Tread” (which I have loved ever since hearing it in Chariots of Fire as a kid) and “Oh better far to live and die…” are such wonderful songs – they always bring a smile to me face. Perhaps best of all, though, are the moments of pure beauty that emerge from the topsy-turvy world. I cannot imagine a more beautiful moment than the duet between Frederic and Mabel in the middle of “Stay, Frederic, stay”: “Ah, leave me not to pine alone and desolate… he loves thee, he is here,” followed by Frederic’s “Ah, must I leave thee here in endless night to dream…he loves thee, he is gone.” It is a heartfelt text, gorgeously set: in 3/4, with a hemiola midphrase and a stunning top G on “loves” – as beautiful as anything in the repertoire. AO: And finally: Queen Victoria, overrated or underrated? KB: The Pirate King MUST answer that the Queen is underrated – for all our faults, I love the queen!
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A full house enjoyed Pints & Pirates — a unique and hysterical partnership between the Shakespeare Tavern Playhouse and The Atlanta Opera. photo: Scott Hazleton
operA in our communiTy By Wade ThoMas The Atlanta Opera is consistently known for its outstanding mainstage productions at the Cobb Energy Centre. However, the Opera also strives to make a name for itself in the areas of community engagement, audience development, and civic impact. An ever-increasing emphasis is being placed on arts organizations nationwide to address community priorities and seek relationships with other organizations to help strengthen the communities they serve. The Atlanta Opera recognizes this important role by partnering with organizations to make opera more accessible to those who are in need of funding or are unfamiliar with the art form. The Atlanta Opera’s education programs are a great example of how we partner with other organizations to make opera more accessible for students. Each year, through the Atlanta Mayor’s Office of 44
Cultural Affairs’ Cultural Experience Project and the Artsbridge Foundation, we invite more than 850 Atlanta Public School high school students to our Student Short matinee at the Cobb Energy Centre at no cost. We also partner with local foundations to bring free in-school performances of our Studio Tour for APS and Gwinnett County Title 1 schools. This past November, The Atlanta Opera took a step out of the opera “box” and presented Soldier Songs at the Rialto Center for the Arts as a part of its Discoveries series. This unconventional opera deals with the difficult realities of war and its effects on a soldier. In conjunction with the performances, The Atlanta Opera worked with numerous veterans’ organizations to bring more than 800 veterans and their family members to free performances. Each
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communiTy engAgemenT performance was followed by a post-show panel discussion with local veterans to discuss the realities of what they faced in combat and what they face in today’s society. The Opera hopes to build upon the success of these collaborations as we look toward next season and our production of Silent Night. Another challenge facing arts organizations, and specifically opera companies, is developing new audiences. In order to stay viable, opera companies must adapt to the changing behavioral climate. This season, The Atlanta Opera partnered with the Shakespeare Tavern Playhouse to present a rollicking evening of opera improv, beer, food, and our Studio Tour production of The Pirates of Penzance. Dubbed “Pints & Pirates,” the performance was sold-out! A quick survey of the audience revealed
SCENE PINTS & PIRATES
46 photos: Scott Hazleton
that a majority of those in attendance had never been to an Atlanta Opera performance. Another program that fosters new audiences is The Atlanta Opera’s 24-Hour Opera Project®. It brings together composers, librettists, directors, music directors, and singers to create an original opera in 24 hours. Our 6th annual event will be held April 2 at SCADshow. The Atlanta Opera continues to be a vital arts presence in Atlanta by bringing the power and passion of opera to thousands of students and audience members across the metro area. Our community engagement and education partners are instrumental in helping The Atlanta Opera succeed, and we are grateful for their support. We encourage you to learn more about our community programs by visiting us at atlantaopera.org.
AnnuAl giving The following names represent gifts from individuals, The Atlanta Opera Board of Directors, Staff, Chorus, and Orchestra. We express our most sincere thanks and appreciation to each of our donors. Their ongoing support allows The Atlanta Opera to continue building on its tradition of excellence by introducing new works and reimagining classics. Listed are pledges and payments to The Annual Fund, The Society for Artistic Excellence, and The Overtures Campaign from July 1, 2014, through Jan. 1, 2016. diamond $200,000+ Anonymous John & Rosemary Brown Ann & Frank Critz *Mr. & Mrs. Donald R. Keough $100,000+ Nancy & Jim Bland Mr. & Mrs. Carl W. Knobloch, Jr. Jerry & Dulcy Rosenberg $50,000+ The Laura & Montague Boyd Foundation Dr. Harold Brody Martha Thompson Dinos Nancy & Holcombe Green John L. Hammaker $25,000+ The Roy & Janet Dorsey Foundation Victoria & Howard Palefsky Mr. & Mrs. Timothy E. Sheehan Baker & Debby Smith Judith & Mark Taylor Mrs. Thomas R. Williams $15,000+ Cathy & Mark Adams Mr. & Mrs. Shepard B. Ansley Bryan & Johanna Barnes Mr. & Mrs. Andy Berg Bernadette & John Faber Mr. & Mrs. Carl & Sally Gable Dr. & Mrs. Alexander Gross Mr. Howard W. Hunter - Gramma Fisher Foundation Mr. & Mrs. Michael L. Keough Mary & EP Rogers Foundation, Inc. Mary Ruth McDonald Mr. William E. Pennington Mr. William F. Snyder Triska Drake & G. Kimbrough Taylor Rhys T. & Carolyn Wilson Bob & Cappa Woodward Charitable Fund The Mary & Charlie Yates Family Fund Mr. Tomer Zvulun & Mrs. Susanna Eiland
Platinum $10,000+ Anonymous Mr. & Mrs. Ronald R. Antinori Mr. David Boatwright Mr. Edward A. Chernoff Mr. Robert P. Dean & Mr. Robert Epstein Mr. Arthur Fagen Mr. & Mrs. John Michael Hancock Candy & Greg Johnson James M. Kane & Andrea Braslavsky Kane Mr. Robert L. Karem, Jr. Mr. Alfred D. Kennedy & Dr. Bill Kenny Mrs. Dale Levert & Mr. George W. Levert Dr. & Mrs. James Lowman Mr. James B. Miller, Jr. Mr. James D. Powell Mr. Charles Sharbaugh Mr. & Mrs. William E. Tucker Mr. & Mrs. Joseph F. Weber Mrs. Wadleigh C. Winship Charlie & Dorothy Yates Family Fund Mr. Allen W Yee, Esq. $5,000+ Anonymous Mrs. Elizabeth Tufts Bennett Dr. R. Dwain Blackston Mr. & Mrs. Robert G. Edge Ms. Rebecca Y. Frazer & Mr. Jon Buttrey William Hyde UBS Private Wealth Management Mr. & Mrs. Michael A. Klump Mr & Mrs. Jack C. McDowell Mr. Harmon B. Miller III Clara M. & John S. O'Shea Irene V. Myjak Mrs. Polly N. Pater Mr. David Paule & Mr. Gary Mann Mr. & Mrs. Michael E. Paulhus Edward W. Phares John & Barbara Ross Yee-Wan & John Stevens Rae & George Weimer Ms. Bunny Winter & Mr. Michael Doyle
AnnuAl giving Platinum (continued) $2,500+ Anonymous Dr. Florence C. Barnett Dr. Asad Bashey Ms. Mary D. Bray Mr. Ron Breakstone Dr. Bruce Cassidy & Dr. Eda Hochgelerent Jean & Jerry Cooper Rhonda & Chance Davis Col. & Mrs. Edgar W. Duskin Heike & Dieter Elsner Dr. & Mrs. Donald J. Filip Mr. James Flanagan Harald Hansen Mr. & Mrs. Douglas Hantula Mr. & Mrs. Edward J. Hardin Mr. & Mrs. Howell Hollis III Mr. & Mrs. Harry C. Howard Mrs. Joseph B. Hutchison Mrs. Theodora S. Johnson Mr. John O. King Mr. Brian Leetch Mr. David Moran Ms. Suzanne Mott Dansby Mr. William A. Parker, , Jr. Mr. Shawn Rieschl Johnson & Mr. Christian Kirby Drs. Aileen O'Neill & Richard Robinson Milton J. Sams Mr. & Mrs. J. Barry Schrenk Ann & Jim Curry Mr. Nicholas Shreiber Johannah Smith Mr. & Mrs. George B. Taylor, Jr. Mr. & Mrs. Thomas H. Teepen Dr. Nicholas Valerio III Ms. Linda D. Wickham Larry & Beverly Willson Andy & Sarah Zabinski
Gold $1,000+ Anonymous The Estate of Barbara D. Stewart Mr. Michael M. Arens Mr. Josh Aronson Mr. & Mrs. Walter Bailey Julie & Jim Balloun Mr. & Mrs. C. Duncan Beard Christine M. Beard Michael L. & Valerie W. Benoit Mr. & Mrs. Paul Blackney Mrs. Enrique E. Bledel Mr. & Mrs. Charles T. Carlin
Gold (continued) Dr. John W. Cooledge Mr. & Mrs. Edward S. Croft III Ann & Jim Curry Dr. & Mrs. F. Thomas Daly Jr. Mr. Daniel L. Delnero & Ms. Vlada Galan Mr. Robert S. Devins Dr. Mary M. Finn R. Derril Gay, Ph.D. James R Gilbert Kevin Greiner & Robyn Roberts Sylvia Halleck, MD Mr. L. D. Holland Ann P. Howington Mr. & Mrs. David C. Huffman Dr. & Mrs. Duke Jackson, Jr. Mary & Wayne James Mrs. Cecile M. Jones Mr. & Mrs. Gert Kampfer Ronnie & Peter Kessenich Marsha & David King Mrs. Treville Lawrence Ms. Salli LeVan Mr. & Mrs. J. David Lifsey Linda L. Lively & James E. Hugh III Dr. Carlos E. Lopez Dan D. Maslia Belinda & Gino Massafra Shelley McGehee Ms. Mimi S. Monett Ms. Priscilla M. Moran Mortimer Family Mr. & Mrs. Richard P. Nicholas III Mr. & Mrs. John L. O'Neal Opera America, Inc. The Opera Guild for Atlanta Lucy S. Perry Dr. & Mrs. Lawrence S. Phillips Mrs. Betsy Pittman The Reverend Neal P. Ponder, Jr. Dr. Michael F. Pratt & Nancy Peterman Mr. & Mrs. Robert Ratonyi Lynn & Kent Regenstein Mr. & Mrs. George P. Rodrigue The Scully Peretsman Foundation Mr. Fred B. Smith Dr. & Mrs. Patton P. Smith Mr. Peter James Stelling Mrs. Eleanor H. Strain Mr. Paul Stuk Dr. Jane T. St. Clair & Mr. James E. Sustman Dr. & Mrs. Michael Szikman Mrs. Hugh Tarbutton
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AnnuAl giving Gold (continued) Mr. Troy Taylor Mr. Stephen H. Thompson & Mr. Drew Mote Ms. Juliana T. Vincenzino Dr. & Mrs. James O. Wells, Jr. Ms. Jerrie Woodward $500+ Anonymous Mr. Keith E. Adams Mr. C. Scott Akers, Jr. Mr. Steven M. Astriab Mr. & Mrs. Robert O. Banker Ms. Martha S. Brewer Barbara S. Bruner, M.D. Ms. Lynnore Buersmeyer Bob & Marion Bunker Dr. J. Bricker Burns Mrs. Stella M. Carlson Chris Casey & Douglas Weiss Mrs. Carol J. Clark Mr. & Mrs. Don S. Coatworth Don & Linda Coatsworth Mrs. Jan W. Collins Ms. Carol Uhl Mr. & Mrs. Michael J. Curry Maureen & Michael Dailey Janice & Charles M. Edwards III Mr. & Mrs. John C. Ethridge, Jr. Ms. DeeAnn E. Evans Mr. & Mrs. Michael Flaherty Mr. & Mrs. Lance Fortnow Dr. & Mrs. David J. Frolich John Gam, Ph. D. Mr. James Gary Mr. & Mrs. George Gundersen Mrs. John W. Grant III Judge Adele P. Grubbs Ms. Louise S. Gunn Mr. Ronald L. Harris & Mrs. Jacqueline Pownall Dean & Vivian Haulton Mr. George Hickman, III Donna & Richard Hiller Mr. & Mrs. James Horgan Richard & Linda Hubert Mr. & Mrs. Fred R. Keith Ms. Eleanor Kinsey Joan & Arnold Kurth Chris & Jill Le Ms. Beverly Leaphart Dr. Jill Mabley Ms. Kathrin Mattox Mr. & Mrs. John McMullan Mrs. Thespi P. Mortimer
Gold (continued) Terri & Stephen Nagler Mr. & Mrs. Stephen L. Naman John & Agnes Nelson Mr. & Mrs. J. Vernon O'Neal, Jr. Ms. Beverley Paquette Dan Pompilio & Lark Ingram Mr. David Pylate Mr. David Quinn & Mr. Jason Liebzeit R.J. & D.G. Riffey, Jr. Mr. & Mrs. Stefano V. Righi Mrs. Barbara G. Robinson Sidney & Phyllis Rodbell Sandra & Ronald Rousseau Dr. & Mrs. Mark Rowles Mr. Walid Said Mr. Stuart Schleuse Jane Stoddard Steve & Christine Strong Mr. & Mrs. Frederick A. Stuart Mr. & Mrs. James Summers Mr. Tarek Takieddine Dr. & Mrs. Kenneth G. Taylor Mr. Richard Thio Mr. James Todd Mr. & Mrs. Thomas W. Ventulett III Mary Jane & Jorge Vilanova Mr. & Mrs. Leroy Walden Ms. Venette Williams Mrs. Frank Wilson, Jr. Dr. & Mrs. David Wingert Sherrilyn & Donn Wright $350+ Anonymous Mr. & Mrs. Samuel Betor Dr. & Mrs. Jerry Blumenthal Ms. Marta V. Boulineau Mr. Gregory Carraway Dr. & Mrs. Arthur E. Chapman Mr. & Mrs. Raymond H. Chenault Mr. & Mrs. Alva Cobb Mr. N. Jerold Cohen & Ms. Andrea Strickland Mr. Lawrence M. Cohen Mr. & Mrs. Newt Collinson Mrs. Claudia Colvin Mr. John Cullom Ms. Carol Comstock & Mr. James L. Davis Dr. & Mrs. Albert De Chicchis Mr. & Mrs. Arthur R. Dugger Dr. & Mrs. Edwin E. Flournoy Pearlann & Jerry Horowitz Mr. Scott Ingram Ms. Annette Janowitz
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AnnuAl giving Gold (continued) Mr. Frank M. Monger Mr. Stephen J. Kalista Mr. Sidney E. Linton Livvy Kazer Lipson Mr. Thomas L. McCook Mr. & Mrs. Norman Miller Ms. Sharon Mills Dr. Patricia S. Moulton Barbara & Mark Murovitz Jane & Jim Murray Mr. & Mrs. Henry C. Parrish III Mr. Darryl C. Payne & Ms. Lisa C. Richardson Mr. Lawrence F. Pinson Mr. Stephen Lewis Rann Mr. Robert Sidewater Dr. Susan Y. Stevens Mr. Bill Thorneloe & Ms. Ellen Smith Mr. Bernd Ulken Jone Williams Silver $100+ Anonymous Rev. Joanna & Mr. Alfred B. Adams III Mr. Thomas A. Adams, Jr. Mr. Herb Adcock Mr. & Ms. Mark Alavi Dr. Catherine Allard Mrs. C. Anne Dawson Ms. Anne L. Grossman Mr. William F. & Joan M. Amideo Dr. & Mrs. Charles Arp Mrs. Elaine Wilco Mrs. Elizabeth Bair Mr. & Mrs. David S. Baker Ms. Joselyn B. Baker Ms. Mary M. Ball Mr. & Mrs. Michael Barker Maria Battista Dellaperuta Mr. Brian D. Beem Carol J Belay Ms. Lauren Benevich Daniel & Bethann Berger Mrs. Natalie B. Bernstein Mr. & Mrs. George Beylouny Ms. Elena Bianchelli Mr. Gary Bivins Mr. Matt Blackburn Mr. Albert K. Blackwelder Mr. & Mrs. Michael Blackwood Mr. & Mrs. Mike Boaz Ms. Barbara E. Bolton Mr. Gene B. Brown
Silver (continued) Lou & Tom Jewell Mr. Mitch Bucklin Mark & Peg Bumgardner Wilton & Victoria Dvonch Mr. Matthew Y. Burkhalter & Mr. John Carey Hans Jurgen Burmeister Mr. Frank H. Butterfield & Mrs. Debra Butterfield Ann & Jim Curry Mrs. C. Anne Dawson Dr. & Mrs. W. Jerry Capps Thomas S. Caras, M.D. Mr. Stephen Carlson Mrs. Emma Casanova Ms. Lynda Case Dr. Lynn Cathcart Mr. & Mrs. George Cemore Dr. Earle D. Clowney Mrs. Ruth Coan Dr. & Mrs. Sheldon B. Cohen Mr. Malcom H. Cole Dr. & Mrs. Thomas W. Cole Ms. Sally Combs Ms. DeeAnn E. Evans Devlin Cooper Mr. & Mrs. F. Dean Copeland Mr. & Mrs. David Courtney Mr. & Mrs. Dennis M. Crean Julianna Mary Critz Ms. Delia T. Crouch Ms. Jennifer C. Burleigh Craig Cuddeback Ms. Ann Cummings Dr. & Mrs. Jeffery Steven Curtiss, Ph.D. Mr. David D'Ambrosio Mr. & Mrs. Harold T. Daniel Jr. Dr. Jiyoung Daniel Mrs. Jeanne Daniels Mr. & Ms. O. Alan Daniels Ms. Rebecca R. Danis Mr. James M. Datka & Ms. Nora P. DePalma Mr. William A Davis Mrs. C. Anne Dawson Mr. Paul Deckard Mr. Christopher J. Decoufle Jim & Carol Dew Dr. & Mrs. Ivan Diamond Ms. Teresa Diaz Ms. Rosemarie Distefano Mrs. Sara B. Duke Mr. & Mrs. David R. Dye Arnold & Sylvia Eaves Mrs. Anne J. Ederington Mr. John Elledge
AnnuAl giving Silver (continued) Ms. Paula L. Ellis Ms. Elizabeth R. Etoll Ms. Hope Eyre Ms. Barbara Faherty Dr. Fariba Farhidvash Ms. Barbara M. Farr Ms. Ariana B. Fass Mrs. Arnoldo Fiedotin Mrs. Sally Finch Ms. Martha Fineman Dr. & Mrs. Stanley Fineman Ms. Anne L. Grossman Mr. & Mrs. Michael E. Friedman Mr. Glen Galbaugh Ms. Maryanne F. Gaunt Dan & Harriet Gill Mr. & Mrs. Sander L. Gilman Dr. & Mrs. Joseph D. Giovinco Mr. & Mrs. Donald Goldstein Dr. & Mrs. Martin Goldstein James C. Goodwyne & Christopher S. Connelly Mr. & Mrs. Richard P. Grodzicki Ms. Anne L. Grossman Jim & Virginia Hale Ms. Anne Hammond Ms. Mary Joe Hanes Mr. & Mrs. William A. Hanger Dr. & Mrs. Eugene Harley Ms. Freya Harris Mr. Michael D. Hastings Mr. Scott Hazleton Mr. William Hazleton & Mrs. Holly Hazleton Mr. & Mrs. William Hinson Ms. Tina Ann Hooper Dr. & Mrs. S. G. Hornsby, Jr. Mrs. Sally Horntvedt Mr. & Mrs. Nicholas C. Howard Dr. Karen Kuehn Howell Mrs. Roberta L. Huebner Ms. Jan W. Hughen Mrs. Catherine Hughes Ms. Irmgard S. Immel Mr. Rolf Ingenleuf Mrs. Louise Jackson Mr. & Mrs. Robert C. Jackson Mr. Stuart A. Jackson Mrs. Mary O. Jensen Mrs. Patricia M. Johnston Cliff Jolliff & Elaine Gerke Ms. Jo. Elliott Jones Mr. & Mrs. Jerry Juchelka Mr. & Mrs. Edward Katze
Silver (continued) Dr. & Mrs. John L. Keller Jane & Bob Kibler Ms. Donna J. Kilgore Mr. Allen D. King, Jr. Mr. Emory King Ms. Darothea H. Kirkland Mr. Chris Kitchens Mr. Al Klicius Ms. Caroline B. Klopstock Mrs. Jo W. Koch Mr. Richard Kranzmann Mr. & Mrs. Gedas Kutka Judge & Mrs. John Langford Mrs. Emma Lankford Juliette & Andrew Lebor Lucy R. & Gary Lee, Jr. Mrs. Jeanine Lewis Sophie Li Ms. Joanne Lincoln Ms. Nancy Smith Linzmeyer Vaneesa & Allan Little Charles & Katherine Lord Mrs. Carol Lyttle Jr. Mr. David Mackley Mr. Bruce Madden Dr. Chalem Mahadevan Dr. Robert & Judge Stephanie Manis Dr. David J. Martin Belinda & Gino Massafra Katherine B. Maxwell & Michael J. Maxwell Mrs. Margaret McCamy Mr. M. Reynolds McClatchey Jr. Ms. Joey McCraw Ms. Gloria G. McCrory Patricia & Laughlin McDonald Mr. Charles D. Menser, Jr. Mr. Kenneth Alan Miller Mr. Simon Miller Ms. Sarah Millett Don Minichiello Mr. Roger Moister, Jr. Mr. M. Sean Molley Mr. Albert M. Morrison Mr. & Mrs. George T. Munsterman Mr. & Mrs. Chuck Musholt David Turnage & Alice Nelson Mr. & Mrs. Richard Newton Ms. Penny Nicholls Mr. & Mrs. David Norris Mr. & Mrs. Thomas F. Remington Ms. Marianela E. Noya Mr. John Owens Ms. Sandra S Owens
AnnuAl giving Silver (continued) Mr. Joseph M. Pabst Christine & Jim Pack Huun Park & Morgan Harris Rev. Louisa T. Parsons Edward & Marjorie Patterson Mr. & Mrs. John Payan Mr. Andreas Penninger Robert Glenn Pennington Ms. Mary Percy Ms. Sandra Perkowitz Mr. W. Ray Person Ms. Sophia B. Peterman Drs. Frank & Robin Petruzielo Mr. George A. Pfeil, III Ms. Maria M. Pflugbeil Mr. D. F. Pinholster Lavinia Pretz Mr. Donald W. Prichard Sharon & Jim Radford Letitia A Radford Mrs. David A. Reinach Mr. & Mrs. Thomas F. Remington Brian & Caroline Rendini Mr. John B. Rofrano Mr. Bruce Rogers Mr. & Mrs. John Philip Rogers Mr. Daniel D. Ross Mr. Dwight Ross Jr. Mr. Hervey S. Ross Ms. Linda Rubin Harriet Ruskin Mr. Patrick Sam Dr. & Mrs. Joseph M. Scanlan Crista & Glenn D. Schaab Mr. & Mrs. James Schiwal Mr. Donald Schreiber & Ms. Barbara Seal Ms. Regina Schuber Ms. Gretchen Schulz Mr. & Mrs. John A. Schwartz Katherine Scott Mr. & Mrs. David M. Scoular Ms. Roberta Setzer Helga Hazelrig Siegel Mr. Robert Lawrence Silverman Mr. Robert L. Silverman Richard Singer & Liz Nazzari Mr. & Mrs. Charles Slick Tom Slick Dr. Valdon Smith Dr. & Mrs. Stanley J. Smits Michael Sneath Mr. Kenneth W. Stegall John & Lizanne Stephenson
Silver (continued) Mrs. Fred Stewart David Strawn Bobbie Jo Supine Carolyn & Robert Swain Barbara & Jon Swann Mrs. Margaret Talmadge Howell Mr. & Mrs. Frederick C. Taylor Ms. Virginia S. Taylor Leigh & Jay Telotte Mr. & Mrs. Stanley Tenenbaum Ms. Michelle M. Thomas Ms. Nancy A. Thomas Mr. & Mrs. William R. Thurman , Jr. Mr. & Ms. Wolfgang Tiedtke Mrs. Newell B. Tozzer Ms. Elizabeth R. Trulock Mr. & Mrs. Charles D. Tuller Mr. Michael Vaughn Mrs. James B. Vaught Dr. & Mrs. James H. Venable Ms. Marylee Vetrano Mrs. Linda P. Vinal Ms. Brenda D. Jennings Mr. & Mrs. Fritz von Ammon Joseph J Wade Jr Mr. & Mrs. Richard Waid Mr. & Mrs. Lewis Watford Ms. Cindy Weinbaum Drs. Bernard & Sharon Weiss Ms. Reba P. Welch Mr. & Mrs. T. A. Wessels Mr. & Mrs. A. E. Westmoreland, Jr. Ms. Lola V. Williams Mrs. Roberta L. Huebner Virginia S. Williams Ms. Beth Williamson Mr. Calvin Wingo Ms. Ann D. Winters Mr. & Mrs. Charles T. Wise Jeremy Wojcik Mrs. Loretta C. Wolf Mr. & Mrs. Ron & Elaine Womack Dr. & Mrs. R. Craig Woodward Mrs. Mary S. Wright Mrs. Johnnie Zahler & Jeanette Zahler Kurt-Alexander Zeller
corporATe pArTnerS $500,000 The Coca-Cola Company $100,000+ Gas South $50,000+ Cartier Federal Home Loan Bank of Atlanta $10,000+ Affordable Equity Partners, Inc. The Atlantan Bloomingdales Tony Brewer & Co. Elite Caribbean Resorts Georgia Dermatology Center UBS Financial Services Inc. $5,000+ Anonymous Batdorf & Bronson Coffee Roasters Montana Sporting Club National Distributing Company, Inc. Neiman Marcus
$2,500+ Atlanta Botanical Garden Genuine Parts Company Joel Crowe - Wallace Graphics PNC Wealth Management Ralph Lauren The Ritz Carlton - Buckhead The St. Regis Atlanta Barbara Tfank $1000+ Atlanta Food & Wine Festival ETRO USA, Inc. Fast Signs Sandy Springs Fidelity Bank Georgia Dermatology Center Miller Union Morgan Stanley - Terminus Building Office Resurgens Hospitality Group Ritz Carlton-Rancho Mirage Total Wine
$500+ Alliance Theatre James Avery Barcelona Beverly Bremer Silver Shop Buckhead Life Restaurant Group Ferragamo - Atlanta Live Nation Marty Thornberg Designs Sid & Ann Mashburn Panasonic Park Tavern The General Muir The Gifted Ferret
foundATion & governmenT SupporT Listed below are organizations that contributed and/or pledged to The Atlanta Opera between July 1, 2014 and Jan. 1, 2016. FoundationS $750,000+ The Goizueta Foundation $150,000+ Atlanta Music Festival Association Livingston Foundation $100,000+ The Rich Foundation $50,000+ The Sara Giles Moore Foundation The Kendeda Fund J. Marshall & Lucile G. Powell Charitable Trust $20,000+ The Jim Cox, Jr. Foundation The Home Depot Foundation The Charles Loridans Foundation, Inc. Wells Fargo Foundation The Zeist Foundation
$10,000+ Arthur M. Blank Family Foundation Molly Blank Charitable Trust The George M. Brown Fund Camp-Younts Foundation Fraser-Parker Foundation Ann and Gordon Getty Foundation Price Gilbert, Jr. Charitable Fund JBS Foundation Nordson Corporate Foundation Frances Wood Wilson Foundation, Inc The David, Helen & Marian Woodward Fund-Atlanta
$1,000+ Bright Wings Foundation Enterprise Holdings Foundation Hills Family Foundation Kiwanis Foundation of Atlanta, Inc Lois & Lucy Lampkin Foundation The Ray M. & Mary Elizabeth Lee Foundation Piedmont National Family Foundation Publix Super Markets Charities Government FundinG $50,000+ Atlanta Office of Cultural Affairs
$5,000+ $20,000+ The Atlanta Foundation Georgia Council for the Arts The Mary Brown Fund of Atlanta The John & Mary Franklin Foundation, Inc. National Endowment for the Arts Nordson Corporation Foundation Norfolk Southern Corporation Foundation Turner Broadcasting System
TribuTeS & memoriAlS in Honor of Judith alembik Ms. Sondra Dillon in memory of ms. Katherine anderson Mr. Richard E. & Mary R. Gharst Joy & Jerome Lofton in Honor of mr. & mrs. Shepard B. ansley Janice West in Honor of Florence Barnett The Snead Family in Honor of Jim & nancy Bland Mrs. Constance W. Treloar Mrs. Connie Treloar
in Honor of martha thompson dinos Dr. Patricia S. Poulter in memory miriam drake Ms. Pat Johnston in Honor of Susanna eiland Dr. & Dr. Morgan Eiland in memory of Henry G. Ferrante Jason Ferrante in memory of timothy Gantz Ms. Elena Bianchelli in memory of alvin Goldstein The Women of Bryan Cave
in Honor of mrs. nancy Carter Bland in Honor of Ann P. Howington dr. thomas n. Guffin , Jr. Ms. Jeanne Brown & Ms. Jeanie Robertson in Honor of mr. & mrs. montague l. Boyd iii Ms. Wendy Weisman in memory of donald r. Keough Mr. & Mrs. Charles K. Fischer Mr. Alfred D. Kennedy & Dr. Bill Kenny in memory mr. Jerry e. dilts The Scully Peretsman Foundation Mr. Charles H. Battle, Jr. Mr. Troy Taylor Mr. Arthur M. Blank Mr. & Mrs. Charles R. Yates, Jr. Ms. Mary D. Bray Mr. & Mrs. William R. Bridges, Jr. Dr. Harold Brody in Honor of Polly n. Pater Mrs. Mary Carter Davis Mr. & Mrs. Brian Beem Mrs. Lavona Currie Tom Slick Mr. & Mrs Robert G. Edge Mr. & Mrs. Charles Slick Mr. George H. Galloway, , Jr. Nancy & Holcombe Green in Honor of mr. rolando Salazar Mr. Joseph S. Hays Mr. Darryl C. Payne J. & Sara Hehir & Ms. Lisa C. Richardson Mr. & Mrs. Thomas D. Hills Ms. Mary Katherine Hodgson J. Tribble Antiques Ms. Janice Kane Mr. Jerry A. Kay Mr. Alfred Kennedy & Dr. Bill Kenny Ms. Kathleen S. O'Gara Mr. William E. Pennington Mr. Daniel B. Rather Mr. & Mrs. Joel F. Reeves Mr. & Mrs. H. English Robinson Mr. & Mrs. Gary M. Sams The Silver Skillet Mrs. Laura S. Spearman Mr. & Mrs. Frank G. Stevenson, Jr. Mr. & Mrs. John W. Wilcox, Jr. Mr. & Mrs. Harry Zuber
in Honor of ms. Susan Stephens Ms. Jane H. Mitchell in memory of Jim Strain Mr. William E. Pennington in Honor of John tibbetts The Reverend Neal P. Ponder, Jr. in memory of rex Weaver Ms. Nancy Smith Linzmeyer Letitia Radford Respectful Former Client Bobbie Jo Supine in memory ms. Jane S. Willson Col. & Mrs. Edgar W. Duskin Carol & Jorge Pisarello in Honor of mr. & mrs. Charles r. Yates, Jr. Mr. & Mrs. Mark Eden Mr. Ezra H. Ripple Mr. & Mrs. J. Barry Schrenk John & Lizanne Stephenson Mr. J. Gray Teekell Ms. Dorothy Yates Kirkley Mrs. Sarah Yates Sutherland in memory mrs. dorothy m. Yates Katharine Rabkin Busch Homrich-Berg, Inc. - Buckhead David Roemer Dr. Lisa A. Tedesco & Mr. David W. Kuehn Rae & George Weimer in Honor of tomer Zvulun & Susanna eiland Ms. Lisa T Black
encore circle The Atlanta Opera established the Encore Circle to recognize donors who have designated the Opera as a beneficiary in their estate plan. Gifts from these individuals ensure our progress for generations to come. Anonymous Mr. & Mrs. Shepard B. Ansley Mrs. Wallace F. Beard The Bickers Charitable Trust Mr. Montague L. Boyd, III Ms. Mary D. Bray 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 Peg Simms Gary Mr. & Mrs. Sidney W. Guberman Ms. Judy Hanenkrat Mr. Hilson Hudson Mrs. Joseph B. Hutchison Mr. J. Carter Joseph Mr. Alfred D. Kennedy Ms. Corina M. LaFrossia Dr. Jill Mabley Mr. & Mrs. John G. Malcolm
Mr. Robert L. Mays Mr. & Mrs. Allen P. McDaniel Mr & Mrs. Jack C. McDowell Mr. & Mrs. Craig N. Miller Miss Helen D. Moffitt Mr. J. Robert Morring Clara M. & John S. O'Shea Mrs. Polly N. Pater Mr. William E. Pennington Mr. Bruce Roth Ms. Hazel Sanger Mr. D. Jack Sawyer, Jr. Elizabeth Morgan Spiegel *Ms. Barbara D. Stewart Dr. Jane T. St. Clair & Mr. James E. Sustman Mr. & Mrs. Thomas H. Teepen Dr. & Mrs. Harold Whitney Rhys T. Wilson Ms. Bunny Winter & Mr. Michael Doyle Mr. Charles R. Yates, Jr. & Mrs. Mary Mitchell Yates *Mr. & Mrs. Charles R. Yates, Sr. * deceased
boArd of direcTorS officerS
CHAIR EMERITUS Mrs. Boyce Ansley CHAIR Mr. William E. Tucker IMMEDIATE PAST CHAIR Mr. Gregory F. Johnson VICE CHAIR Mr. John L. Hammaker VICE CHAIR Mr. Charles “Charlie” R. Yates TREASURER Mr. Rhys T. Wilson SECRETARY Mr. Michael Keough
Ms. Cathy Callaway Adams Mr. Bryan H. Barnes Mr. Andy Berg Mr. Montague L. Boyd, III Mrs. Rosemary Kopel Brown Mrs. Mary Calhoun Mr. Mario Concha Dr. Frank A. Critz Mr. Robert Dean Ms. Martha Thompson Dinos Mr. Robert G. Edge Ms. Bernadette Faber Dr. Donald J. Filip Mr. Eli Flint Mr. Kevin Greiner Mrs. Joanne Chesler Gross Mr. John Michael Hancock
honorAry memberS Mr. Opher Aviran Mrs. Nancy Carter Bland Mr. Dieter Elsner Mr. Carl I. Gable, Jr. Mr. John “Jack” S. Gillfillan Mrs. Nancy Hall Green Mr. Carter Joseph Mrs. Peggy McDowell 58
Mr. Howard W. Hunter Mr. William C. Hyde Ms. Mary B. James Mr. Alfred Kennedy, Jr. Mr. George Levert Ms. Kelly Lyemance Mr. James B. Miller Mr. Mike E. Paulhus Mr. William E. Pennington Mr. James D. Powell Mr. Herbert J. Rosenberg Mr. Charles Sharbaugh Mr. Timothy E. Sheehan Mr. G. Kimbrough Taylor, Jr. Mrs. Loraine Williams Mr. Robert G. Woodward Mr. Allen W. Yee
Mr. Harmon “Sandy” B. Miller, III Mr. Bruce A. Roth Mr. J. Barry Schrenk Mr. Mark K. Taylor Mr. Thomas R. Williams Mrs. Jane S. Willson Mrs. Bunny Winter
Shop. Shop Opera is back. Visit us in the lobby.
STAff execuTive Tomer Zvulun CEO, GENERAL & ARTISTIC DIRECTOR Dave Paule CHIEF REVENUE OFFICER Paul Deckard CHIEF FINANCIAL OFFICER
ArTiSTic & producTion Arthur Fagen CARL & SALLY GABLE MUSIC DIRECTOR Shawn Rieschl Johnson SENIOR DIRECTOR OF PRODUCTION Walter Huff CHORUS MASTER Wade Thomas EDUCATION MANAGER Lauren Bailey ARTISTIC ADMINISTRATOR Rolando Salazar MUSIC ADMINISTRATOR Bethany Windham ARTISTIC/PRODUCTION INTERN Joanna Schmink COSTUMES COORDINATOR Susan Handler COSTUME SHOP FOREMAN Ken McNeil* WARDROBE SUPERVISOR Amy Fortenberry Jackson FIRST HAND Mary Torres FIRST HAND Sarah Wellons STITCHER Cathriene Lindke STITCHER Emory Ann Childers STITCHER Mo G. Guiberteau TECHNICAL DIRECTOR Hank Collins* HEAD CARPENTER Deon Williams* DECK CARPENTER Kendrick Roberts* HEAD FLYMAN Katie Dornemann* HEAD ELECTRICIAN Marie Dunn* SPOTLIGHT OPERATOR Phil Hutcheson* SPOTLIGHT OPERATOR Nicholas Greiver* SPOTLIGHT OPERATOR Teddy Murray* HEAD AUDIO Harvey Mills* ASSISTANT AUDIO Ryan Kilcourse* AUDIO ENGINEER Roman Peoples* PROP MASTER Arlene Collins* LEAD PROPS Eddy Allgood* ASSISTANT PROPS Jay Holloway* SUPERTITLE OPERATOR 60
*denotes members of the International Alliance of Theatrical Stage Employees
STAff finAnce & AdminiSTrATion Inga V. Murro CONTROLLER Allie Beckett ExECUTIVE ASSISTANT & VOLUNTEER COORDINATOR
developmenT Sarah Zabinski DIRECTOR OF DEVELOPMENT Rae Weimer ASSOCIATE DIRECTOR OF DEVELOPMENT Greg Carraway FOUNDATION & GRANTS MANAGER Caroline Rendini ANNUAL FUND MANAGER Brandon Gardner EVENTS MANAGER Rachel Jorgensen DATABASE SYSTEMS MANAGER
mArKeTing & communicATionS Scott Hazleton DIRECTOR OF MARKETING & COMMUNICATIONS Matt Burkhalter CREATIVE SERVICES MANAGER Renee Smiley PATRON SERVICES MANAGER Rebecca Danis PATRON SERVICES ASSOCIATE Vince Bui MARKETING INTERN
cobb energy cenTre Richard A. Stevens HOUSE MANAGER Ben Tilley TECHNICAL DIRECTOR Jessica Coale PRODUCTION MANAGER Michael Wolmer HEAD ELECTRICIAN Jon Summers HEAD AUDIO ENGINEER Mark Newman HEAD CARPENTER
The Atlanta Opera 1575 Northside Drive N.W., Suite 350 | Atlanta, GA 30318 404-881-8801 | atlantaopera.org 61
houSe policieS conceSSionS
Concession stands are located in the center of the lobbies on all three levels. Food and beverage items are prohibited inside the 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 $6 per car. Valet service is available for $10. Please be sure to allow enough time for travel to the theater and parking as there is no late seating.
There is one Bank of North Georgia ATM located in the grand lobby.
Coat check is available at the concierge desk.
emergency informATion In the event of an emergency, please locate the nearest usher who will direct you to the appropriate exit.
Elevators are located on each side of the lobbies on all levels.
loST And found
Lost and Found items are turned into the concierge desk on the day of a performance. To inquire about a lost item, please call the House Manager at 770-916-2828.
Smoking is prohibited inside the building. 62
Persons requiring access assistance are asked to contact the box office at 770-916-2850 for advance arrangements. Audio-clarification devices are available to our hearing-impaired guests at no charge. This is on a first-come, first-served basis, or you may call the House Manager ahead of time to reserve one at 770-916-2828. A limited number of booster seats are also available. All items require a form of identification to be held until the item is returned.
cobb energy cenTre ruleS & reQueSTS
• All patrons, regardless of age, must have a ticket in order to be admitted to the performance. Please be aware that not all performances are suitable for children. • Infants will not be admitted to adult programs. Parents will be asked to remove children who create a disturbance. • There is no late seating allowed. Closedcircuit monitors are provided in the lobby as a courtesy to latecomers. • Please turn off all 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.
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Introducing the new Cancer Center at WellStar Kennestone Hospital. Redesigned inside and out to ensure our vision of world-class cancer care is experienced by both patients and families. By changing patient flow, adding new services and enhancing the overall care experienced, a new focus on Mind/Body/Spirit has arrived. With recognition by Becker’s Hospital Review’s “100 Hospitals and Health Systems with Great Oncology Programs,” our redeveloped cancer program offers: •
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Nationally recognized STAT clinics for lung and prostate cancer.
Nurse Navigators for patients and families
Clinical psychologist for emotional needs
Integrative treatment including acupuncture
Patient and Family Advisory Board
For more information, call 1-877-366-6032.
w e l l s t a r. o r g