The Atlanta Opera: Rigoletto, November 2023

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

Rigoletto Giuseppe Verdi composer Francesco Maria Piave librettist November 4, 7, 10, 12, 2023 Cobb Energy Performing Arts Centre

R I G O L E T TO

W E LCO M E Letter From Tomer Zvulun, Carl W. Knobloch, Jr. General & Artistic Director . . . . . .

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S P O N S O R S & C R E D I T S Sponsors. . . . . . . . . . . . . . . . .

Credits. . . . . . . . . . . . . . . . . .

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F E AT U R E S Synopsis. . . . . . . . . . . . . . . . .

Production Note. . . . . . . . . . . . .

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P age 12

Written by Julia Brown Simmons

Director’s Note. . . . . . . . . . . . . 16 Written by Tomer Zvulun

B E H I N D T H E C U R TA I N Cast & Creative. . . . . . . . . . . . . 18 The Glynn Studio Artists. . . . . . . . 31 The Atlanta Opera Chorus. . . . . . . 32 The Atlanta Opera Orchestra. . . . . 33 C O M M U N I T Y & S U P P O R T Community Engagement. . . . . . . . 34 Donor Profile: J Barry Schrenk. . . . . 36 Director’s Circle. . . . . . . . . . . . . 37 Annual Giving. . . . . . . . . . . . . . 37 Corporate Partners/ Foundations & Government Support .. . 40 Barbara D. Stewart Legacy Society. . . 41 Tributes & Memorials .. . . . . . . . . . 41 L E A D E R S H I P Board of Directors. . . . . . . . . . . 42 Executive Committee/Advisory Council.. 43 Staff. . . . . . . . . . . . . . . . . . . . 44

P age 34

4 | welcome The two composers who open and close our mainstage season, Giuseppe Verdi and Richard Wagner, were not only born in the same year (1813) but changed music forever.

They had much in common despite their vast cultural and stylistic differences. I am drawn to their works because each composer explored complex emotions relating to the human condition. Their most unforgettable scenes explore family dynamics and are most poignant when they display the relationships between parents and their children.

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

Their works on our season both focus on a father and his daughter—Rigoletto and Gilda in Verdi’s Rigoletto and Wotan and Brunnhilde in Die Walküre. The relationship between the hunchbacked jester and his beloved daughter Gilda in Rigoletto is portrayed as loving and protective, with the father imprisoning his daughter to shield her from the corrupt and dangerous outside world. The conflict and tenderness between father and daughter repeats in our season closer Die Walküre, where Wotan, a flawed parent, literally traps his disobedient daughter Brunnhilde with a ring of fire, to protect her from the outside world.

We are all defined by our relationships. Our connection to our parents, our siblings, our children. This is where opera encapsulates human experience and transcends time and place. Today, as in the 19th century in Italy, Germany, or Atlanta, children rebel against their parents and parents try to protect their child. Not much has changed when it comes to the human heart. That’s why stories, theatre, and particularly opera, are so powerful. Forever.

Our 44th mainstage season is my favorite season to date.

Our Verdi masterpiece features the Atlanta debut of one of the leading singers of our time—George Gagnidze, in a role he sang all over the world. As our company grows, we can attract the most exciting artists working today. In addition to Gagnidze, we welcome a rising star to our podium as Roberto Kalb makes his Atlanta Opera debut. And take note of Won Whi Choi as he makes his first appearance with us. We welcome back Jasmine Habersham, a Georgia native and a former company player—her most recent appearance as Cleopatra in Julius Ceasar.

One of my favorite quotes during the pandemic years was, “Crisis doesn’t build character, it reveals it.” Atlanta’s character has been revealed, and has embraced its opera company in an unprecedented way during my decadelong tenure here. That support has allowed YOUR opera company to be a shining outlier in a world where most performing arts companies are shrinking and disappearing.

Thank you to each and every one of you for giving us this support. We are stronger for it. Atlanta is stronger for it.

6 | sponsors THE 2023-24 SEASON

Official Beverage of The Atlanta Opera

VETERANS TICKET PROGRAM

THIS PRODUCTION OF VERDI’S RIGOLETTO IS SPONSORED BY Harold Brody & Donald Smith

THE 2023-24 DISCOVERIES SERIES The Molly Blank Fund of the Arthur M. Blank Family Foundation

WITH SIGNIFICANT SUPPORT FROM The Livingston Foundation

THE ATLANTA OPERA IS GRATEFUL FOR PUBLIC SUPPORT FROM

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

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credits

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RIGOLETTO An Opera in Three Acts COMPOSER Giuseppe Verdi LIBRETTIST Francesco Maria Piave BASED ON Le Roi s’amuse (The King Amuses Himself) by Victor Hugo FIRST PERFORMANCE March 11, 1851, at Gran Teatro La Fenice in Venice, Italy CONDUCTOR Roberto Kalb STAGE DIRECTOR/PRODUCER Tomer Zvulun SCENIC DESIGNER Erhard Rom LIGHTING DESIGNER Thomas Hase COSTUME DESIGNER Jessica Jahn WIG & MAKEUP DESIGNER Melanie Steele CHOREOGRAPHER Ricardo Aponte FILMED MEDIA Felipe Barral, Amanda Sachtleben CAST (IN ORDER OF VOCAL APPEARANCE) DUKE OF MANTUA Won Whi Choi MATTEO BORSA Kameron Lopreore* COUNTESS CEPRANO/PAGE Amanda Sheriff* RIGOLETTO George Gagnidze MARULLO Connor McDonald COUNT CEPRANO Jason Zacher*

COUNT MONTERONE David Crawford SPARAFUCILE Patrick Guetti GILDA Jasmine Habersham GIOVANNA Aubrey Odle* USHER C. Augustus Godbee MADDELENA Olivia Vote

DANCERS Leticia Chavez, Ayana DuBose, Naomi Green, Bailey Jo Harbaugh, Jenna Jackson, Gwynn Wolford CLOWNS Matt Baum, Meredith Gordon, James Maltman SUPERNUMERARIES Anthony Madore, David van Mersbergen, Angelo Villardi, Spiro Winset ASSISTANT CONDUCTOR/CHORUSMASTER Rolando Salazar ASSISTANT DIRECTOR Gregory Luis Boyle ASSISTANT LIGHTING DESIGNER John Frautschy ASSISTANT COSTUME DESIGNER Jessica Crawford MUSICAL PREPARATION Elena Kholodova PROJECTED TITLES Brendan Callahan-Fitzgerald STAGE MANAGER Carson Gilmore ASSISTANT STAGE MANAGERS Kyle Chassells, Caitlin Denney-Turner Performed in Italian with English supertitles. | Approximate running time: three hours, including one 25-minute and one 20-minute intermission.

English Captions by Scott F. Heumann.

The supertitles used in this production are owned by Houston Grand Opera: Khori Dastoor, General Director & CEO. Rigoletto is a Co-Production of The Atlanta Opera, Houston Grand Opera, and The Dallas Opera. Scenery originally created for Wolf Trap Opera.

The purchase of equipment for The Atlanta Opera is supported by a gift from Eva & Robert Ratonyi. *Member of The Atlanta Opera Glynn Studio. Sponsored in name this season by a gift from Beth & Gary Glynn, The Glynn Studio Artists also receive significant support from the Donald & Marilyn Keough Foundation, John & YeeWan Stevens, and Jerry & Dulcy Rosenberg.

Synopsis BASED ON SOURCE MATERIAL FROM

Houston Grand Opera

The Atlanta Opera’s 2015 production of Rigoletto with Todd Thomas in the title role and Nadine Sierra as Gilda.

JEFF ROFFMAN / THE ATLANTA OPERA ARCHIVES

10 | synopsis

ACT ONE At the ducal court of Mantua, a ball is in progress. The licentious Duke of Mantua openly pursues Countess Ceprano, much to her husband’s mortification. Further humiliated by the duke’s jester, Rigoletto, the furious Count Ceprano enlists the help of the courtiers to exact revenge upon Rigoletto since he has no recourse against the powerful Duke. The courtiers need no encouragement for Rigoletto has many enemies. Because Rigoletto has been seen secretly visiting a young woman, his enemies see an opportunity for reprisal. The venerable Count Monterone arrives, angrily insulting the Duke for seducing his daughter. Rigoletto, who hates all the nobles, mocks his righteous anger, and Monterone, as he is dragged off to execution, turns on him, and curses Rigoletto for his role in supporting the Duke’s immorality.

Later that night (and throughout the opera), Rigoletto agonizes over the curse and tries to avoid its power. The assassin Sparafucile approaches him, cynically offering to rid the tormented jester of his enemy and employer, the Duke. Unnerved, Rigoletto turns down the offer and sends Sparafucile away.

Rigoletto returns home and it’s revealed that the young woman he is “secretly visiting” is his daughter Gilda, who he keeps hidden from the world, only allowing her out to attend church. She does not know about her father’s position in the court and doesn’t even know his name.

The spying Duke overhears their conversation and is surprised to learn that this girl, who he admired in church and followed home, is his own jester’s daughter. As soon

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as Rigoletto leaves, the Duke­­—posing as a poor student named Gualtier Maldè—charms Gilda. Their meeting is cut short by noises from the street. Fearing her father’s return, Gilda sends the Duke away. She sings dreamily of her student lover while the courtiers gather outside to abduct the woman they presume to be Rigoletto’s mistress. When Rigoletto returns, the courtiers lead him to believe they are abducting Countess Ceprano and ask for his help. The jester learns too late that he has helped to kidnap his own daughter. He blames Monterone’s curse.

INTERMISSION ACT TWO At the palace, the Duke laments Gilda’s sudden disappearance until the courtiers bring news that they have abducted Rigoletto’s mistress for his pleasure.

Elated to find it is Gilda, the Duke cannot wait to reveal his true identity to her. Rigoletto enters, searching for his daughter, only to learn that she is with the Duke in his chambers. He demands, entreats, and finally begs the courtiers to have pity. A disheveled Gilda suddenly appears and rushes into her father’s arms. Rigoletto is furious and refuses her pleas to forgive the Duke. In a scene of utmost irony, unaware of the impact of his curse, Monterone is brought in under guard on his way to execution, bemoaning the ineffectiveness of his curse, and Rigoletto swears to avenge the old man and his own daughter, while Gilda pleads for mercy on her lover.

INTERMISSION ACT THREE On a stormy night, Rigoletto drags Gilda to a remote inn owned by the assassin Sparafucile. He forces her to watch as the Duke seduces Sparafucile’s sister Maddalena. At the same time, Rigoletto tries to comfort the heartbroken Gilda and sends her away. He then hires Sparafucile to kill the Duke. Maddalena intercedes and begs her brother to spare him. Sparafucile agrees, provided another victim can be found so he can earn the fee. Gilda hears the plan and decides to sacrifice herself to save the Duke. She is attacked, stuffed into a bag, and handed off to Rigoletto. He discovers the betrayal when he hears the Duke singing in the distance. Tearing open the sack, he finds his daughter who sings her farewell with her dying breath. When she is silent, the distraught Rigoletto raises his fist to the heavens and cries out “Ah! la maledizione!” Monterone’s curse of vengeance has led to death of an innocent even as it punished the guilty.

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12 | productionnote

Notes on the Program WRITTEN BY

LYNN LANE / HOUSTON GRAND OPERA

Mark Ketterson

Rigoletto pleads for Gilda’s safe return.

In November of 1832, an excited Parisian audience gathered at the Théâtre-Français for the premiere of a new piece by the brilliant playwright Victor Hugo, entitled Le Roi s’amuse (The King Amuses Himself). Hugo’s drama relates a gripping tale of the tortured hunchback Triboulet, jester to King Francis I, who is driven mad upon the discovery of the rape of his daughter Blanche by his libertine master. Accounts of the evening are all over the map and remain controversial; for when the company arrived for the second presentation, they found a posted notice prohibiting further performances, as the French censors had detected unflattering allusions to King Louis-Philippe. Hugo filed a lawsuit, and though his battle was unsuccessful it won him an estimable reputation as a proponent of free speech.

Little could Hugo have realized that his theatrical failure would inspire one of the greatest of operatic masterpieces, Giuseppe Verdi’s Rigoletto—a creation that not only proved to be a milestone in Verdi’s compositional arc but signaled an important change in the course of Italian opera.

Rigoletto appeared in 1851, a period that found the operatic art form poised between the cumulative traditions of bel canto—“beautiful singing” achieved

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14 | productionnote through the long-established structures of the Italian ottocènto form—and rumblings of the future schools of verismo and sophisticated music drama. Verdi had already won recognition as Italian opera’s heir apparent, and while his earlier “galley years” compositions, as he called them, are thrilling, one senses in them an artist still reaching to find his own unique voice. What that voice was to be assertively evidenced itself with the creation of three middle-period masterpieces: first Rigoletto, then Il trovatore, and La traviata, which find him evolving beyond received convention towards a goal of musical/ dramatic consolidation.

It is unclear when Verdi first encountered Hugo’s play, but it is mentioned in his records as early as 1844. That same year, Verdi and his preferred librettist Francesco Maria Piave had scored a notable success at the Teatro La Fenice in Venice with Ernani, based on another Hugo vehicle. Thus, when La Fenice tendered a contract in 1850 for a new opera, the prospect of capitalizing on that former accomplishment seemed an act of fate.

Le Roi’s treatise of political power run amok naturally appealed to Verdi, a passionate Italian patriot.

In addition, throughout his career the composer demonstrated a particular empathy for characters who functioned outside the center of accepted society. In Hugo’s Triboulet, Verdi discerned an opportunity to present a character unlike anything heretofore seen on the operatic stage. He urged Piave to “Find someone of influence to get us permission to do Le Roi s’amuse. Don’t go to sleep, give yourself a good shake, do it at once.”

Verdi’s urgency no doubt centered on his fear that the Italian censors would prohibit the subject matter, and indeed the proposal was initially disallowed. In the end, a member of the Director of the Ordine Pubblico tactfully suggested that if the locale and names in Hugo’s play were changed (and the king demoted to a less important position) the project just might slip through. Thus, the King of France became a minor duke of Mantua, Blanche was renamed Gilda, and Triboulet—and the title of the opera itself—became Rigoletto.

Rigoletto’s 1851 premiere was a smash hit. Italian opera had rarely achieved such an effective conflation of glorious sound and dramatic truth. The piece is largely grounded by two musical forces; a series of father/ daughter duets which form the effective heartbeat of the opera, and a repeated motif representing Monterone’s

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15 foreboding curse. In a very few places, one finds Verdi slipping into convention. The “stealth chorus” underscoring Gilda’s abduction is a device the composer had previously employed in Macbeth and would hereafter abandon. All else focuses on opera’s future.

One need only compare Rigoletto with Verdi’s earlier Hugo-inspired effort Ernani to appreciate the composer’s extraordinary growth. While the earlier opera, for all its beauty, presents us with stereotypical characters of unidirectional motivation, Rigoletto fields an amazingly complex level of emotional portraiture.

Here we have a protagonist who is neither hero nor villain, a man equally driven by vengeance and paternal affection. The Duke is perhaps more conventional yet is capable of both ineffable charm and the most callous indifference. Gilda is perhaps the most interesting of all; she is naïve and makes poor choices—but she is also the ethical center of the narrative and the only character with a consolidated moral compass. Her demise is a “principled death” (something she shares with another Hugo-inspired character, Les Misérables’ Jean Valjean). When viewed through that lens, her fate emerges as the willful destruction of morality itself by the surrounding social/political system.

Verdi was fiercely proud of Rigoletto, in his later correspondence often calling it “my best opera.”

Rigoletto’s characters might best be viewed as archetypes. If Gilda can be seen as the embodiment of innocence, morality, and social order, and the Duke as a representation of corruptive power in the ruling class, Rigoletto himself demonstrates the impotent and dangerous rage of the disenfranchised common man. These are universal dynamics of humanity that transcend specific time, or place. Victor Hugo set his drama in 15th century France; Verdi, his adaptation in Renaissance Verona. Tomer Zvulun and designer Erhard Rom have brought the action forward to the equally oppressive world of fascist Italy in the early 20th century.

Verdi was fiercely proud of Rigoletto, in his later correspondence often calling it “my best opera.” For over 170 years, Rigoletto has held a prominent place among the most beloved operas ever composed, and with it an important corner was turned in the development of the lyric theatre. Italian opera would never be the same.

16 | director’snote

Director’s Note WRITTEN BY

OREL COHEN

Tomer Zvulun

“There is no terror in the bang, only in the anticipation of it.”

— Alfred Hitchcock Rigoletto is the ultimate suspense story. It is very clear from the first few notes of the opera that we are headed toward a Hitchcockian Bang. The brilliance of Giuseppe Verdi’s musical score is the way we get there.

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Verdi’s iconic jester character, Rigoletto, is doomed from the very first scene to a cursed fate. From the moment he is fervently cursed by a furious father, his mental and physical state deteriorate in front of us. Our production highlights his decline. Particularly the psychological one.

Erhard Rom’s stark, monumental sets throw us back to fascist Italy of the 1920s and 1930s. It’s a violent, desperate world where privilege and class sharply divide society and sometimes trap the innocents.

German painters Otto Dix and George Grosz and their cinematic successors Fellini and Buñuel have inspired our production. Their work presents us with the abstraction, vulgarity and surrealism that are essential to our story.

Rigoletto is a tale about identity, parenthood, coming of age, and the masks that human beings put on as they try to fit in society. This idea of masks, both literally and figuratively, is present throughout the work.

Rigoletto, Sparafucile and Maddalena represent characters on the fringe of society—carnies, clowns, fortune tellers. The Duke and his cronies represent unlimited power, laced with crime and violence. Gilda, a fragile girl who turns into a woman in front of our eyes, is straddling these worlds and eventually gets lost in them.

A surreal, at times grotesque world, allows us to penetrate deeper into the tormented psyche of these characters.

Rigoletto is not a misogynistic piece. It is a piece about the misogyny and inequality that have been prevalent through history and still permeate today despite seismic changes in our Western culture.

Corruption goes unpunished and is often rewarded; parents make irreversible mistakes despite best intentions; social pressures can lead even the best of us to fall into cynicism and despair; and bad things happen to good people.

Here, you’ll find an allegory, a mirror of the best and worst of humanity shaped (ironically) with unrivaled beauty in music and brilliant theatrical structure.

Rigoletto was created 172 years ago as a protest against corruption and the effects of that corruption on the innocent. And it’s a story we hear in the daily news even now.

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18 | cast&creative Mexican-born conductor Roberto Kalb makes multiple debuts in the 2022-23 season, including with the San Francisco Opera, Compañía Nacional de Ópera at the Palacio de Bellas Artes in Mexico City, and the San Diego Opera. The 2021-2022 season marked a debut with the Opéra Orchestre National Montpellier, as well as return collaborations with Detroit Opera for Yuval Sharon’s production of La bohème, Wolf Trap Opera and the National Symphony Orchestra for La traviata, and Opera Theatre of Saint Louis, for the world premiere of Tobias Picker’s Awakenings. In 2019, Kalb concluded his fiveROBERTO KALB season tenure as resident conductor and head of music at Opera Theatre of Saint Louis with a critically acclaimed CONDUCTOR run of Rigoletto in collaboration with the Saint Louis ATLANTA OPERA DEBUT Symphony Orchestra, which Opera News lauded: “The orchestra sounded sublime under the baton of Roberto Kalb, whose buoyant conducting simultaneously led and followed the singers.” Additional highlights include productions at the Michigan Opera Theatre, Florida Grand Opera, Tulsa Opera, Kentucky Opera, Opera Maine, as well as performances with the Orquesta Carlos Chavez in Mexico City, and the Orquestra Sinfonica da USP in São Paulo. Previously, Kalb also worked as cover/assistant conductor for the Detroit Symphony Orchestra, and the Canadian Opera Company in Toronto. Kalb is one of the recipients of the 2021 Solti Foundation U.S. Career Assistance Awards.

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 TOMER ZVULUN such as The Juilliard School, Indiana University, Boston University, and IVAI in Tel Aviv. Since becoming General STAGE DIRECTOR and Artistic Director in Atlanta a decade ago, he has & PRODUCER increased the operations of the company from three to ATLANTA OPERA DEBUT six productions per season, while stabilizing the financials.

THE FLYING DUTCHMAN, Some of his noted achievements include launching the 2009 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.

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20 | cast&creative Erhard Rom (Set & Projection Designer from Seattle, Washington) has designed settings for more than 200 productions around the globe. Most recently, he participated in the team that created the Tomer Zvulun production of Das Rheingold (2023). In 2015, he was named as a finalist in the designer of the year category for the International Opera Awards in London. His designs have frequently been featured in the Prague Quadrennial International Design exhibition. He has collaborated with many of the world’s leading directors, working for major companies including: San Francisco Opera (The Marriage ERHARD ROM of Figaro, Susannah, Lucia di Lammermoor, Nixon in China), Seattle Opera (Semele, Eugene Onegin, La bohéme), SCENIC & PROJECTIONS Washington National Opera (Don Giovanni, Samson and DESIGNER Delilah, Silent Night), Wexford Festival (Silent Night), ATLANTA OPERA DEBUT Houston Grand Opera (Rigoletto), Vancouver Opera (Dead LUCIA DI LAMMERMOOR, Man Walking, Otello), Glimmerglass Festival (A Blizzard on 2011 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), and Utah Opera (Moby Dick). Other companies include Boston Lyric Opera, Opéra de Montréal, Atlanta Opera, and Wolf Trap, among many others. His 2014 design of the European premiere of Silent Night for the Wexford Festival received two accolades from the 2015 Irish Times Theatre Awards including “audience choice” and “best opera production of 2014.”

Mr. Hase is excited to be back at The Atlanta Opera. His body of design work includes many of the regional opera companies in the United States including: The Santa Fe Opera, Washington National Opera at The Kennedy Center, LA Opera, Houston Grand Opera, Seattle Opera, Boston Lyric Opera, Florida Grand Opera, Philadelphia Opera, Dallas Opera, and San Diego Opera. His designs have also been featured at many of the regional theaters throughout the United States including: Chicago Shakespeare Theatre, Milwaukee Repertory Theatre, Indiana Repertory Theatre, The Dallas Theater Center, Cincinnati Playhouse in the Park, THOMAS HASE and the Alliance Theater. In New York his work has been seen both on Broadway with Company (Tony Award Best LIGHTING DESIGNER Revival), Off-Broadway, as well as designs at New York ATLANTA OPERA DEBUT City Opera, and BAM Next Wave Festival. Mr. Hase has ROMEO AND JULIET, 2016 designed extensively in Europe, Asia, and South America including: The Vienna State Opera; Bayerische Staatsoper; Staatstheater Kassel; Deutsche Oper am Rhein; Theater Erfurt; Stadttheater Giessen; The Barbican and Sadler’s Wells in London; Opera North in the UK; The Abbey Theatre and also for Riverdance in Dublin; The Gran Teatre de Liceu opera in Barcelona; Malmö Opera in Sweden; Dutch National Opera, Finnish National Opera, and Columbian National Opera; Nationale Reisopera and Disney’s European partner Stage Holdings/Stage Entertainment in Holland; The Helikon Opera in Moscow; Opéra National de Bordeaux;, Opéra de Marseille; Canadian Opera Company; The Luminato Festival in Toronto; Singapore Arts Festival, and Tokyo Metro Arts Center. Many projects have been recorded for broadcast and distribution including Company on Broadway, Rise and Fall of the City of Mahagonny in L.A. and Der Freischütz in Vienna amongst many others. Mr. Hase has been the head of lighting design for Cincinnati Opera Association for 28 years. More information about him is available at Haseltd.com.

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22 | cast&creative A graduate of Rutgers University, with degrees in both Dance and Psychology, Jessica Jahn danced professionally in NYC before beginning a career in costume design.

Known for her work in the traditional repertoire, she is also dedicated to innovative work within her field. Jessica collaborated on one of the earliest performances of Tarell Alvin McCraney’s In The Red And Brown Water, directed

by Tina Landau. She designed Blue, written by Tazewell Thompson and composed by Jeanine Tesori, winner of the MCANA Award for Best New Opera, and worked with Jessica Blank, Eric Jensen, and Steve Earle on The Public’s JESSICA JAHN premiere of Coal Country, as well as with Sandra Seaton and Denyce Graves on The Passion Of Mary Cardwell Dawson COSTUME DESIGNER at Glimmerglass Festival. She was awarded both the Lucille ATLANTA OPERA DEBUT Lortel and Drama Desk for her design of Charles Busch’s The Confession Of Lily Dare. Currently, she is a member of the steering committees of Opera America’s Women’s Opera Network (WON), Racial Justice Opera Network (RJON), serves on the Opera America Board’s Membership Committee, and was the inaugural chair to the Equity, Diversity and Inclusion (EDI) committee at the Glimmerglass Festival, as well as the lead coordinator for their equity initiatives. She finds particular enthusiasm for her work with Turn the Spotlight, The Open Stage Project and Children of Promise NYC, organizations that provide mentorships and empower young people. Jahn has taught at both NYU and Rutgers University, and is an Adjunct Costume Design Professor with Brandeis University’s Theater Arts Department. She is currently working toward her masters degree in Cultural Anthropology at Hunter College in NYC.

MELANIE STEELE WIG & MAKEUP DESIGNER

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

ATLANTA OPERA DEBUT THE GOLDEN TICKET, 2011

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RICARDO APONTE CHOREOGRAPHER ATLANTA OPERA DEBUT FRIDA, 2019

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Stage director and choreographer Ricardo Aponte has directed over 15 musicals and choreographed over 30 musicals, operas, and industrial shows nationwide.

Ricardo is originally from Venezuela and resides in Atlanta, where he has become one of the most in-demand creators, recognized with three Suzi Bass Awards and ten nominations. Recent work with the The Atlanta Opera as choreographer: Candide, Cabaret, The (R)evolution of Steve Jobs, The Threepenny Carmen, and Frida. Director: Oodles of Doodles (Alliance Theatre), Cinderella (Aurora Theatre), Luisa Fernanda (Florentine Opera) Spring Awakening (Jennie T. Anderson). He’s also the founder and artistic director of Theatre Platform Project, an educational nonprofit, providing performing arts programs to diverse communities in Atlanta.

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

24 | cast&creative Maestro Rolando Salazar has a truly expansive operatic and symphonic repertoire, including over forty productions with The Atlanta Opera as conductor, assistant conductor, and chorusmaster. He recently made his Opera Columbus debut in 2023 conducting Astor Piazzolla’s Maria de Buenos Aires, which he also assisted with at The Atlanta Opera. Conducting credits with The Atlanta Opera include Pagliacci, The Barber of Seville (MainStage debut), Kurt Weill’s The Seven Deadly Sins, and student matinees of La bohème and Don Pasquale.

Maestro Salazar has also been featured as pianist in ROLANDO SALAZAR Love Letters to Atlanta, performing alongside singers Morris Robinson, Jamie Barton, Ryan McKinny, and ASSISTANT CONDUCTOR/ Kevin Burdette. Recent conducting credits include Die CHORUSMASTER Zauberflöte with Atlanta’s Harrower Summer Opera, Ned ATLANTA OPERA DEBUT Rorem’s Our Town with Georgia State University School of LA TRAVIATA, 2013 Music, Handel’s Messiah with the Atlanta Concert Opera, Le Nozze di Figaro with Red River Lyric Opera, Tosca with Permian Basin Opera, and other guest conducting engagements with the Georgia State University Symphony Orchestra, The Atlanta Ballet, Rome Symphony Orchestra, Johns Creek Symphony Orchestra, as well as collaborations with Opera Louisiane, Madison Opera, and the Atlanta Symphony Orchestra. Rolando has served as Associate Conductor and Chorusmaster for The Atlanta Opera, where he has studied and worked alongside his mentors Arthur Fagen and Walter Huff, in addition to a long and distinguished list of conductors and directors. He keeps an active coaching and collaborative piano schedule in Atlanta, preparing numerous singers for major engagements with orchestras and opera houses worldwide. Rolando is represented by Marvel Arts Management.

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Won Whi Choi has been busy captivating and thrilling audiences worldwide with his lustrous and ringing voice, elegant musicianship, and sensitive artistry. In 2020, Mr. Choi made his Metropolitan Opera début as Alfredo in La traviata to rave reviews. This season, Mr. Choi joins The Metropolitan Opera again, for both Rigoletto and Fedora, as well as the Seoul Metropolitan Opera’s Romeo and Juliet as Romeo.

Choi will also return to the role of Alfredo in La Traviata for Virginia Opera. Last season’s engagements included The Metropolitan Opera’s La bohème, the Duke in Rigoletto for New York City Opera, the title role in Les Contes d’Hoffmann WON WHI CHOI for Opera Tampa, and Don Jose in Carmen for Minnesota Opera. Recent seasons’ engagements also include the role DUKE OF MANTUA of Don Jose in Carmen for both Croatia National Theater ATLANTA OPERA DEBUT and Domstufen Festival in Germany; Prince Sou-Chong in Das Land des Lächelns in a début with Hong Kong Opera and with Theater Erfurt; Edgardo in Lucia di Lammermoor with Opera in Williamsburg; Chevalier in Dialogues des Carmélites with Mannes Opera Theatre; Alfredo in La traviata for Williamsburg Opera, Nashville Opera, Mannes Opera Theatre, and Opera på Skäret in Sweden; the title role in Les contes d’Hoffmann with the Martina Arroyo Foundation; and Il Duca in Rigoletto at Opera Idaho, where critics exclaimed: “Choi made for a strapping and sexy Duke of Mantua, which makes it more believable that women would so willingly fall for his charms, and sacrifice themselves for his life. His soaring tenor easily and fearlessly reached the high Bs in ‘La donna è mobile,’ one of the most known arias in the operatic canon.”

Tenor Kameron Lopreore is thrilled to be returning to The Atlanta Opera as a Glynn Studio artist. This season, he looks forward to performing the roles of Bill Watson and Lloyd in Paul Moravec’s The Shining, Mattea Borsa in Verdi’s Rigoletto, and Lysander in Britten’s A Midsummer Night’s Dream. Recently, he enjoyed participating in The Santa Fe Opera’s prestigious young artist program.

Additionally, he sang Tamino in The Magic Flute and Panatellas in the world premiere of Songbird at The Glimmerglass Festival. He performed the roles of Le Remendado in Bizet’s Carmen and Nemorino in Donizetti’s KAMERON LOPREORE L’elisir d’amore with Pensacola Opera. In November of GLYNN STUDIO ARTIST 2019, and he travelled with The Glimmerglass Festival to perform the role of the Marquis in the culmination of MATTEO BORSA Corigliano’s The Ghosts of Versailles at the Château de ATLANTA OPERA DEBUT Versailles in France. He is a prominently featured artist THE SHINING, 2023 with the Louisiana Philharmonic Orchestra where he regularly performs major works such as Handel’s Messiah, J.S. Bach’s Christmas and Easter Oratorios, and Rossini’s Stabat Mater. He has enjoyed a two year resident artist position with Shreveport Opera where he performed roles such as Tamino in Mozart’s The Magic Flute, Ferrando in Mozart’s Così fan tutte, and Motel the tailor in Fiddler on the Roof. He holds both bachelor’s and master’s degrees in voice from Loyola University New Orleans and he is the recipient of the first Italian American Scholarship Award as well as two Metropolitan Opera National Council district winner awards. In the summer of 2017, he performed in Chautauqua Opera’s studio artist program. Recent roles include E.T.A. Hoffman in Offenbach’s The Tales of Hoffman, Roméo in Gounod’s Roméo et Juliette, Rinuccio in Puccini’s Gianni Schicchi and Candide in Bernstein’s Candide.

26 | cast&creative American soprano Amanda Sheriff is a Young Artist at the Glimmerglass Festival, where she will make debut as Calista in the youth opera The Rip Van Winkles. This spring, Sheriff will make her company and role debut as Musetta (La bohéme) with Opera Bozeman. Earlier this year, Amanda performed as the soprano soloist in Carmina Burana and Brahms Requiem and was a grant winner in the Gerda Lissner Competition. In 2022, Sheriff was awarded first prize in the highly esteemed Lotte Lenya Competition and returned to Opera Delaware, where she performed Despina (Così fan tutte) and also rejoined Opera Baltimore as Miss Jessel AMANDA SHERIFF (Turn of the Screw). During 2021, Amanda joined Des Moines GLYNN STUDIO ARTIST Metro Opera as an Apprentice Artist and made her debut as Miss Lightfoot (Fellow Travelers), and covered Clarine and COUNTESS CEPRANO/ L’amour (Platée). Prior to that, Amanda was a Studio Artist PAGE at Florida Grand Opera, and performed the roles of Beatrice ATLANTA OPERA DEBUT (Three Decembers), 1st Trio member (Trouble in Tahiti) Célie (Signor Deluso), and Babs (New York Stories). Amanda also made her debuts with Opera Delaware in the role of Norina (Don Pasquale) and Monica (The Medium) with Opera Baltimore. Sheriff was a Young Artist at Seagle Music Festival in 2019 and performed Susanna (Le Nozze di Figaro). Amanda Sheriff holds a bachelor of music and master of music from Stephen F. Austin State University.

Lauded by The New York Times for his “expressive, resonant baritone,” “insightful phrasing” and “confident, imposing presence,” George Gagnidze ranks among the leading singers of his genre. In the 2008-09 season, he made his sensational debut at the Metropolitan Opera as Rigoletto and has since then returned in more than 130 performances, also singing roles such as Macbeth, Amonasro (Aida), Scarpia (Tosca), Michele (Il tabarro), Tonio (Pagliacci), Alfio (Cavalleria rusticana) and Shaklovity (Hovanščina).

This season includes Nabucco at the Met in the Fall and in winter, including a Live in HD broadcast, Tosca at the GEORGE GAGNIDZE Las Palmas Opera and Nabucco at the Savonlinna Festival in Finland. Recently, Gagnidze apeared at the Dallas and RIGOLETTO Hamburg Opera as Rigoletto, at the Teatro Real Madrid and ATLANTA OPERA DEBUT the Hamburg Opera as Nabucco, at the Met as Scarpia and Amonasro, at LA Opera as Amonasro, at the Liceu Barcelona as Scarpia, at the Staatsoper Berlin as High Priest in Samson et Dalila, at the Teatro San Carlo of Naples as Macbeth, Scarpia and Gemont in La traviata at the Deutsche Oper Berlin as Germont and in Valencia as Macbeth. Other opera houses and festivals include the Teatro alla Scala, Vienna State Opera, Opéra National of Paris, San Francisco Opera, Washington National Opera, Royal Opera House Covent Garden, Aix-en-Provence, Arena di Verona and the BBC Proms. Born in Tbilisi and trained at the State Conservatory, he debuted as Renato in Un ballo in maschera in 1996 at the Paliashvili State Opera. He entered the “Concorso Voci Verdiane” in 2005 as an award-winner of the “Leyla Gencer Voice Competition” and the “Elena Obraztsova Competition.” The jury, chaired by José Carreras and Katia Ricciarelli, awarded him first prize for his outstanding vocal interpretation. After launching his international career from Germany, he was soon engaged by many of the world’s important opera houses. Gagnidze has worked with conductors including Barenboim, Bychkov, Conlon, Dudamel, Levine, Luisi, Maazel, Mehta, Nézet-Séguin, Noseda, Oren, and Petrenko.

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Baritone Conor McDonald has been lauded by the New York Times as “irresistible” and praised by Opera News for his “warm voice and winning personality.” Known for his affinity for early and contemporary music, engagements for last season included the title role in Monteverdi’s L’Orfeo at OrpheusPDX, and his company début with Madison Opera as Brother and Jazz Trio Baritone in The Seven Deadly Sins and Trouble in Tahiti, as well as Morales in Carmen at Lyric Opera of Kansas City. In recent seasons, Conor joined The Metropolitan Opera as cover of the Major-Domo in Ariadne auf Naxos and sang Dancaïre in Carmen in his Minnesota CONOR MCDONALD Opera début. Additionally, he made his début with Austin Opera as Marullo in Rigoletto, gave a master class and MARULLO recital at Lee University, where he performed art songs ATLANTA OPERA DEBUT

by Mussourgsky, Britten, Poulenc, and Milhaud with fellow Tanglewood alumna Dr. ChoEun Lee, and performed in the workshop of The Halloween Tree with American Lyric Theater. McDonald has performed as Junius in The Rape of Lucretia as a guest artist with CUNY Queens; the Traveler in Curlew River with the Mark Morris Dance Group at Brooklyn Academy of Music; and made several appearances as baritone soloist with New York City Ballet, including Bernstein’s Dybbuk, Stravinsky’s Les Noces, and Brahms’s Liebeslieder Walzer.

Jason Zacher (bass-baritone) is a native of New Jersey and is quickly gaining attention on a national level as a rising new talent and versatile performer. For the 2022-23 season, Zacher joined the acclaimed Barbara and Halsey Sandford Studio Artist Program at Kentucky Opera. While in Kentucky, Zacher was featured in roles such as Colline (La bohème), Alidoro (La Cenerentola), and Henry (The Gift of the Magi). In the summer of 2023, he then joined The Glimmerglass Festival where he covered the roles of Pangloss/Voltaire in Candide, as well as Argante in Rinaldo. In summer 2022, Zacher returned to Des Moines JASON ZACHER Metro Opera, singing the role of Jimmy in the Midwest GLYNN STUDIO ARTIST premiere of American Apollo (Geter/Palmer), as well as covering Bottom and Theseus in Benjamin Britten’s A COUNT CEPRANO Midsummer Night’s Dream. A frequent participant on the ATLANTA OPERA DEBUT competition circuit, he was recently named an NY District Winner for the Metropolitan Opera Laffont Competition. In addition, Jason has earned top accolades from the Jensen Foundation, Annapolis Opera, James Toland Vocal Arts, Rochester Oratorio Society, Opera Birmingham, National Opera Association, among others. Equally at home on the concert stage, Zacher was recently featured as the bass soloist in W.A. Mozart’s Requiem alongside The Masterwork Chorus.

Other notable credits include bass soloist in George Handel’s Messiah, J.S. Bach’s Hercules at the Crossroads (BWV213), Felix Mendelssohn’s St. Paul, W.A. Mozart’s Coronation Mass, Benjamin Britten’s Rejoice in the Lamb, and Ralph Vaughan Williams’ Songs of Travel. He currently holds degrees from both the University of Houston (M.M. Vocal Performance) and Montclair State University (B.M. Music Education).

28 | cast&creative American bass-baritone David Crawford has been hailed as a “standout” by The New York Times and celebrated for his “thunderous bass-baritone” by New York Classical Review. In the 2022-23 season, he returns to Japan to perform with the Seiji Ozawa Music Academy as Schaunard in La bohème, joins The Metropolitan Opera for their production of Dialogues des Carmélites, covers the roles of The Bonze in Madama Butterfly and Alberich in Die Walküre with The Atlanta Opera, sings the role of Blitch in Susannah with Marble City Opera, and appears as the bass soloist in both Handel’s Messiah DAVID CRAWFORD with Nashville Symphony and Mozart’s Requiem with Knoxville Symphony, respectively. In 2023-24, he joins COUNT MONTERONE the Amarillo Symphony to sing as the bass soloist in ATLANTA OPERA DEBUT Beethoven’s Symphony No. 9 and sings with the Knoxville ROMEO AND JULIET, 2016 Symphony as the bass soloist in Verdi’s Requiem. The 2021-22 season saw him as Achilla in Giulio Cesare and Don Basilio in Il barbiere di Siviglia with The Atlanta Opera, Monterone in Rigoletto with Nashville Opera, Zuniga in Carmen with Santa Fe Opera and a return to The Metropolitan Opera for their production of Turandot. Since making his debut with the Metropolitan Opera in 2007 as The Warrior Apparition in Macbeth, Mr. Crawford has taken part in over three hundred performances and covered roles in over two hundred performances with the company. In 2020-21, Mr. Crawford sang an Opera Outdoors concert with Opera Omaha. Due to the pandemic, postponed or cancelled engagements included Il barbiere di Siviglia with The Atlanta Opera, Don Giovanni with Opera Naples, and Les contes d’Hoffmann, and Billy Budd with The Metropolitan Opera.

Named a “standout whose sound was warm and rich”

by Anne Midgette in The Washington Post, bass Patrick Guetti’s 2023-24 season includes his house debut with Houston Grand Opera as Commendatore in Kasper Holten’s production of Don Giovanni, conducted by Dame Jane Glover. Mr. Guetti returns to Deutsche Oper Berlin as a featured ensemble member with roles including Sparafucile, Commendatore, Basilio in Il barbiere di Siviglia, and Sarastro in Die Zauberflöte. Concert work includes his debut with the Boston Symphony Orchestra singing the roles of Sergeant and Sentry, and covering PATRICK GUETTI the Pope, in Lady Macbeth of Mtsensk, marking his debut at both Symphony Hall in Boston and Carnegie Hall in SPARAFUCILE New York. These performances are conducted by music ATLANTA OPERA DEBUT director Andris Nelsons and recorded for release on the Deutsche Grammophon label. The 2022-23 season saw Guetti return to both the Bayerische Staatsoper to sing Osmin in Die Entführung aus dem Serail, and to the Glyndebourne Festival to sing Snug in Peter Hall’s production of A Midsummer Night’s Dream. Mr. Guetti also returned to Deutsche Oper Berlin as a featured ensemble member with roles including the title role in Massenet’s Don Quichotte, Colline in La bohème, Commendatore in Don Giovanni, Basilio in Il barbiere di Siviglia, Sarastro in Die Zauberflöte, Geronte in Manon Lescaut, and Sciarrone in Tosca. Concert apperances included his debut with the Saint Louis Symphony as Brander in La damnation de Faust, conducted by music director Stéphane Denève.

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In the 2022-23 saeason, soprano Jasmine Habersham returns to Minnesota Opera as Sarah Ruth in Edward Tulane, debuts as Sophie in Werther with Houston Grand Opera, brings her celebrated Gilda in Rigoletto to Utah Opera, and makes her role debut as Susanna in Le nozze di Figaro with Madison Opera. On the concert platform, she is featured in the beloved annual Dallas Symphony Christmas Concerts and returns to The Rochester Philharmonic for Brahms’ Ein Duetsches Requiem and the world premiere of Derrick Skye Human Requiem. The 2021-22 season featured many exciting company and role debuts for Habersham. She returned to JASMINE HABERSHAM the Atlanta Opera for her role debut as Cleopatra in Handel’s Julius Caesar, made her company debut with Opera North GILDA (UK) as Gilda in Rigoletto, appeared as The Dew Fairy in ATLANTA OPERA DEBUT Hansel and Gretel with Rochester Philharmonic Orchestra, THE PIRATES OF PENZANCE, returned to Madison Opera for her role debut Euridice in 2016 Orpheus in the Underworld, and joined The Glimmerglass Festival as Mimi in Tenor Overboard and Mary in Holy Ground. In recent seasons, she has performed in Opera in the Park Online with Madison Opera, performed as a Company Player with The Atlanta Opera as The Girl in The Kaiser From Atlantis and Micaëla in The Threepenny Carmen, made her debut with Seattle Opera as Zerlina in Don Giovanni, and sang Nannetta in Falstaff with Berkshire Opera. Other notable recent engagements include Pip in Moby Dick with Opera San Jose and Utah Opera, Katie Jackson in the world premiere of Joel Puckett’s The Fix with Minnesota Opera, Clara in Porgy and Bess with the Baltimore Symphony Orchestra, Adina in L’elisir d’amore with the Phoenicia International Festival of the Voice, Pamina in The Magic Flute with Opera Theatre of St. Louis: Opera on the Go, Papagena in Die Zauberflöte with Cincinnati Opera, Yum-Yum in the The Mikado with Kentucky Opera, Esther in Intimate Apparel with Cincinnati Opera Fusion.

Aubrey Odle (mezzo-soprano) is known for her “warm, plummy” and “luscious” sound and a competitive up-andcoming vocalist. The 2022-23 season featured Aubrey in roles with Lyric Opera of Kansas City, including Flora (La traviata), Mercédès/Carmen cover (Carmen) and Mother (Amahl and the Night Visitors). She also found success in competitions this past year, winning second place in the Opera Birmingham Vocal Competition, as well as second place in the Carolyn Bailey Argento Vocal Competition with the National Opera Association (Marjorie Gordon Award). In the summer of 2023, Odle joined Des Moines Metro Opera, AUBREY ODLE covering Judith in Bluebeard’s Castle, in addition to other GLYNN STUDIO ARTIST performances. In the 2021-22 season, she was first year Resident Artist with the Lyric Opera of Kansas City where GIOVANNA Odle performed Mother in Amahl and the Night Visitors and ATLANTA OPERA DEBUT A Teacher in The (R)evolution of Steve Jobs (Laurene cover).

Other operatic role experience includes La Zia Principessa (Suor Angelica), Zita (Gianni Schicchi), Gertrude (Roméo et Juliette), Dame Quickly (Falstaff), and others. Equally experienced in concert, Odle has performed concert works with the Arkansas Symphony Orchestra, Knoxville Opera, and Utah Valley Symphony. She also has great interest in new opera and has sung leading roles in the U.S. Premiere of Evan Fein’s City of Ashes, as well as the world premiere of Frank Pesci’s Royal Flush. Additionally, she has received accolades from other notable competitions including Saengerbund Awards in Houston, the Orpheus Vocal Competition, and The American Prize competition.

30 | cast&creative Lauded for her “theatrical magnetism,” American mezzosoprano Olivia Vote is continuing to garner success across opera and concert stages. Since joining the roster of the Metropolitan Opera in 2018, Olivia has performed a number of roles, including Neris is Medea, Komponist in Ariadne auf Naxos, Neferneferuaten in the Grammywinning recording of Ahknaten, and Countess Ceprano in Rigoletto. In the 2022-23, she joined the Las Vegas Symphony for an evening of operatic favorites, before returning to the Metropolitan Opera stage as Zweite Dame in a new production of Die Zauberflöte under the OLIVIA VOTE baton of Natalie Stutzmann. Also in the current season, Olivia will be performing with Opera Southwest on a New MADDELENA Years’ Eve Gala, as Dorabella in Così fan tutte with Cedar ATLANTA OPERA DEBUT Rapids Opera, and in a highly anticipated workshop of The THE FLYING DUTCHMAN, Righteous by Gregory Spears and Tracy K. Smith for Santa 2017 Fe Opera. In the 2023-24 season, Olivia will perform the title role of Carmen with Staatstheater Mainz. In previous seasons, Ms. Vote made multiple house debuts including Komponist in Ariadne auf Naxos with Cincinnati Opera, Maddalena in Rigoletto with Florentine Opera and North Carolina Opera, Mary in The Flying Dutchman with The Atlanta Opera in a new production by Tomer Zvulun, Mère Marie in the Dialogues des Carmélites with Sarasota Opera, Adalgisa in Norma with Opera Southwest, and Nicklausse in Les contes d’Hoffmann with Hawaii Opera Theater.

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Glynn Studio Artists Joining The Atlanta Opera are singers Aubrey Odle, Amanda Sheriff, and Jason Zacher. Kameron Lopreore was selected for a second season as a Studio Artist continuing from the 2022-23 season. Joining the vocalists will be stage director Nora Winsler.

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

Throughout the season, these artists will have the opportunity to work with established performers and coaches

to improve their skills in all aspects of their field. Master Vocal Teacher Laura Brooks Rice has been part of the Studio Artist program since 2021 and is an acclaimed performer and voice teacher and acting coach.

An experienced group of coaches and clinicians are engaged in the training and support of the Glynn Studio Artists.

The Atlanta Opera is grateful for the support of the young artist program from Beth and Gary Glynn. Significant support is also provided by the Donald and Marilyn Keough Foundation, John and YeeWan Stevens, and Jerry and Dulcy Rosenberg.

KAMERON LOPREORE tenor

AUBREY ODLE mezzo-soprano

NORA WINSLER stage director

JASON ZACHER bass-baritone

AMANDA SHERIFF soprano

32 | theatlantaoperachorus CHORUS MASTER Rolando Salazar TENOR

BASS

Alexander Adkins

John Alston

Adriel Baralt Jimenez

Ryan Ceciliani

Matthew Boatwright

Maxwell Clements

Austin Cripe

Christopher S. Connelly

Cory Galloway

Raphael Fleuristal

Ethan Godfrey

C. Augustus Godbee

Michael Grant Jones

Kyle Hildebrand

Cameron King

Jacob Lay

Eric Mask

Stephen McCool

Ethan Michel

Michael O’Hearn

Jose Montanez

Randall Perkins

Rigoletto and the Duke

Tim Parrott

Jason Royal

share a laugh while the

Tyrone Webb

Charlie Wentz

chorus plots revenge on Rigoletto.

LYNN LANE / HOUSTON GRAND OPERA

Daniel Weisman

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VIOLIN

CELLO

TRUMPET

Peter Ciaschini The Loraine P. Williams Orchestra Concertmaster Chair

Charae Krueger Principal

Yvonne Toll-Schneider Principal

David Hancock Acting Assistant Principal

Alexander Freund

Helen Kim* Assistant Concertmaster

Mary Kenney

Lisa Morrison Acting Assistant Concertmaster

Cynthia Sulko*

William P. Mann Principal

Grace Sommer†

Josh Bynum†

Laura Usiskin†

Richard Brady Bass Trombone

Fia Durrett Prinicipal Second Violin Jessica Stinson Acting Assistant Principal Second Violin

BASS Daniel Tancredi Principal

TROMBONE

CIMBASSO

Emory Clements

Donald Strand Principal

Samuel Dugo

TIMPANI

Felix Farrar

FLUTE

Sally Gardner-Wilson

James Zellers Principal

John Lawless Principal

Edward Eanes

Robert Givens Patti Gouvas Shawn Pagliarini Virginia Respess-Fairchild Patrick Ryan Angèle Sherwood-Lawless* Kevin Chaney† Kim Hain† Alison James† Kathryn Koch†

Michael Cebulski

Erica Pirtle† Piccolo

Karen Hunt†

OBOE Christina Gavin Principal Alexandra Shatalova Prior† English Horn

David Odom Principal

Serena Scibelli†

John Warren

VIOLA William Johnston Principal Catherine Allain Assistant Principal Ryan Gregory Julie Rosseter Karl Schab Joli Wu Meghan Yost†

Jeff Kershner† HARP Susan Brady* PERSONNEL MANAGER James Zellers

CLARINET

Kim Padgett† Elonia Varfi†

PERCUSSION

Kelly Bryant*

BASSOON Carlos Clark Principal Debra Grove FRENCH HORN David Bradley Principal Jason Eklund Mackenzie Newell† Eric Hawkins†

Musicians employed in this production are represented by the American Federation of Musicians of the United States and Canada. *Core Musician On Leave †Non-Core Musician

34 | comminityengagement

Education Updates WRITTEN BY

MCKENZIE TODD

Kendall Roney

The Atlanta Opera Studio Tour’s performance of The Bilingual Barber of Seville at Baldwin Elementary School.

I’m thrilled to share that The Atlanta Opera Education and Community Engagement Department offers a diverse range of engaging programs that bring the enchanting world of opera closer to our community. Our educational initiatives cater to individuals of all ages, backgrounds, and interests, fostering a deeper understanding and appreciation for this timeless art form. Whether you’re a seasoned opera enthusiast or a curious newcomer, these programs provide the perfect opportunity to explore the captivating experience of opera.

Through our interactive workshops, you’ll get a comprehensive introduction to opera’s rich history, diverse genres, and renowned composers. Led by experienced educators and opera professionals, these workshops delve into the collaborative effort required to stage a successful opera production, offering valuable insights into the behind-the-scenes magic.

Bring opera to your school through our Studio Tour program, which has allowed over 70,000 students to experience opera through storytelling, music, and creative activities. These immersive experiences, aligned with the Georgia Standards of Excellence, provide a unique chance for young minds to witness the power of live opera up close and personal, igniting their passion for the arts.

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Recognizing the essential role of educators in shaping young minds, we offer professional learning seminars designed specifically for teachers. Our professional learning seminars equip teachers with the necessary tools and resources to integrate opera-based activities into their lesson plans effectively. By empowering educators, we support your goal that students receive a multifaceted education that enriches their understanding of music, culture, and storytelling.

Partnering with local organizations, libraries, and community centers, we host interactive opera-related events, making opera accessible and inclusive. These initiatives go beyond the traditional theater setting, connecting with diverse audiences and enriching the cultural fabric of our city.

CANTRELL WILLIAMS

We aspire to open the doors to a captivating world of opera, inviting individuals of all ages and backgrounds to experience the magic firsthand. Whether through workshops, studio tour, professional learning, or community events, these programs offer easy access to opera in the community and inspire a lifelong love for the arts. I encourage everyone to learn about the Opera’s education and community programs by visiting us at atlantaopera.org/education.

Behind the scenes of The Atlanta Opera Film Studio filming virtual Studio Tour production of The Pirates of Penzance at the Clayton County Performing Arts Center.

36 | donorprofile A Legacy of Harmony: J. Barry Schrenk

Barry and Anita Schrenk with former Atlanta Opera Artistic Director, Alfred Kennedy, in 1998 at The Atlanta Opera.

Photo courtesy The Atlanta Opera Archives.

Within The Atlanta Opera’s leadership, J. Barry Schrenk stands out for his enduring passion and dedication.

After serving in the U.S. Navy and graduating from Rider University, Barry advanced rapidly through the ranks in The Bell Company in New Jersey. He achieved similar success in transportation, serving for four years as assistant commissioner of motor vehicles. A new adventure brought him to Atlanta where he acquired Taggart’s Driving School in 1976. Most importantly, he met his enchanting neighbor Anita, who became his wife. Barry quickly fell in love with Anita, Atlanta, and the city’s cultural community.

A lifelong connoisseur of music, particularly opera, Barry enthusiastically served as president of The Friends of The Atlanta Opera from 1985 to 1990. Later, he chaired the Education Committee on The Atlanta Opera’s Board of Directors, and he now sits on the honorary board.

Yet, Barry’s devotion doesn’t stop there. Even as he continued running the driving school, he has served for 33 years as the Membership and Finance Director for the Southeast Region for The Metropolitan Opera National Council. Additionally, Governor Nathan Deal appointed him to the board of the Georgia Council for the Arts, then as the board’s chair, a role he continued under Governor Kemp’s leadership.

Schrenk describes opera as “an all-encompassing art form which magically combines orchestra, singers, scenery, story, and special effects for a transcendent experience.” For decades, Barry and Anita have supported The Atlanta Opera with their loyal attendance and annual donations.

To learn how to support The Atlanta Opera through a planned gift, contact Jonathan Blalock at 336-512-6832 or jblalock@atlantaopera.org

Barry deepened his commitment when he joined The Barbara D. Stewart Legacy Society and made the Opera a beneficiary of a life insurance policy. When asked what inspired his gift, Barry stated, “I’m proud of what The Atlanta Opera has accomplished, and I want to see it endure forever.”

Planned giving, with its potential for tax savings and lasting impact, offers a gateway to perpetuating the arts.

Bequests, trusts, life insurance, and retirement assets all hold the power to shape the opera’s future. We are grateful for faithful legacy donors like Barry Schrenk.

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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 Mar 1, 2022 and Sep 15, 2023.

Director’s Circle $200,000+ Harold Brody & Donald Smith† John & Rosemary Brown† Dr. Frank A. Critz & Dr. Ann Critz† *Martha Thompson Dinos Beth & Gary Glynn Mr. Howard W. Hunter Gramma Fisher Foundation† *Mr. & Mrs. Carl W. Knobloch, Jr.† Jerry & Dulcy Rosenberg† Katherine Scott *Mrs. Lessie B. Smithgall

Patron’s Circle $15,000+ John & Wendy Anzalone† Julia & *Jim Balloun† Mr. David Boatwright† Dr. Donald J. & Janet Filip† *Ms. Anne Marie Gary Mr. & Mrs. Edward J. Hardin Mr. & Mrs. Michael L. Keough Larry & Beverly Willson†

Gold $10,000+ Elizabeth & Jeremy Adler† Mrs. *Phillip E. Alvelda† Mr. & Mrs. James Anderson Anonymous Bryan & Johanna Barnes† Dr. & Mrs. Asad Bashey Mr. & Mrs. C. Duncan Beard Mr. & Mrs. Dante Bellizzi Mr. Frank H. Butterfield† Mr. Richard H. Delay & Dr. Francine D. Dykes† Mr. Tomer Zvulun & Mrs. Susanna Eiland Dieter Elsner† Ms. Louise S. Gunn Deborah & Paul Harkins The Hilbert Law Firm Roya & Bahman Irvani *Mary & Wayne James Dr. & Mrs. David Kavtaradze Slumgullion Charitable Fund† Stephanie & Gregor Morela† Sandra & Peter Morelli† Mr. & Mrs. Michael E. Paulhus† Shannon & Norm Prestage Mr. Milton J. Sams† Thomas R. Saylor Charles T. & Donna Sharbaugh† Mr. & Mrs. Timothy E. Sheehan

$100,000+ Mr. & Mrs. Paul Blackney† *Sylvia Halleck, MD Mr. James B. Miller, Jr.† *Mr. William E. Pennington† *Bruce & Karen Roth John & Yee-Wan Stevens† Rhys & Carolyn Wilson†

$50,000+ The Antinori Foundation† Laura & Cosmo Boyd Connolly Family Foundation The Gable Foundation, Inc.† Mr. John L. Hammaker Alfredo Martin & Beau Aero† Mary Ruth McDonald Christine & Mark St.Clare† Triska Drake & G. Kimbrough Taylor George & Amy Taylor† Wadleigh C. Winship Charitable Fund The Mary & Charlie Yates Family Fund

Silver $5,000+ Mr. & *Mrs. Shepard B. Ansley Natalie & Matthew Bernstein Dr. R. Dwain Blackston Eda L. Hochgelerent, M.D. & Bruce A. Cassidy, M.D.† John W. Cooledge† Mr. & Mrs. Ron L. Cundy Dr. Jeannette Guarner & Dr. Carlos del Rio Mr. & Mrs. Robert G. Edge Mr. & Mrs. Reade Fahs Sally & Hank Fielding† Ms. Rebecca Y. Frazer & Mr. Jon Buttrey† Mr. Ethan Garonzik Kevin Greiner & Robyn Roberts Judge Adele P. Grubbs Gena & Joey Gyengo Dr. Thomas High Mr. L. D. Holland† Mr. Billy Huger Gail G. Johnson Ms. Anne Morgan & Mr. James Kelley Mr. Alfred D. Kennedy & Dr. Bill Kenny Elizabeth Klump Mrs. Dale Levert & Mr. George W. Levert Mr. & Mrs. Andrew Long

Mr. William F. Snyder† Ms. Bunny Winter & Mr. Michael Doyle†

$25,000+ Cathy & Mark Adams† Mr. Robert P. Dean & Mr. Robert Epstein† Dr. & Mrs. Alexander Gross† Mr. John Haupert & Mr. Bryan Brooks† Talia & John Murphy Victoria & Howard Palefsky† Ms. Janine Brown & Mr. Alex J. Simmons, Jr. Judith & Mark Taylor Carol B. & Ramon Tomé† Dan D. Maslia & Mimi Shetzen Maslia Belinda & Gino Massafra Robert & Creel McCormack Erica McVicker Mr. & Mrs. Richard P. Nicholas III† Clara M. & John S. O’Shea† Mr. & Mrs. Steve Paro Mr. & Mrs. Neal J. Quirk Mr. James L. Rhoden Morton & Angela Sherzer Baker & Debby Smith† Mr. & Mrs. Richard Sproul Lynne & Steven Steindel Mr. & Mrs. William E. Tucker Dr. & Mrs. Nicholas Valerio III† Benny & Roxanne Varzi Thurman Williams Bob & Cappa Woodward Charitable Fund

Bronze $2,500+ Atlanta Neurology Mr. James L. Anderson Ms. Casey Armanino Catherine A. Binns Mr. & Mrs. Earl Blair Jonathan E. Blalock Ms. Donna Burchfield Ms. Mary Calhoun Mr. & Mrs. Charles Cohn T. Dennis Connally Mr. & Mrs. Matt Cook Jean & Jerry Cooper Danica & Milton Dilligard Mr. Mark du Mas Drs. Morgan & Susan Horton Eiland Dr. & Mrs. Todd D. Ellis Mr. Thomas Emch Mark and Mary Eppert

38 | giving&support Mr. & Mrs. Lance Fortnow Dr. Thomas N. Guffin, Jr. Mr. Brian Henry Donna & *Richard Hiller Douglas Hooker & Patrise Perkins Hooker Mr. & Mrs. Jeffrey R. Hoopes Mr. & Mrs. David C. Huffman Stuart Jackson & Robyn Jackson Mr. & Mrs. Gert Kampfer Mr. & Mrs. Larry Kurlander Ms. Brenda O. Lambert Ms. Constance B. Lewis Linda L. Lively & James E. Hugh III Dr. & Mrs. Ellis L. Malone Samantha & William Markle *Peggy Weber McDowell & *Jack McDowell John S. Metz Philip & Caroline Moïse Mrs. Agnes Nelson Lucy S. Perry Mrs. Betsy Pittman Margaret & Bob Reiser Mr. & Mrs. J. Barry Schrenk Beverly & Milton Shlapak Mr. & Mrs. E. Kendrick Smith Gail & Barry Spurlock Dr. Jane T. St.Clair & Mr. James E. Sustman Mr. Tarek Takieddini Mr. Johnny Thigpen & Mr. James Martin True Colors Theatre Company Cynthia Widner Wall Thomas R. Williams Family

Friend’s Circle Investor $1,000+ Ms. Hope M. Barrett Christine M. Beard Carter Bland Jane & Greg Blount Dr. & Mrs. Jerry Blumenthal Raphael Bostic Mr. Sean Bowen Ms. Martha S. Brewer Mrs. Carol J. Clark Mr. N. Jerold Cohen & Ms. Andrea Strickland Ms Lillianette Cook & Ms. Carol Uhl John & Linda Cooke Jeremy & Audrey Critz John & Melissa Critz Mr. & Mrs. Edward S. Croft III Dr. & Mrs. F. Thomas Daly Jr. Mr. & Mrs. Harold T. Daniel Jr. Mr. James M. Datka & Ms. Nora P. DePalma Jim & Carol Dew Mr. Trey Duskin & Ms. Noelle Albano Anonymous Mrs. Anne J. Ederington Micah Fortson & Georgia Jarman Mr. Michael D. Golden & Dr. Juliet R. Asher

Dr. Richard Goodjoin James C. Goodwyne & Christopher S. Connelly Helen C. Griffith Mr. Robert & Dr. Ada Habl Felicia and Isaiah Hale George L. Hickman III Mr. & Mrs. Harry C. Howard Richard & Linda Hubert Cliff Jolliff & Elaine Gerke Mrs. Cecile M. Jones Mrs. Ronnie H. Kessenich Wadih & Ali Khayat Ms. Carla Knobloch Chris & Jill Le Tim & Angela Leveridge Jennifer and Chad Mann Dr. & Mrs. Steven Marlowe Mrs. Erin Martin Mr. Stedman C. Mays, Jr. & Mr. Charles Bjorklund Terri & Stephen Nagler Denis Ng & Mary Jane Panzeri Carol S. Niemi The Honorable & Mrs. George A. Novak Kathie & Charles Palmer George Paulik Mr. Darryl-Christopher Payne† Dr. & Mrs. Donald Reitzes Sidney & Phyllis Rodbell Ms. Hazel Sanger Dr. & Mrs. William M. Scaljon Adhishesh Sood Mr. N. Jerold Cohen & Ms. Andrea Strickland Mrs. Hugh Tarbutton Ms. Virginia S. Taylor Mr. Michael Tushman & Mrs. Marjorie Williams Eldred Veira Ms. Betsy K. Wash Alan & Marcia Watt Rae & George Weimer Dr. & Mrs. James O. Wells, Jr. Mr. & Mrs. Mark Westfall Ms. Kathy J. White Adair & Dick White *Dr. & Mrs. R. Craig Woodward

Supporter $500+ Scott & Betsy Akers Dr. Catherine Allard Martha Allday Dr. Raymond Allen Paula Stephan Amis Mr. John Baker Mr. & Mrs. Robert O. Banker Colonel & Mrs. John V. Barson Mr. & Mrs. Bruce Benator Mrs. Marilee F. Betor Mr. Matt Blackburn Craig & Brenda Caldwell Mr. & Mrs. Robert B. Church Mr. Pete Ciaschini Dr. Lawrence Cohen Mrs. Jan W. Collins

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Julianna M. Critz Ann & Jim Curry Maureen & Michael Dailey Mr. Joseph V. Dawsey & Mr. Frank D. Kubanek Eric Dykes Mr. & Mrs. Robert R. Eckardt Mr. & Mrs. Robert F. Engeman Sr. Ms. Ellen J. Evans Mr. Richard D. Franco Dr. & Mrs. David J. Frolich Mr. Glen Galbaugh Colonel Donald Gilner John Greer Mr. & Mrs. Richard P. Grodzicki Mr. & Mrs. Sam Hagan Jim & Virginia Hale Mr. Ronald L. Harris & Mrs. Jacqueline Pownall Kwi Kim Terry Hong Ms. Jan W. Hughen Mr. Rolf Ingenleuf Mr. & Mrs. Thomas E. Johnston Ms. Lynne Elliott Jones Mr. J. Carter Joseph Mr. & Mrs. Edward Katze John & JoAnn Keller Joan & Arnold Kurth Judy & Scott Lampert Mr. & Mrs. Robert S. Lane Livvy Kazer Lipson Allan & Vaneesa Little Dr. Jo Marie Lyons Jeanie & Albert Marx Mr. Michael Mayes Mr. M. Reynolds McClatchey Jr. Una & Bernard McGuinness Mr. Simon Miller Mr. & Mrs. M. Sean Molley Ciaran & Melanie Morris Mr. Marvin Moss Barbara & Mark Murovitz Mr. & Mrs. Duane T. Nakahata Mrs. Twinkle Nelson Dr. & Mrs. Lawrence S. Phillips Kama & Joe Pierce Mr. Lawrence F. Pinson Dan Pompilio & Lark Ingram *Sharon & Jim Radford Mr. Stephen L. Rann & Ms. Dytre Fentress Dr. & Mrs. Colin Richman R.J. & D.G. Riffey, Jr. Blair Robbins Sandra & Ronald Rousseau Mrs. Arshia Sabet-Payman Ms. Regina Schuber Mr. Fred B. Smith Judge Mike & Mrs. Jane Stoddard Mr. & Mrs. Jeff Stratton Steve & Christine Strong Dr. & Mrs. William H. Stuart Sharon Daniels Sullivan Kay Summers Carolyn & Robert Swain Dr. & Mrs. Michael Szikman Dr. & Mrs. Kenneth G. Taylor

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Mr. Stephen H. Thompson & Mr. Drew Mote Ms. Juliana T. Vincenzino Ms. Brenda D. Jennings Kelly Weekes Ed Willard & J. R. Attaway Kiki Wilson Barbara Zellner

Contributor $250+ Judith M. Alembik Christine Allen Mr. & Mrs. Gunnar Andersen Mr. Paul Anderson, Jr. Stephan & Laura Anderson Ms. Victoria Anderson Atlanta Opera Orchestra Players Association Chris Bailey Mr. & Mrs. David S. Baker Elena Belykh Claire & Bryan Benedict Daniel & Bethann Berger Mr. Edward S. Berkoff Mr. & Mrs. Sid Besmertnik Ms. Martha Bobo Mrs. Karen Bradford Dr. Stephen R. Brandt Mrs. Louise Bray James & Nancy Bross Mrs. Lou Brown Jewell Beau F. Brummett Mr. Thomas Budlong Mark & Peg Bumgardner *Michael J. & Debra M. Caldwell Mrs. Faye Carles Mr. & Mrs. Charles T. Carlin Mr. & Mrs. Bruce D. Carlson Chris Casey & Douglas Weiss Dr. & Mrs. Harold L. Chapman, Jr. Edward Chung Mr. & Mrs. William A. Clineburg, Jr. Sheela Collins Mellisa A. Cotton Mr. & Mrs. Michael J. Curry Mr. David D’Ambrosio Carol Comstock & Jim Davis Ms. Elizabeth A. DeAngelo Matthew Denton

Mr. & Mrs. John Drucker John C. Durham *Col. & *Mrs. Edgar W. Duskin Mr. & Mrs. David R. Dye Mrs. Teresa Elbel Allison Fichter & Phillip O’Brien Judy & Stan Fineman Mr. James W. Floyd Mr. Robert J. Fornal & Mr. John A. Watson Mr. John Frontera Mr. Kevin Gallagher Olga Gazman Dr. & Mrs. Joseph D. Giovinco Ms. Diana Glad Ms. Pat Godbe Drs. Nancy & Robert Griner Ms. Sharon E. Hill Mr. William Holland Mr. & Mrs. Douglas M. Holly, Jr. Ms. Betsy Horton Dr. Dorothy M. Huenecke Jason Ingraham Ms. Dianne Inniss Ms. Charlene Johnson Dorothy Yates Kirkley Seth Kirschenbaum Dian D. Knight Elena Kochutin Mr. Melvin Konner Sandra & Michael Kroll Mr. & Mrs. Gedas Kutka Jena C. Lanham Mr. & Mrs. David W. Larson Melanie D. Lighthall Mr. Scott Liniado Mr. Roy Locklear III Mr. & Ms. Michael W. Luz Dr. Joe Massey Warren Matthews Mr. & Mrs. Francis A. Mazzocchi Mr. & Mrs. Simon A. Miller Jessica Mincey Mr. & Mrs. David N. Minkin Mrs. George E. Missbach Jr. Berthe & Shapour Mobasser Dr. & Mrs. T. A. Moore Ms. Priscilla M. Moran

| 39

Mr. Albert B. Moravitz Rita Omark Daniel Orlich Mr. John Owens Zuzana Osburn Paul Parisi Mr. John Patchoski, Jr. Mrs. Polly N. Pater Mr. & Mrs. John Payan Horatiu V. Penescu Victoria Peterson Frank Pinkerton Daniel Pittaluga Mary & Rex Pless The Reverend Neal P. Ponder, Jr. Mr. Mitesh A. Prema & Ms. Kristina Prema Megan Retter Virginia Rolfes Ms. Marcia Schulman Shannon Scott Emmanuel Seuge Carrie L. Shaeffer Rob Shaw Ms. Laurie Shock Andrew J. Singletary, Jr. Mary S. Slider Jeff Smathers Cathleen Smith April Sneed Paul Song Clayton & Holly Sparrow Elizabeth Morgan Spiegel Mr. Thomas Striedinger Mr. Gary Stuart Sarah & David Sutherland Pierre Tarantelli Mr. & Mrs. Frederick C. Taylor Lazaro Tenreiro Ms. Nancy A. Thomas Ms. Mary Thorpe-Mease Mr. & Ms. Wolfgang Tiedtke Ms. Ellen H. Ulken & Mr. Jerald L. Watts Ms. Parsla A. Welch Mr. & Mrs. Robert P. White Ms. Jone Williams & Ms. Barbara Robb

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

40 | giving&support CORPORATE PARTNERS $100,000+

$10,000+

$2,500+

The Coca-Cola Company The Home Depot Foundation

Accenture LLP Federal Home Loan Bank of Atlanta Hilbert Law Firm, LLC Homrich-Berg, Inc. - Buckhead KPMG LLP National Distributing Co., Inc. Nordson Corporation Foundation Price Waterhouse Coopers The Capital Group Companies Troutman Pepper Truist Warner Bros. Discovery WestRock Company

Anonymous Batdorf & Bronson Coffee Roasters BNY Mellon Wealth Management EY KaneTreadwell Law LLC Wallace Graphics

$50,000+ Gas South UPS

FOUNDATIONS & GOVERNMENT SUPPORT FOUNDATIONS $225,000+ Donald & Marilyn Keough Foundation Gramma Fisher Foundation The Molly Blank Fund of The Arthur M. Blank Family Foundation

$50,000+ Anonymous Atlanta Music Festival Fund of The Community Foundation for Greater Atlanta Knobloch Family Foundation Livingston Foundation, Inc. Mary & EP Rogers Foundation, Inc. Rich Foundation, Inc. The Gable Foundation The Halle Foundation The Sara Giles Moore Foundation The Zeist Foundation, Inc. Truist Trusteed Foundation

$20,000+

$1,000+

Connolly Family Foundation J. Marshall & Lucile G. Powell Charitable Trust The Capital Group Companies Charitable Foundation The Jim Cox, Jr. Foundation The Ray M. & Mary Elizabeth Lee Foundation, Inc. The Roy & Janet Dorsey Foundation

Atlanta Woman’s Club Frances Wood Wilson Foundation, Inc. Kiwanis Foundation of Atlanta Mary Brown Fund of Atlanta, Georgia The Hills Family Foundation, Mr. & Mrs. Thomas D. Hills, Trustees The Opera Guild for Atlanta

$10,000+

GOVERNMENT

David, Helen, & Marian Woodward Fund JBS Foundation The Hertz Family Foundation, Inc. The John & Rosemary Brown Family Fdn

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

$5,000+ Camp-Younts Foundation George M. Brown Trust Fund Nordson Corporation Foundation

atlantaopera.org | @theatlantaopera

encoreatlanta.com

| 41

BARBARA D. STEWART LEGACY SOCIETY 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 *Sylvia Halleck, MD Ms. Judy Hanenkrat Richard & Fern Hartnig The Hilbert Family Trust

Eda L. Hochgelerent, M.D. & Bruce A. Cassidy, M.D. Mr. L. Don Holland Mr. Hilson Hudson *Mrs. Joseph B. Hutchison Gail Johnson Mr. J. Carter Joseph *Mrs. Alfred D. Kennedy, Sr *Mrs. Isabelle W. Kennedy *Donald & *Marilyn Keough Mr. & Mrs. Michael L. Keough Ms. Corina M. LaFrossia Mr. & Mrs. John G. Malcolm Mr. Robert L. Mays Mr. & Mrs. Allen P. McDaniel *Peggy Weber McDowell & *Jack McDowell Mr. & Mrs. Craig N. Miller *Miss Helen D. Moffitt Mr. J. Robert Morring Clara M. & John S. O’Shea Mrs. Polly N. Pater Mr. James Paulk

*Mr. William E. Pennington *Mr. Bruce Roth Ms. Hazel Sanger Mr. D. Jack Sawyer, Jr. 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. Mr. Tomer Zvulun & Mrs. Susanna Eiland

TRIBUTES & MEMORIALS In Honor of Mr. Jonathan Blalock Mr. John Thompson, II Mr. William F. Snyder Connor Howard In Honor of Dr. Hal Brody & Mr. Don Smith Jonathan Blalock In Memory of Maria Callas Jesus Olivas Sierra In Honor of Brother George Councill Barbara Bonner In Honor of Ann & Frank Critz George & Rae Weimer Brenda O’Neal Lambert In Memory of Anne Chamlee Payne Darryl-Christopher Payne

In Memory of Dr. James T. Lowman The Family of Frank A. Thorpe Mary Thorpe Mease Stephen Koger John & Yee-Wan Stevens

In Memory of Margaret Williams Thurman Williams

In Honor of Mary Ruth McDonald Jonathan Blalock George & Rae Weimer

In Honor of Charlie & Mary Yates Sarah & David Sutherland Dorothy Yates Kirkley

In Memory of Peggy McDowell Mr. J. Carter Joseph In honor of Marietta Pompilio Dan Pompilio & Lark Ingram In Memory of Mr. Chip Johnston & Mr. Frank Monger Mr. Johnny Thigpen & Mr. James Martin In Honor of John & Talia Murphy Neal Quirk

In Honor or Robert Dean & Robert Epstein Jonathan Blalock

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

In Memory of Col. & Mrs. Edgar W. Duskin Noelle Albano & Trey Duskin

In Honor of Howard & Victoria Palefsky Matt & Kate Cook Donna Burchfield & Penn Nicholson

In Honor of Mr. Robert G. Edge Mrs. Eleanor Crosby In Memory of Harriet Harris Carlquist Harris Freya Harris Karen Rajczi

In Honor of William F. Snyder Jonathan Blalock

In Memory of Marya Gabrielle Williams Jone Williams & Barbara Robb

In Memory of Jay Zellner Mrs. Barbara Zellner In Honor of Mr. Tomer Zvulun & Ms. Susanna Eiland Mr. & Mrs. Larry Kurlander George & Rae Weimer Michael Golden & Juliet Asher Emily Knobloch Connor Howard Mr. & Mrs. William E. Tucker John & Yee-Wan Stevens Mary Ruth McDonald In Memory of Henry Zvulun Mary Jane Burkhalter Michael Golden & Juliet Asher In Memory of Bill Pennington Jonathan Blalock In honor of Jerome & Dulcy Rosenberg Mr. & Mrs. Jay M. Davis *deceased

42 | leadership BOARD OF DIRECTORS OFFICERS Chair Mr. Rhys T. Wilson Vice Chair Mr. John L. Hammaker Treasurer Ms. Bunny Winter Secretary Mr. John Haupert

MEMBERS Mrs. Cathy Callway Adams Mrs. Elizabeth Adler Ms. Susan M. Anderson Mr. Bryan H. Barnes Mr. Dante Bellizzi Mr. Montague L. Boyd, IV Dr. Harold J. Brody Mrs. Rosemary Kopel Brown Mr. Frank H. Butterfield Mr. Mario Concha Dr. Frank A. Critz Mr. Robert Dean Dr. Carlos del Rio Dr. Todd Ellis Mr. Dieter Elsner Dr. Donald J. Filip Mr. Kevin Greiner Mrs. Joanne Chesler Gross Mr. Jamael Hester Mr. Howard W. Hunter Mr. Andrew R. Long Mr. Alfredo Martin Mr. James B. Miller, Jr. Mrs. Stephanie Morela Mrs. Sandra S. Morelli Mrs. Talia Murphy Mr. Howard Palefsky Mr. Michael E. Paulhus Mr. Herbert J. Rosenberg Mr. Thomas Saylor Mr. Alex Simmons, Jr. Mrs. Christine St.Clare Mr. William E. Tucker Mr. Tomer Zvulun, ex-officio

HONORARY MEMBERS 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 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 R. Yates, Jr.

atlantaopera.org | @theatlantaopera

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EXECUTIVE COMMITTEE Board Chair Mr. Rhys T. Wilson Vice-Chair Mr. John L. Hammaker Nominating & Board Engagement Chair Mrs. Talia Murphy Secretary Mr. John Haupert Treasurer | Finance Chair Ms. Bunny Winter Audit Chair Mr. Bryan H. Barnes Community Engagement Chair Mr. Alex Simmons, Jr. Development Chair Mr. Howard Palefsky Equity, Diversity & Inclusion Chair Mrs. Stephanie Morela Investment Co-Chairs Mr. Frank Butterfield Mrs. Sandra S. Morelli Strategic Planning Chair Mrs. Christine St.Clare At-Large Members Mrs. Cathy Callaway Adams, Immediate Past Chair Mr. Howard W. Hunter Carl W. Knobloch, Jr. General & Artistic Director, ex-officio member Mr. Tomer Zvulun

ADVISORY COUNCIL Mr. Andrew J.M. Binns Mr. Kenny L. Blank Mrs. Inge Bledel Ms. Mary Calhoun Ms. Sally Bland Fielding Mr. Lance Fortnow

Mrs. Beth W. Glynn Dr. Thomas N. Guffin, Jr. Mr. Douglas Hooker Mrs. Erin Quinn Martin Mr. Robert G. Pennington Mr. Paul Snyder

| 43

44 | staff EXECUTIVE Carl W. Knobloch, Jr. General & Artistic Director Tomer Zvulun Managing Director Micah Fortson Executive Assistant & Board Liaison Misty Reid Special Projects Manager Nancy Kritikos ARTISTIC/MUSIC Carl & Sally Gable Music Director Arthur Fagen

Chorus & Orchestra Manager Chris Bragg

Director of Artistic Administration Meredith Wallace

Orchestra Librarian Phil Parsons

Artistic Associate Annie Penner Gilstrap PRODUCTION Director of Production Robert Reynolds

Production Coordinator Megan Bennett

Associate Director of Production Calling Stage Manager Meggie Roseborough Carson Gilmore Technical Director Joshua Jansen Assistant Technical Director Ben Cole

Production Finance Coordinator Robbin Anderson

Assistant Stage Manager Kyle Chassells Caitlin Denney-Turner Props Supervisor & Artisan Paige Steffens Lighting Supervisor Matthew Peddie

COSTUME Costume Director Sarah Burch Gordon

Master Draper / Tailor Mary Cruz Torres

Stitcher Allison Hines

Shop Administrator Cristine Reynolds

First Hand Gibron Shepperd

Wardrobe Supervisor Kelly Chipman

Show Coordinator Paula Peasley-Ninestein

Lead Stitcher Fiona Leonard

Costume Storage Move Coordinator Jenn Rogers

COMMUNITY ENGAGEMENT & EDUCATION Director of Community Engagement & Education Community Engagement & Education Coordinator Jessica Kiger Jonesia Williams Stagehands employed in this production are represented by the International Alliance of Theatrical Stage Employees – Local 927

atlantaopera.org | @theatlantaopera

The Wardrobe Department employed in this production is represented by the International Alliance of Theatrical Stage Employees – Local 859

The Make-up Artists & Hair Stylists employed in this production are represented by the International Alliance of Theatrical Stage Employees – Local 798

staff

| 45

DEVELOPMENT Development Managing Director Jessica Langlois

Development Coordinator Aaron Walker

Director of Development—Individual Giving Jonathan Blalock

Development Operations Coordinator Diana Brewster

Associate Director of Development Operations Katy Gardner

Annual Giving & Events Coordinator Gloria Lin

FINANCE Chief Financial Officer Toula Argentis Controller Inga V. Murro Staff Accountant Camelia Johnson

Bookkeeper Ruth Strickland Accountant Ben Imbert

ADMINISTRATION Chief Administrative Officer Kathy White

Director of Human Resources Kenneth R. Timmons

MARKETING, COMMUNICATIONS, & AUDIENCE DEVELOPMENT Director of Sales & Marketing Rebecca Brown

Creative Services Manager Matt Burkhalter

Senior Manager, Ticketing Services Renee Smiley

Sales & Marketing Manager Ashley May King

Guest Services Concierge Emily Crisp

Box Office Associate Chauncey Sims

COMMUNICATIONS & PUBLIC RELATIONS Director of Communications & Public Relations Michelle Winters

THE ATLANTA OPERA FILM STUDIO Director of The Atlanta Opera Film Studio Felipe Barral

GLYNN STUDIO Master Teacher Laura Brooks Rice

Film Associate Amanda Sachtleben

Glynn Studio Artists Kameron Lopreore, Aubrey Odle, Amanda Sheriff, Nora Winsler, Jason Zacher

46 | housepolicies 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 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.

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

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

SMOKING Smoking is prohibited inside the building.

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

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

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

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

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

atlantaopera.org | @theatlantaopera

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. 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.

• C ameras (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.