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Maria Buenos Aires Astor Piazzolla MUSIC
Horacio Ferrer LYRICS
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WELCOME Welcome to Maria de Buenos Aires! Our first Discoveries series production of the 16-17 season again takes the audience and our company to uncharted territories. This seductive, sexy tango opera offers us a glimpse into the nightclubs of Buenos Aires, Argentina with Maria, the ill-fated prostitute who was “born with three crooked nails in her voice, on a day that God was drunk.” This imagery, evoking a world that is surreal, poetic and sensual, is the key to this evening. Composer Astor Piazzolla, alongside poet Horacio Ferrer, created a magical, hypnotic world that has very little to do with traditional narrative and everything to do with the ambience associated with the tango culture of Buenos Aires. As soon as we walked into Le Maison Rouge at Paris on Ponce, we knew we had found the perfect environment for this rarely performed jewel.
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So, once again, the Discoveries series challenges you, our audience, to leave your preconceptions behind and open your heart to something completely unexpected. Celebrating its third anniversary, the Discoveries series is designed to expose us to different cultures, stories, and musical styles. We are thrilled that Atlanta audiences have embraced this adventurous spirit, translating fo reinto troapsoldpuS out run and added performances. We have one more Discoveries production ahead and, again, it celebrates innovation and collaboration. This May at the Atlanta Botanical Garden, we present a new interpretation of Mozart’s The Secret Gardener. The production will debut on the Upper West Side in New York City in conjunction with the N.Y.-based company, On Site Opera.
photo: Jeff Roffman
This season has welcomed many new collaborations and a whole new take on our successful Discoveries series with dsite-specific uorP operas. Whether you’re a subscriber or first-time patron, we say thank you and welcome. Enjoy the performance!
Tomer Zvulun General & Artistic Director The Atlanta Opera
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DISCOVERIES SERIES SPONSORED BY
The Molly Blank Fund of the Arthur M. Blank Family Foundation PRODUCTION SPONSORED BY
Mr. & Mrs. Ronald R. Antinori
Mayor’s Office of Cultural Affairs
THE ATLANTA OPERA DIRECTOR’S CIRCLE Mr. & Mrs. Ronald R. Antinori Nancy & *Jim Bland The Laura & Montague Boyd Foundation Dr. Harold Brody John & Rosemary Brown Mr. & Mrs. John L. Connolly Ann & Frank Critz Martha Thompson Dinos Nancy & Holcombe Green John L. Hammaker
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This program is supported in part by a generous award from the National Endowment for the Arts. Major support for The Atlanta Opera is provided by the Mayor’s Office of Cultural Affairs. 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.
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MARIA DE BUENOS AIRES CREDITS MUSIC Astor Piazzolla LIBRETTO Horacio Ferrer FIRST PERFORMANCE May 8, 1968 at Sala Planeta, Buenos Aires
CONDUCTOR Jorge Parodi STAGE DIRECTOR Tomer Zvulun CHOREOGRAPHER Jeremias Massera & Mariela Barufaldi of Tango Axis SCENIC DESIGNER Christopher S. Dills COSTUME DESIGNER Joanna Schmink LIGHTING DESIGNER Chuck Tedder SOUND CONSULTANTS Sound Associates SUPERTITLES Tomer Zvulun CAST MARIA Catalina Cuervo EL DUENDE Milton Loayza EL PAYADOR Luis Orozco FEMALE DANCER Mariela Barufaldi MALE DANCER Jeremias Massera ENSEMBLE Laurie Marie Tossing Reina Powell Caitlin Andrews
Sidnei Alferes Ivan Segovia Jose Caballero
BANDONEÓN Daniel Binelli PIANO Polly Ferman MUSICAL PREPARATION Rolando Salazar PRODUCTION STAGE MANAGER Brian August ASSISTANT STAGE MANAGER Skylar Burks
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MARIA DE BUENOS AIRES Little Opera in two parts For orchestra, narrator and singers Texts by Horacio Ferrer Music by Astor Piazzolla Used by arrangement with European American Music Distributors Company, Sole U.S. and Canadian agent for Warner/Chappell Music, Inc., publisher and copyright owner.
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PRODUCTION NOTE
FROM ARGENTINE SLUMS TO ‘OPERITA,’ THE TANGO’S LONG ROAD TO ACCEPTABILITY BY NOEL MORRIS
At one point in his career, famed Argentine musician Astor Piazzolla tried to bury his history with the tango. He wanted to move on, to make a career change, and won a grant to study composition in Paris, in 1954, where he presented “kilos of symphonies and sonatas” to the famed teacher Nadia Boulanger. Things quickly got uncomfortable.
de la Plata basin, its origins are murky — the urban poor are not the people history remembers. Within these seaport shantytowns were former African slaves, gauchos (farm hands), and hundreds of thousands of European immigrants. Several experiences bound these communities together: poverty, prostitution, the church and, curiously, knife-fighting.
“I can’t find Piazzolla in this,” she told him. “You say that you are not a pianist. What instrument do you play, then?”
The British naturalist Charles Darwin encountered these “compraditos” in the 1830s, noting that, although knife-fighters often died, killing was considered bad form. “Each party tries to mark the face of his adversary by slashing his nose or eyes,” he wrote, “as is often attested by deep and horrid-looking scars.”
“I didn’t want to tell her that I was a bandoneón [accordion] player,” he recalled. “I thought, ‘Then she will throw me from the fourth floor.’ Finally, I confessed and she asked me to play some bars of a tango of my own. She suddenly opened her eyes, took my hand and told me: “You idiot, that’s Piazzolla!” The tango does not come from polite society. Born in the slums around the Río
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These are the men — hardened, virile and saddled with hopelessness — who invented the tango. When performing, tango dancers’ torsos communicate through a tight embrace in
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PRODUCTION NOTE which the partner, not always a woman, moves like the shadow of the leader. There is a longstanding tradition of men training for months or years with other men before they step onto the dance floor with a woman. In the beginning, the establishment frowned upon dancing in an embrace as evidenced in an 1814 article in The Times of London: “We remarked with pain that the indecent foreign dance called the Waltz was introduced (we believe for the first time) at the English court on Friday last. … It is quite sufficient to cast one’s eyes on the voluptuous intertwining of the limbs … to see that it is indeed far removed from the modest reserve which has hitherto been considered distinctive of English females.” Arriving in a wave of immigration from Europe, it is likely that the waltz and the polka fed into the evolution of the Argentine tango. Further evidence suggests that the characteristic “chan-chan,” a tango term for the snappy two-note stinger at the end of the number, came from the music of African immigrants, as did another tango predecessor, the habanera. Around 1910, the bandoneón, a Germanmade accordion, reached Argentina. The instrument became central to the tango. Considered vulgar and low-class, the dance only gained acceptability in Argentina after it caught on in Paris around 1912 — and then it became a national symbol. Astor Piazzolla completed Maria de Buenos Aires in 1968 using a libretto by writer, tango musician, and historian Horacio Ferrer. Swimming in surrealistic haze, Ferrer’s language touches upon modern life (the Beatles and hippies), and things local to Buenos Aires. The words of this
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“operita” might not completely make sense. But when the title character introduces herself, she tells you everything you need to know: “I am Maria of Buenos Aires, I am my town, Maria tango, slum Maria, Maria night, Maria fatal passion, Maria of love! Of Buenos Aires, that’s me!” Maria is a metaphor for all those things. “The wee girl [who] was born on a day when God was drunk,” dies halfway through the opera, playing out a never-ending cycle of birth, death, and resurrection. It’s the same cycle that ripples through the tango, the slum, the night, passion, love, Buenos Aires, and the Catholic faith. In life, Maria “dies” each time she sells her body: “And I’ll still burn another life for two coins.” In death, she persists in spirit form until she passes into a baby girl: “Time’s been stolen; yesterday and tomorrow,” says a character called ‘A Voice of That Sunday.’ “She has been christened Maria.” Like the tango itself, Piazzolla had to go to Paris in order to make peace with Argentina. Gifted and ever curious, he soaked up everything from Bach, Stravinsky, and Bartok to jazz. With Boulanger, he sharpened his technique and returned to Buenos Aires to experiment with the tango, which, at first, infuriated members of the old guard. Combining elements of classical music and jazz, he gradually gained acceptance writing and performing a music he pioneered called “nuevo tango,” and spent the rest of his life composing and playing the bandoneón for audiences around the world.
CAST & CREATIVE
CAST & CREATIVE
DANIEL TOMER ZVULUN BINELLI BANDONEÓN STAGE DIRECTOR
ATLANTA OPERADEBUT: DEBUTTHE FLYING DUTCHMAN, 2009 ATLANTA OPERA Internationally renowned composer, arranger, and master of the General and Artistic Director of The Atlanta Opera since 2013, Israelibandoneón, Argentine Daniel Binelli tours extensively in concert and born Tomer Zvulun also one of opera’sasmost directors, recital. Binelli is alsoiswidely acclaimed the exciting foremoststage exponent and earning consistent creative vision,Inoften described as Astor torchbearer of thepraise musicfor of his Astor Piazzolla. 1989, he joined cinematic and fresh. HisSextet, work has been presented by prestigious operawith Piazzolla´s New Tango touring internationally. Orchestras whom Mr. Binelli has appeared as guest soloist include the Symphony houses around the world, including The Metropolitan Opera, the opera Orchestras ofSeattle, Philadelphia, Atlanta, Virginia, Sidney, Montreal, companies of San Diego, Minnesota, Boston, Cleveland, Dallas, Ottawa, St. Petersburg, and Tonhalle Orchestra in Zurich. of Cincinnati, Pittsburgh, Buenos Aires, Wexford, New Orleans Some and Wolf the conductors with whom Binelli has worked include Charles Dutoit, Trap, as well as leading educational institutes and universities such as The Lalo Schiffrin, Franz Paul Decker, and Robert Spano, among others. Juilliard School, IndianaPiazzolla´s University,operita BostonMaria University, and IVAI Mr. Binelli conducted de Buenos AiresininTel Sicily Aviv. Since leadership Atlanta increased the operations (Italy) withtaking Italianthe singer Milva.inHe is thehe musical director of Tango of the company from 12featured to 26 performances a season, whileTango, stabilizing Metropolis Company, in the PBS documentary the Spirit of Argentina in noted a BBCachievements documentaryinclude on Astor Piazzolla’s the financials. Someand of his launching the life. successful Discoveries series, a program that presents new contemporary POLLY FERMAN PIANO works and rarely done operas in alternative venues, creating the first young ATLANTA OPERA DEBUT artist program in the company’s history, doublingUruguayan-born, the company’s A leading interpreter of the music of theand Americas, annual fund raising. His work at the Atlanta Opera earned company New York-based pianist Polly Ferman captivates audiencesthe with international reputation by earning numerous awards and prizes including outstanding performances of works by Latin American composers. Recognized by The Japan Times “a Musical of the Opera the nomination of The Atlanta Opera for theAmbassador 2016 International Americas,” Ferman’sand numerous recordings constitute Discoveries one of the most Awards in London the selection of the acclaimed series as extensive collections of Latin American repertoire for piano. Ferman’s Atlanta Best 2015 at The Atlanta Journal-Constitution and Silent Night for tours as a soloist have included performances with prestigious orchestras Atlanta Best of 2016. around the world, including San Francisco, Sacramento, Indianapolis, Tokyo, Philippines, Jarkov, and Argentine National Symphonies, among others, as wellPARODI as recitals stages such as New York’s Carnegie Hall, Lincoln JORGE CONDUCTOR Center, Tokyo’s Takemitsu Hall, London’s St. Martin in the Fields, and ATLANTA OPERA DEBUT Buenos Aires’ Teatro Colón. Ferman created, directs, and performs in Reviewed as having “the most expressive conducting hands since GlamourTango, a unique all-female international multimedia music Stokowski’s,” (New York Daily News) Argentinean born conductor and dance show. Ferman founded and directs Pan American MusicalJorge Art Research, a nonprofit organization founded 1984(Argentina), to promote Parodi has worked as conductor at Buenos Aires in Lírica awareness and appreciation for the cultures of Latin America. The Banff of Centre (Canada), Tsaritsynskaya Opera Volgograd (Russia), Encuentros Internacionales de Opera (Mexico), Hofstra University and TANGO AXIS New York University among others; and as coach or repetiteur at several TANGO DANCERS/CHOREOGRAPHERS prestigious institutions, including the Teatro Colón (Buenos Aires), JEREMIAS MASSERA & MARIELA BARUFALDI Opera Tampa, Connecticut Grand Opera, Opera Saratoga to name a few. Argentine natives Jeremias and Mariela are tango dancers, instructors, He has collaborated with artists as Tito Capobianco, Sherrill Milnes, and choreographers. Theysuch began dancing together in 2007 and have and Rufus Wainwright; and he has assisted conductors Lorin Maazel since developed a sensual and melodic style of tango. They are the and Julius Rudel. founders of Tango Axis Dance Company and created the shows Eras del Tango (2010) and Amor Porteño aka Tango Suites (2016). In 2013 they opened their School of Argentine Tango in Miami, where they now reside. Jeremias & Mariela have performed and choreographed with: Luis Bravo’s Forever Tango, Masters of Tango, the U.S. tour of This Is Tango Now — Identidad, La Magia del Tango, A Puro Tango II, Tango Lovers, and Amor de Tango, among many others.
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CAST & CREATIVE CATALINA CUERVO MARIA ATLANTA OPERA DEBUT
Known as the “fiery soprano,” Colombian-born Catalina Cuervo holds the distinction of having performed the most productions of Piazzolla’s Maria de Buenos Aires. Ms. Cuervo has performed the role of Maria for numerous prestigious companies including Florida Grand Opera, Cincinnati Opera, and Syracuse Opera. Following her debut as Maria in Chicago, Catalina performed at venues and festivals including Chicago Dance Festival and Latino Music Festival, together with Kaia Quartet and the acclaimed tango show This Is Tango. As a result, she has a large following of tango lovers in Chicago and other cities..
MILTON LOAYZA EL DUENDE ATLANTA OPERA DEBUT
Argentine-born Milton Loayza has performed the role of El Duende in productions of Maria de Buenos Aires at Syracuse Opera and Anchorage Opera. Dr. Loayza is a stage actor and director who has focused on bringing Latin American works to the stage for the last five years. Milton is also a tango singer, and recently released Se ha mezclao la vida, an album of classical Argentine tangos, which he recorded in Buenos Aires. Milton lives in Syracuse, where he recently appeared in his own staging of Ella/She by Susana Torres Molina, Asunción by Ricardo Monti, and Don’t Blame Anyone, his own adaptation of short stories by Julio Cortázar. He has also conducted theater workshops and devised work for the community, including Songs of Imagination, based on the poetry of William Blake. Dr. Loayza is a visiting assistant professor at State University of New York at Oswego.
LUIS OROZCO EL PAYADOR ATLANTA OPERA DEBUT
Luis Alejandro Orozco is hailed for his “imposing presence, both vocally and dramatically.” (Cincinnati Enquirer) This season’s engagements include the title role in Don Giovanni at Bar Harbor Music Festival, Escamillo in Carmen in his house debut with Michigan Opera Theater, Figaro in Il barbiere di Siviglia in his house debut with Florentine Opera, and a solo performance of Carl Orff’s Carmina Burana with Symphoria. Future seasons will see Mr. Orozco debut at San Diego Opera and return to Arizona Opera. Mr. Orozco is known for his portrayal of El Payador in Ástor Piazzolla’s tango opera Maria de Buenos Aires. “In the part of the Payador, Maria’s lover and would-be savior, Luis Alejandro Orozco wields his strong, plangent baritone voice with tender artistry and also cuts a figure of rare physical beauty” (Lexington Herald). Mr. Orozco performed the role at Florida Grand Opera, Cincinnati Opera, Lexington Philharmonic, Syracuse Opera, Opera Naples, Aspen Music Festival, and Anchorage Opera. Other favorite engagements include Figaro in Il barbiere di Siviglia with Syracuse Opera; Marcello in La bohème at Kentucky Opera; and Mercutio in Roméo et Juliette at Opera Grand Rapids.
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CAST & CREATIVE
CAST & CREATIVE
DANIEL BINELLI BANDONEÓN CATALINA CUERVO MARIA ATLANTA OPERA OPERA DEBUT DEBUT ATLANTA
Internationally renowned composer, arranger, and masterCuervo of the holds Known as the “fiery soprano,” Colombian-born Catalina bandoneón, Argentine Daniel Binelli tours extensively in concert and the distinction of having performed the most productions of Piazzolla’s recital. Binelli is also widely acclaimed as the foremost exponent and Maria de Buenos Aires. Ms. Cuervo has performed the role of Maria torchbearer of the music of Astor Piazzolla. In 1989, he joined Astor for numerous prestigious companies including Florida Grand Opera, Piazzolla´s New Tango Sextet, touring internationally. Orchestras with Cincinnati Opera, and Syracuse Opera. Following her debut as Maria in whom Mr. Binelli has appeared as guest soloist include the Symphony Chicago, Catalina performed at venues and festivals including Chicago Orchestras of Philadelphia, Atlanta, Virginia, Sidney, Montreal, Dance and Latino Music Festival, together KaiaSome Quartet Ottawa,Festival St. Petersburg, and Tonhalle Orchestra inwith Zurich. of and the acclaimed tango show This Ishas Tango. As ainclude result, she has aDutoit, large the conductors with whom Binelli worked Charles following of tango lovers Chicagoand andRobert other cities.. Lalo Schiffrin, Franz PaulinDecker, Spano, among others.
Mr. Binelli conducted Piazzolla´s operita Maria de Buenos Aires in Sicily MILTON LOAYZA EL DUENDE (Italy) with Italian singer Milva. He is the musical director of Tango
ATLANTA OPERAfeatured DEBUT Metropolis Company, in the PBS documentary Tango, the
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Argentine-born Milton Loayza hasdocumentary performed the of El Duende life. in Spirit of Argentina and in a BBC onrole Astor Piazzolla’s productions of Maria de Buenos Aires at Syracuse Opera and Anchorage POLLY FERMAN PIANO Opera. Dr. Loayza is a stage actor and director who has focused on ATLANTA bringing LatinOPERA AmericanDEBUT works to the stage for the last five years. A leading interpreter the music of the Americas, Milton is also a tangoofsinger, and recently released SeUruguayan-born, ha mezclao la vida, New York-based pianist Polly Ferman an album of classical Argentine tangos,captivates which he audiences recorded inwith Buenos outstanding of works American composers. Aires. Miltonperformances lives in Syracuse, wherebyheLatin recently appeared in his own Recognized by Theby Japan Times “a Musical the Monti, staging of Ella/She Susana Torres Molina,Ambassador Asunción by of Ricardo Americas,” Ferman’s numerous recordings constitute one of theJulio most and Don’t Blame Anyone, his own adaptation of short stories by extensive collections of Latin American repertoire for piano. Ferman’s Cortázar. He has also conducted theater workshops and devised work tours a soloist have includedSongs performances with prestigious orchestras for theascommunity, including of Imagination, based on the poetry around the world, including San Francisco, Sacramento, Indianapolis, of William Blake. Dr. Loayza is a visiting assistant professor at State Tokyo, Philippines, Jarkov, and Argentine National Symphonies, among University of New York at Oswego. others, as well as recitals stages such as New York’s Carnegie Hall, Lincoln Center, Tokyo’s TakemitsuEL Hall, London’s St. Martin in the Fields, and LUIS OROZCO PAYADOR Buenos Aires’ OPERA Teatro Colón. Ferman created, directs, and performs in ATLANTA DEBUT GlamourTango, a unique all-female international multimedia music Luis Alejandro Orozco is hailed for his “imposing presence, both vocally and dance show. Ferman founded and directs Pan American Musical and dramatically.” (Cincinnati Enquirer)founded This season’s engagements Art Research, a nonprofit organization in 1984 to promote include the title role in Don Giovanni at Bar Harbor Music Festival, awareness of and appreciation for the cultures of Latin America. Escamillo in Carmen in his house debut with Michigan Opera Theater, Figaro in Il barbiere di Siviglia in his house debut with Florentine Opera, TANGO AXIS and a solo performance of Carl Orff’s Carmina Burana with Symphoria. TANGO DANCERS/CHOREOGRAPHERS Future seasons will see Mr. Orozco debut at San Diego Opera and return JEREMIAS MASSERA & MARIELA BARUFALDI to Arizona natives Opera. Mr. Orozco known for portrayal of El Payador Argentine Jeremias andisMariela arehis tango dancers, instructors, in Ástor Piazzolla’s tango opera Maria de Buenos Aires. “In the part of and choreographers. They began dancing together in 2007 and have the Payador, Maria’s lover and would-be savior, Luis Alejandro Orozco since developed a sensual and melodic style of tango. They are the wields his of strong, baritone voice with and also founders Tangoplangent Axis Dance Company andtender createdartistry the shows Eras cuts a figure of rareand physical Mr. Orozco del Tango (2010) Amor beauty” Porteño (Lexington aka Tango Herald). Suites (2016). In 2013 performed thetheir role School at Florida Opera, Cincinnati Opera, Lexington they opened of Grand Argentine Tango in Miami, where they Philharmonic, Syracuse Aspen Festival, and now reside. Jeremias &Opera, MarielaOpera have Naples, performed andMusic choreographed Anchorage Opera. Other include in Il of barbiere with: Luis Bravo’s Foreverfavorite Tango, engagements Masters of Tango, theFigaro U.S. tour This di SivigliaNow with— Syracuse Opera; Marcello La bohème at Tango Kentucky Is Tango Identidad, La Magia delinTango, A Puro II, Tango Lovers, and Mercutio Amor de Tango, among manyatothers. Opera; in Roméo et Juliette Opera Grand Rapids. 15
BOARD OF DIRECTORS
BOARD OF DIRECTORS
OFFICERS CHAIR Ms. Cathy Callaway Adams IMMEDIATE PAST CHAIR Mr. William E. Tucker VICE CHAIR Mr. John L. Hammaker VICE CHAIR Mr. Rhys T. Wilson VICE CHAIR Mr. Charles “Charlie” R. Yates, Jr. TREASURER Mr. Robert Dean SECRETARY Mr. Michael E. Paulhus MEMBERS Mr. Bryan H. Barnes Dante Bellizzi Mr. Andy Berg Mr. Montague L. Boyd, IV Mrs. Rosemary Kopel Brown Ms. Mary Calhoun Mr. Mario Concha Dr. Frank A. Critz Ms. Martha Thompson Dinos Mr. Robert G. Edge Ms. Bernadette Faber
MEMBERS Mr. Bryan H. Barnes Dr. Donald J. Filip Dr. Donald Mr. James B. Miller DanteMr. Bellizzi Mr. Kevin Greiner William E. PenningtonMr. Kevin G Mr. Andy Berg J. Rosenberg Mrs. Joanne Mrs. Joanne Chesler Gross Mr. Herbert L. Sharbaugh Boyd, IV Mr. Howard W. HunterMr. Montague Mr. Howard Mr. Charles Kopel Brown Mr. William Mr. William C. Hyde Mrs. Rosemary Mr. Timothy E. Sheehan Calhoun Mr. Gregory F. JohnsonMs. Mary Mr. Gregor Christine St.Clare Mr. Mario Mr. Kevin Kelly Mr. G.Concha Kimbrough Taylor,Mr. Jr. Kevin K A. CritzWinter Mr. Alfred Kennedy, Jr. Dr. Frank Mr. Alfred K Ms. Bunny Thompson Mr. Michael Keough Ms. Martha Mr. Allen W. Yee Dinos Mr. Michae Mr. Robert G. Edge Mr. George Levert Mr. George Ms. Bernadette Faber Mr. Andrew Long Mr. Andrew
HONORARY MEMBERS Mrs. Nancy Carter Bland The Very Reverend Samuel G. Candler Mr. Dieter Elsner Mr. Carl I. Gable, Jr. Mrs. Nancy Hall Green Mrs. Mary B. James Mr. Carter Joseph Mrs. Emily Knobloch
REMEMBERANCES
OFFICERS CHAIR Ms. Cathy Callaway Adams IMMEDIATE PAST CHAIR Mr. William E VICE CHAIR Mr. John L. Hammaker VICE CHAIR Mr. Rhys T. Wilson VICE CHAIR Mr. Charles “Charlie” R. Yate TREASURER Mr. Robert Dean SECRETARY Mr. Michael E. Paulhus
HONORARY MEMBERS Mrs. Peggy Mrs.McDowell Nancy Carter Bland Mr. Harmon “Sandy” B. Miller, III G. Candler The Very Reverend Samuel Mr. Bruce Roth Elsner Mr.A.Dieter Mr. J. Barry Mr. Schrenk Carl I. Gable, Jr. Mr. Mark K. Taylor Mrs. Nancy Hall Green Mr. Thomas Williams Mrs.R. Mary B. James Mr. Robert Woodruff Mr.G. Carter Joseph Mrs. Emily Knobloch
REMEMBERANCES
As we pause to reflect on the loss of several important members As we pause of thetoOpera reflectfamily, on the loss of several im we invite you to join us in celebrating these extraordinarywe individuals. invite you to join us in celebrating these e Mrs. Boyce L. Ansley Dr. James W. Bland, Jr. Mr. Donald R. and Mrs. Marilyn Keough Mr. Carl Knobloch, Jr. Ms. Barbara D. Stewart Jane S. Willson Mrs. Lorraine P. Williams
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Mrs. Dr. Ja Mr. Donald R. Mr. C Ms. B Ja Mrs. L
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S
THE ATLANTA OPERA ORCHESTRA VIOLIN I
Peter Ciaschini The Loraine P. Williams Orchestra Concertmaster
VIOLIN II Helen Kim
VIOLA
William Johnston
CELLO
Charae Krueger
PERCUSSION Michael Cebulski Butch Seivers
BANDONEÃ&#x201C;N Daniel Binelli
PIANO
Polly Ferman
CONTRACTOR Mark McConnell
BASS
Emory Clements
FLUTE
James Zellers
GUITAR
Musicians employed in this production are represented by the American Federation of Musicians of the United States and Canada.
John Huston photo: Justin Connaher for Anchorage Opera
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STAFF
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STAFF
EXECUTIVE
EXECUT
ARTISTIC & PRODUCTION
ARTISTIC
Joanna Schmink COSTUMES COORDINATOR Mary Torres FIRST HAND Anna Kate Reef FITTING ASSISTANT/SEAMSTRESS Cathriene Lindke SEAMSTRESS
Joanna Schm Mary Torre Anna Kate Cathriene L
FINANCE & ADMINISTRATION
FINANC
DEVELOPMENT
DEVELO
MARKETING & COMMUNICATIONS
MARKET
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Tomer Zvulun CEO, GENERAL & ARTISTIC DIRECTOR
Tomer Zvu
Arthur Fagen CARL & SALLY GABLE MUSIC DIRECTOR Dave Smith DIRECTOR OF PRODUCTION Wade Thomas EDUCATION MANAGER Lauren Bailey ARTISTIC ADMINISTRATOR Rolando Salazar MUSIC ADMINISTRATOR Brian August PRODUCTION STAGE MANAGER Christopher Dills PROP MASTER
Arthur Fage Dave Smith Wade Thom Lauren Bail Rolando Sa Brian Augu Christopher
Paul Deckard CHIEF FINANCIAL OFFICER Rachel Jorgensen DIRECTOR OF BUSINESS OPERATIONS Inga V. Murro CONTROLLER Ruth Strickland ADMINISTRATIVE & FINANCE COORDINATOR Amber Hamilton EXECUTIVE ASSISTANT
Paul Decka Rachel Jorg Inga V. Mu Ruth Strick Amber Ham
Sarah Zabinski SENIOR DIRECTOR OF DEVELOPMENT Rae Weimer DIRECTOR OF DEVELOPMENT Greg Carraway FOUNDATION & GRANTS MANAGER Brandon Gardner PROJECT & EVENTS MANAGER Katie Lawrence PROSPECT RESEARCH & DATA COORDINATOR Laina Bennett EXECUTIVE ASSISTANT TO THE GENERAL & ARTISTIC DIRECTOR
Scott Hazleton DIRECTOR OF MARKETING & COMMUNICATIONS Matt Burkhalter CREATIVE SERVICES MANAGER Rebecca Danis MARKETING MANAGER Renee Smiley PATRON SERVICES MANAGER Elliott Folds PATRON SERVICES ASSOCIATE Kathy Le MARKETING INTERN Avis Wampler CREATIVE SERVICES INTERN
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