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Out of Darkness: Two Remain An Opera in two Acts Jake Heggie MUSIc Gene Scheer Libretto April 5 - 15, 2018 Balzer Theater at Herrenâ&#x20AC;&#x2122;s | Theatrical outfit
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“The words of a survivor are like stars in the sky. They illuminate only a tiny piece of the past ... No matter what is spoken of the night, there will always be more darkness than light.” These lyrics from Out of Darkness: Two Remain speak to the vast resonance of the Third Reich’s atrocities that wiped out millions of people. Significant political and ethnic groups were persecuted because of their race, religion or sexual orientation. They were subjected to horrific hostility simply because of who they were. Jake Heggie’s new opera tells the powerful story of two survivors from that dark chapter in our history: a Jewish poet whose words inspired her fellow prisoners, and a gay man whose partner was executed because of his sexual orientation. Growing up in Israel in the 1980s, I was surrounded by stories of holocaust survivors. As children, we naively saw them as the outcasts with funny accents and numbers tattooed on their arms. As I grew older, I remember being obsessed with their stories and amazed at the idea that another group of human beings was capable of such hate. For whatever reason, the stories of many extinguished souls remained in darkness. Despite the ubiquity of these survival stories, we never heard tales of the 2
persecution of gays during the holocaust. Marked by pink triangles, more than one hundred thousand men and women were killed by the Nazis. Paragraph 175 in the German criminal law targeted any individual suspected of homosexuality. They could be arrested for a look or a touch, and thrown into a concentration camp. It baffles me that I knew so little about these stories until recently. Now, more than ever, it is time that we remember these people and bring their memories out of the darkness. This production is dedicated to the hundred thousand stars and many more that perished during the Third Reich. The operas in our Discoveries series are selected to ignite difficult conversations, put a mirror up to our own selves, and to find resolution or even hope. Hope, in fact, is the message of Out of Darkness: Two Remain. The final lyric beautifully illuminates this message: “The song of freedom upon our lips will never die.” Thank you for joining us and enjoy the show,
Tomer Zvulun General & Artistic Director The Atlanta Opera P.S. We recently announced our 2018-19 season with great critical and audience reception. Our Discoveries series will present Charlie Parker’s Yardbird in September, followed by the return of our popular Maria de Buenos Aires next March. When you renew your subscription, please bear in mind that only subscribers have access to Discoveries series tickets before they go on sale to the general public.
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Mr. & Mrs. Ronald R. Antinori Mr. & Mrs. Michael L. Keough Nancy & *Jim Bland Mr.* & Mrs. Carl W. Knobloch, Jr. Harold Brody & Donald Smith Mary Ruth McDonald Laura & Montague Boyd Mr. & Mrs. Jack C. McDowell John & Rosemary Brown Victoria & Howard Palefsky Mr. & Mrs. John L. Connolly Jerry & Dulcy Rosenberg Ann & Frank Critz Mr. William F. Snyder Mr. Robert P. Dean & Mr. Robert Epstein Judith & Mark Taylor Martha Thompson Dinos Triska Drake & G. Kimbrough Taylor Dr. & Mrs. Alexander Gross Rhys T. & Carolyn Wilson John L. Hammaker Ms. Bunny Winter & Mr. Michael Doyle Mr. Alfred D. Kennedy & Dr. Bill Kenny *deceased Major support for The Atlanta Opera is provided by the Atlanta 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.
OUT OF DARKNESS: TWO REMAIN MUSIC Jake Heggie LIBRETTO Gene Scheer FIRST PERFORMANCE May 22, 2016, Nordstrom Recital Hall, Benaroya Hall, Seattle CONDUCTOR Joseph Mechavich ASST. CONDUCTOR Rolando Salazar
PRODUCTION DIRECTOR Tomer Zvulun CHOREOGRAPHER John McFall
SCENIC DESIGNER Christopher Dills COSTUME DESIGNER Joanna Schmink
WIG & MAKEUP DESIGNER Melanie Steele LIGHTING DESIGNER Thomas C. Hase
CAST (IN ORDER OF VOCAL APPEARANCE) KRYSTYNA ZYWULSKA Maria Kanyova MARIOLA Jasmine Habersham MANFRED LEWIN Ben Edquist KRYSIA Bryn Holdsworth* GAD BECK Tom Key ZOSIA Elise Quagliata EDKA Gina Perregrino* DANCER Miriam Golomb DANCER Nicole Johnson
DANCER Brandon Nguyen DANCER Joshua Rackliffe
ASSISTANT DIRECTOR Brenna Corner* PRODUCTION STAGE MANAGER Brian August STAGE MANAGER Skylar Burks ASSISTANT STAGE MANAGER Renée Varnas MUSICAL PREPARATION Kirk Severtson, Valerie Pool* INSTRUMENTALISTS THE LORAINE P. WILLIAMS ORCHESTRA CONCERTMASTER CHAIR Peter Ciaschini PRINCIPAL CELLO Charae Krueger PRINCIPAL BASS Lyn DeRamus Musicians employed in this PRINCIPAL FLUTE James Zellers production are represented by the American Federation PRINCIPAL CLARINET David Odom of Musicians of the United PIANO Kirk Severtson States and Canada. *member of The Atlanta Opera Studio OUT OF DARKNESS: TWO REMAIN | An Opera in Two Acts Copyright/©2018 Bent Pen Music, Inc. Based, in part, on the true stories of two Holocaust survivors: the Polish dissident Krystyna Zywulska (1914-1993) and the gay German Jew, Gad Beck (1923-2012). Source material for the libretto includes documents and journals in the US Holocaust Memorial Museum, Zywulska’s “I Survived Auschwitz” (1946), as well as various interviews, including several collected from the film “Paragraph 175,” directed by Rob Epstein & Jeffrey Friedman (Copyright Reflexive Image, Inc. Used by Permission. All Rights Reserved.) This opera was commissioned by Music of Remembrance (Mina Miller, founder and artistic director) and made possible by a generous award from the National Endowment for the Arts and the Music of Remembrance Commissioning Circle. 9
SYNOPSIS OUT OF DARKNESS: TWO REMAIN
ACT ONE: “KRYSTYNA” Her Jewish identity hidden, Krystyna Zywulska was a political prisoner at Auschwitz-Birkenau. In secret, she composed lyrics to inspire fellow prisoners, even as she carried out her harrowing job in the Effektenkammer: cataloging the personal effects of thousands of women and children before they were murdered in the gas chambers next door. Many years after the war, she is asked by a journalist to share her stories and record them on a tape player. Haunted and helped by the ghosts of her past – Zosia, Edka, Mariola, and her younger self, Krysia – she struggles to find the words. ACT TWO: “GAD” Gad Beck’s first true love was the poet Manfred Lewin, who was 19 when he 10
and his entire family were murdered in Auschwitz. In the many years since the war, Gad has tried his best to forget what happened, but he keeps the book of Manfred’s original poems close by. As an old man, he is visited by Manfred’s ghost one night. As Manfred implores Gad to remember and celebrate their love, the painful truth of their stories and fates emerges. It is estimated that more than 100,000 men and women were imprisoned for homosexuality during the Holocaust; it is not known how many thousands were murdered. Even after the war was over, Paragraph 175, the German law prohibiting homosexuality, remained in effect until 1969. Courtesy of Bill Holab Music
OUT OF ONE HORROR, MANY STORIES
“Let’s be clear: the words of a survivor are like stars in the sky. They illuminate only a tiny piece of the past.” – Out of Darkness:Two Remain
BY NOEL MORRIS Depicting the Holocaust in the theater presents special challenges to audience members. Some may expect feelings of hopelessness, inevitability, and emotional exhaustion. American composer Jake Heggie’s Out of Darkness: Two Remain crafts a different experience. It reminds us that although countless stories emerged from that dark, dark chapter in world history, they often bring something richer, more nuanced, and more complicated. Out of Darkness grew like a vine from a collaboration between the composer and the Seattle presenter Music of Remembrance. Initially, Heggie and librettist Gene Scheer explored the persecution of homosexuals (marked by pink triangle badges). The song “A Hundred Thousand Stars” refers to the estimated number of LGBT people murdered by the Nazis. Interest in Heggie’s 2007 song cycle (For a Look and a Touch) spread, and various versions followed.
The song cycle Another Sunrise, based on the life of poet, writer, and Holocaust survivor Krystyna Zywulska, came next, debuting in Seattle in 2012. Heggie and Scheer followed that with the song cycle Farewell, Auschwitz in 2013. It’s based on Zywulska’s Holocaust-era poems. The seeds of this opera lay in the intrinsic theatricality of each work. As we’ve come to expect with Heggie, each was critically acclaimed but had a downside: As standalone dramatic works, none made for a complete evening at the theater. Opera companies found this prohibitive. “I’m a pragmatist,” Heggie says. He began thinking about the synergies between the storylines — they’re both ghost stories — and realized they belonged together. The opera then took on a life of its own. Out of Darkness premiered in 2016. Further revisions resulted in this production Out of Darkness: Two Remain. 11
NOTES FROM THE COMPOSER, JAKE HEGGIE KRYSTYNA ŻYWULSKA & WHAT IT TOOK TO SURVIVE The woman we know today, author and lyricist Krystyna Żywulska, was a Holocaust survivor with an astonishing, complex, sometimes baffling history. She was born Sonia Landau in 1914 to a Jewish family in Lódz, Poland, and was studying law at Warsaw University when World War II erupted. In 1941, she and her family were relocated to the Warsaw ghetto. Seeing an opportunity one day, Sonia and her mother walked out of the ghetto, leaving her father behind. She adopted the name Sophia Wisniewska and worked for the underground resistance until the Gestapo arrested her in 1943. Refusing to name names for the Nazis, she changed her own name to Krystyna Zywulska (born in 1918 rather than 1914) and was sent to Auschwitz-Birkenau as a political prisoner (not a Jew). She had no experience as a writer but crafted lyrics of protest and survival and set them to folk tunes and popular melodies. It was suicide to write her lyrics down, so they were passed from inmate to inmate by word of mouth. An inmate with some authority was moved by Krystyna’s work and decided to save the “camp poet.” After a year of disease and lice, Krystyna was given one of the few choice jobs inside the warehouse of personal effects. She and her co-workers took inventory and took charge of the possessions that thousands upon thousands of Jewish women and children brought with them to the camp. Often, once their possessions were taken and cataloged, the prisoners were marched to the ovens for execution. Krystyna heard the screams, saw the smoke, smelled the stench. 12
At the end of the war, during a death march when the camp was being evacuated, Krystyna escaped and survived. She chronicled the atrocities she witnessed in a startlingly candid memoir, I Came Back (also titled I Survived Auschwitz), published in 1946. She still did not claim her Jewish identity. The book is honest, revealing, and profoundly moving. It compels the reader to ponder the nature of memory and the parts of the past that remain in the shadows. Act 1 of Out of Darkness: Two Remain explores those shadows, those empty places. Krystyna Zywulska died in 1993, having reclaimed her Jewishness in the 1960s. She was interviewed late in life by Barbara Engleking for her nonfiction book Holocaust and Memory (published in Polish in 1994 and English in 2001). Krystyna’s responses to Engleking’s questions show her frustration in trying to find language that might adequately describe the enormity of what happened, or the extraordinary complexity in a fog of memories. In that interview, a woman whose words saved her life now struggled to describe what happened. This irony prompted the idea for the scenario. Of course, it is not that she couldn’t find the words. It is that none could ever truly describe what she experienced. The past is thus clouded not by a lack of willingness to define what happened, but by the limits of language itself. Like the uncertain principal that governs the quantum heart of the world, history, too, seems to be ruled by immutable paradoxes. If you measure something, you change it. If you describe something, you change it as well — even the past.
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NOTES FROM THE COMPOSER, JAKE HEGGIE
photo: United States Holocaust Memorial Museum Photograph Number: 46211; courtesy of Jizchak Schwersenz; Copyright: United States Holocaust Memorial Museum; Provenance: Jizchak Schwersenz
THE LOVE STORY OF GAD BECK & MANFRED LEWIN The persecution of gays during the Holocaust is not a topic that is much recognized or discussed. So Mina Miller [of Seattle-based Music of Remembrance] decided to take it on in a powerful and meaningful way: through music. When she called and asked me to create a new chamber composition based on this subject, I was deeply moved, excited, and hugely challenged. How on Earth could we find a way to do honor and justice to this subject? To recognize the suffering of so many in a 35-minute piece of music? The easy part was saying “Yes.” The hard part came next: the fascinating and moving journey of discovery. As an opera composer — a theater man — I told Mina I’d want to include a singer and find a narrative of some kind. She was 14
photo: United States Holocaust Memorial Museum Photo Archives
very excited about this. I looked for poetry or stories from the time of WWII about this subject but found nothing. Baffled, I looked to more recent sources and was deeply upset to discover the reason why there was no material from the actual time: Homosexuality was against the law in Germany until 1970. Even after the camps were closed and the war was over, gays were considered criminals. So after the war, they went into hiding, or got married, fled, or just tried to blend in. Silence. The literary and art world began breaking this silence in the late 1970s (Martin Sherman’s 1979 play Bent, for example). But even in 2005, when the European Parliament — the elected parliamentary body of the European Union — drafted a resolution regarding the Holocaust, any mention of gay persecution was removed. In my research, I went to the U.S. Holocaust Museum, read books about
NOTES FROM THE COMPOSER, JAKE HEGGIE the subject, and eventually came across the extraordinary documentary film Paragraph 175 by Robert Epstein and Jeffrey Friedman. The film includes testimony from several gay men who were survivors of the camps. Here they are in their 70s, 80s and 90s, telling stories they never thought they’d be able to tell. Remarkable human stories: surprising, tragic, funny, hateful, shocking. I knew I wanted to use these stories, but didn’t quite know how it would happen. During this time, Mina Miller also sent me a link to the Holocaust Museum website that featured the journal of Manfred Lewin, a gay Jew who was murdered at Auschwitz with his entire family. That’s when I realized I needed a librettist to help put this all together. The elements were there, just not the story.
I chose the instruments in the ensemble because I wanted a variety of color so that I could include elements of jazz and swing, lyrical as well as the gritty instrumentation, and the percussive possibilities of the piano including using the inside of the piano. It is Manfred’s phrase “Do you remember?” that established the tone of the piece for me. In our story, Gad wants only to forget the horrors he lived through; Manfred, as a ghost, wants only to be remembered and wants Gad to remember their powerful, timeless love. There is a play between past and present. Musically, that was filled with rich possibilities. I found a tune for “Do you remember?” that served as the anchor of the piece. Most of the other material in the piece is connected to that tune.
I had just worked with Gene Scheer on a new song cycle, and we were planning to write an opera together, so I asked him if he’d be interested. He was eager to do so. Gene is a tremendously gifted man, a songwriter, as well as a librettist and lyricist. I shared with him the film Paragraph 175 and the books I’d found. He found books I didn’t know about, and Manfred Lewin’s journal, too. He was so excited when he read some of Manfred’s beautiful poetry, and he called me right away. The journal was written for Gad Beck, who penned an autobiography and is a storyteller in Paragraph 175. Manfred and Gad were lovers as teenagers in Berlin until Manfred and his family were taken. In their love affair, we found the seeds of our story. We came up with the idea of an actor to play Gad in the present day, while the baritone would sing the role of Manfred. He would appear to Gad as a ghost one night. And through the two of them, we’d be able to share the stories from Paragraph 175 and the poetry of Manfred’s journal.
Inverted deep pink triangle badge printed with a black letter T intended for use as a prisoner identification badge in Langenstein-Zwieberge concentration camp. The pink identified an accused homosexual. The letter could indicate nationality; T may be for Czechoslovakian. This badge was one of many found by Lt. Colonel Charles F. Ottoman, U.S. Army, on April 22, 1945, after the camp was liberated. It was used as evidence for Case No. 117 “Alleged atrocities at Zwieberge Malachit Concentration Camp” at the subsequent Nuremberg War Crimes Trials held in Dachau in 1947 United States Holocaust Memorial Museum Accession Number: 1991.198.7; Gift of the National Archives and Records Administration
CAST & CREATIVE JOSEPH MECHAVICH CONDUCTOR ATLANTA OPERA DEBUT
Conductor Joseph Mechavich’s passion and commitment to excellence in the art form has helped him to forge strong personal and careerdefining relationships with a number of opera companies and orchestras in the United States and abroad. Maestro Mechavich has presided over productions of Porgy and Bess for Deutsche Oper Berlin, Nixon in China for Auckland Philharmonia/New Zealand Opera, Il barbiere di Siviglia for the Washington National Opera, Madama Butterfly for New York City Opera, Florencia en el Amazonas for Arizona Opera and Roméo et Juliette for Florida Grand Opera. “You rarely hear this score with the kind of big-boned force with which Gounod wrote it, but Mechavich let it rip, with first-rate results.” (Palm Beach Artspaper). Engagements for the 2016-17 season included the world premiere of Riders of the Purple Sage for Arizona Opera, Turandot for Calgary Opera, and Madama Butterfly and Die Entführung aus dem Serail for Kentucky Opera, and leading Madison Opera’s Opera in the Park concert. The 2017-18 season includes Ariadne auf Naxos and Dead Man Walking with Kentucky Opera, Eugene Onegin with the Curtis Institute of Music, Moby Dick with Utah Opera, and Florencia en el Amazonas with San Diego Opera.
TOMER ZVULUN PRODUCTION DIRECTOR
ATLANTA OPERA DEBUT: THE FLYING DUTCHMAN, 2009 General & Artistic Director of The Atlanta Opera since 2013, Israeliborn 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 Seattle, San Diego, Minnesota, Boston, Cleveland, Dallas, Cincinnati, Pittsburgh, Buenos Aires, Wexford, New Orleans, and Wolf Trap, as well as leading educational institutes and universities such as The Juilliard School, Indiana University, Boston University, and IVAI in Tel Aviv. Since taking the leadership in Atlanta he increased the operations of the company from 12 to 32 performances a season, while stabilizing the financials. Some of his noted achievements include launching the successful Discoveries series, a program that presents new contemporary works and rarely done operas in alternative venues, creating the first young artist program in the company’s history, and doubling the company’s annual fundraising. His work at The Atlanta Opera earned the company an international reputation and numerous awards and prizes. These include the nomination of The Atlanta Opera for the 2016 International Opera Awards in London and the selection of the acclaimed Discoveries series as Atlanta Best 2015 by The Atlanta Journal-Constitution and Silent Night for Atlanta Best of 2016. 16
CAST & CREATIVE JOHN MCFALL CHOREOGRAPHER
ATLANTA OPERA DEBUT
John began his choreographic career while a principal dancer with San Francisco Ballet. Many commissions followed across North America, including premieres by National Ballet of Canada, Houston Ballet, Dance Theater of Harlem, Oakland Ballet, and Hubbard Street Dance Company of Chicago. John also received an invitation from Mikhail Baryshnikov to premiere two ballets for American Ballet Theater. Baryshnikov was featured in a duet with Robert LaFosse titled “Follow the Feet.” John’s first commission by an Opera Company was San Francisco Opera’s U.S. of America twin bicentennial world premiere of Wallace Stegner’s Pulitzer Prize-winning novel Angle of Repose. Music composed by Andrew Imbrie with libretto by Oakley Hall. John also choreographed and performed in Aida, for the Seattle Opera. In 1995, John became artistic director/CEO of Atlanta Ballet. He immediately moved the organization into a new facility to establish Atlanta Ballet Centre for Dance Education. He then established a multicultural dance curriculum that engaged the community. Over time this helped develop the Dance Centre into a National Dance Institute. With local and national foundation support, he established dance programs in the public schools. Bringing arts education into the academic setting created enthusiasm and inspired students to learn. His keen interest in programming innovative and original works for Atlanta Ballet led to collaborations with such artists as the Indigo Girls and Andre Patton (Big Boi) from Outkast. Balancing classical dance with some of the most imaginative and creative choreography from around the world became a McFall trademark.
CHRISTOPHER S. DILLS SCENIC DESIGNER
ATLANTA OPERA DEBUT: MARIA DE BUENOS AIRES, 2017 Christopher holds a B.F.A. in theatre design and technology from Columbus State University and a M.F.A. in scenic design from Boston University. He has taught, worked, managed, and/or designed professionally across the country, including at Interlochen Center for the Arts, Boston Lyric Opera, the Omaha Theater Company, Parallel 45 Theater Company, Out of Box Theatre, Atlanta Lyric Theatre, the Lakes Area Music Festival, and Cornerstone Theater Company. He is currently resident scenic design associate and properties coordinator for The Atlanta Opera and works as a freelance scenic designer in metro Atlanta. You may have seen his scenic design work in Maria de Buenos Aires, The Secret Gardener, and The Seven Deadly Sins. He values the power that the performing arts can have in bringing communities together, and believes in the power of the human imagination and the longevity of personal connections! christopherdills.com 17
CAST & CREATIVE JOANNA SCHMINK COSTUME DESIGNER ATLANTA OPERA DEBUT: COSI FAN TUTTE, 2000
Joanna Schmink has designed and coordinated costumes for The Atlanta Opera for more than 25 seasons. She has created original work for mainstage productions of Cosi fan tutte, Fidelio, Cold Sassy Tree, La rondine, La traviata, Porgy and Bess, Romeo and Juliet, and many others. Her designs also have been presented in the Discoveries series productions of Three Decembers, Maria de Buenos Aires, and The Seven Deadly Sins. She also designs for the Alliance Theatre, Theatrical Outfit, Aurora Theatre, Horizon Theatre, and 7 Stages. Her work in regional companies includes productions with Alabama Shakespeare Festival, Memphis Ballet, Augusta Ballet, and Music Mansion Theater.
THOMAS C. HASE LIGHTING DESIGNER
ATLANTA OPERA DEBUT: ROMEO & JULIET, 2016 Thomas C. Hase has designed for many opera companies in the United States: Santa Fe Opera, Seattle Opera, Boston Lyric Opera, Florida Grand Opera, Opera Philadelphia, Minnesota Opera, Washington National Opera at the Kennedy Center, Dallas Opera, and Los Angeles Opera. He also has worked with theaters throughout the United States: Chicago Shakespeare Theatre, Cincinnati Playhouse, Milwaukee Repertory Theater, Indiana Repertory Theatre. In New York, his work has been seen on Broadway in Company (Tony Award best revival), off-Broadway with Ping Chong & Company, New York City Opera, and BAM Next Wave Festival. He has designed around the world: Theater Erfurt; Bayerische Staatsoper; Staatstheater Kassel; Deutsche Oper am Rhein; Stadttheater Giessen; Barbican Centre and Sadler’s Wells in London; Opera North in the United Kingdom; The Abbey Theater and Riverdreams in Dublin; Malmö Opera in Sweden; the Dutch, Finnish and Columbian National Operas; Stageholdings and the Nationale Reisopera in Holland; Opéra de Marseille; Canadian Opera Company; the Luminato Festival in Toronto; Singapore Arts Festival; and Tokyo Metro Arts Center. He has lead the lighting and lighting design team for Cincinnati Opera for 21 years. More information is available at Haseltd.com. 18
CAST & CREATIVE MELANIE STEELE WIG & MAKEUP DESIGNER ATLANTA OPERA DEBUT: THE GOLDEN TICKET, 2011
Melanie Steele is excited to return to The Atlanta Opera as wig and makeup designer. Since moving to Atlanta in 2013, she has enjoyed working with this company as well as at the Fox Theatre, Alliance Theatre, Aurora Theatre, and Atlanta Ballet. Before moving to the area, Melanie toured with The Lion King after working Broadway national tours of Aida, Mamma Mia!, Jersey Boys, Wicked, Spamalot, The Phantom of the Opera, and The Producers. Since getting her start at the Santa Fe Opera in 1997, she has designed wigs and makeup at Austin Opera, Central City Opera, Spoleto Festival USA, Baltimore Opera, Kentucky Opera, Michigan Opera Theater, Bard Summerscape, Opera Festival of New Jersey, Opera Pacific, Opera Company of North Carolina, and Opera Saratoga, as well as giving master classes to upand-coming opera students. Some of Melanie's work can be seen in Opera News, Makeup Artist Magazine, Seventeen, Time, Newsweek, and Texas Monthly magazine.
MARIA KANYOVA KRYSTYNA ZYWULSKA ATLANTA OPERA DEBUT
Maria Kanyova earned her undergraduate degree (B.M.E. choral, 1988) at UMKC, studying with Inci Bashar, and her M.M. and D.M.A. at the University of Kansas, where she was assistant professor of voice. Critics have called her as an extraordinary singing actress. Her career has encompassed a wide variety of roles. Violetta in Verdi’s La traviata remains one of her signature roles, she has performed it with Lyric Opera of Chicago, New York City Opera, Portland Opera, Utah Opera, and Intermountain Opera Company. Madama Butterfly is another mainstay in Kanyova’s list of leading roles. A strong supporter of new music, she has created many new roles, as well as reprising major contemporary opera. She performed Pat Nixon in the Lyric Opera of Kansas City’s production of Nixon in China. In addition to leading roles in the operas of Bolcom, Corigliano, Picker, Previn, and Ran, she performed her most recent world premiere with the San Francisco Opera in the role of Miriam in Mark Adamo’s The Gospel of Mary Magdalene. Kanyova has performed as a soloist with various symphonies throughout her busy operatic career, including appearances with the Boston Symphony, Baltimore Symphony, Phoenix Symphony, Grant Park Music Festival, Ravinia Festival, Music of the Baroque, Minnesota Symphony, and the North Carolina Symphony. 19
CAST & CREATIVE BRYN HOLDSWORTH KRYSIA
SECOND YEAR STUDIO ARTIST ATLANTA OPERA DEBUT: SILENT NIGHT, 2016 Praised by The New York Times for her “limpid-toned, articulate soprano,” Bryn Holdsworth is garnering attention on stages around the country. She sang Marie (cover) in The Daughter of the Regiment, and Pamina in the Atlanta Opera Studio Tour of The Magic Flute. In the 2016-17 season, she made her debut with the Atlanta Opera Studio as Norina in Don Pasquale, Madeleine in Silent Night, and Clorinda in the Studio Tour of Cinderella. She made her Lincoln Center debut at Alice Tully Hall as the soprano soloist in Orff’s Carmina Burana with the New York City Master Chorale. She also performed as soloist for the Oratorio Society of New York’s presentation of Mahler’s 8th Symphony under the baton of Kent Tritle. Other operatic credits include Andromède in Persée et Andromède, Rachel Dowling in Patience and Sarah, Micaëla in La tragédie de Carmen, and the title role in La Doriclea. Ms. Holdsworth’s training includes performing with the International Vocal Arts Institute, the Institut Canadien d’Art Vocal, and Marilyn Horne’s The Song Continues at Carnegie Hall. A recent graduate of Manhattan School of Music, she was awarded the prestigious Rodgers and Hammerstein/Richard Rodgers Scholarship as well as the ASCAP Foundation Fran Morgenstern Davis Scholarship.
ELISE QUAGLIATA ZOSIA ATLANTA OPERA DEBUT
Mezzo-soprano Elise Quagliata recently received critical acclaim as Carmen with Utah Opera. She also received high praise as Hedda Hopper in New York City Opera’s production of Wallace’s Hopper’s Wife. As Carmen in NYCO’s Carmen, she did several European, North American, and Asian tours. In her recent performance of Maria in Maria de Buenos Aires, Opera News called Quagliata’s performance “blazing” and praised her “sensuous character with striking commitment.” Quagliata has sung Sister Helen Prejean in Heggie’s Dead Man Walking with Des Moines Metro Opera, Pensacola Opera, Union Avenue Opera, DePaul University, and the Modern American Music Project. Career highlights include Olga in Eugene Onegin, Hannah After in As One, and the Muse/Nicklausse in Les contes d’Hoffmann at Des Moines Metro Opera; Mrs. Lovett in Sweeney Todd, Jo in Little Women, Suzuki in Madama Butterfly, and the title role of Carmen with Pensacola Opera; Penelope in Il ritorno d’Ulisse with Opéra Louisiane; Fricka in Das Rheingold and Die Walküre with Union Avenue Opera; Carmen in La tragedie de Carmen with Opera Omaha; and Cornelia in Giulio Cesare with Florida Grand Opera. She has also sung Joan Clarke in Chen’s The Life and Death(s) of Alan Turing and Hubert Page in Soluri’s Albert Nobbs. Quagliata has appeared as mezzo soloist with the Jacksonville Symphony, Orquestra Filarmônica de Minas Gerais, the Reno Philharmonic, the Santa Barbara Symphony, the American Symphony Orchestra, and the Virginia Symphony, among others. 20
CAST & CREATIVE GINA PERREGRINO EDKA
FIRST YEAR STUDIO ARTIST ATLANTA OPERA DEBUT: THE SEVEN DEADLY SINS, 2017 Praised by Opera News as a “standout,” young mezzo-soprano Gina Perregrino has already garnered attention nationwide for her colorful timbre and expressivity. This season with The Atlanta Opera, she was heard singing Anna I in Weill’s The Seven Deadly Sins, and covered the Marquise of Birkenfeld in The Daughter of the Regiment. Last season, she was heard at Minnesota Opera singing Stéphano in Roméo et Juliette and Clizia in L’arbore di Diana, and covering Lucy Talbot in the world premiere of Dinner at Eight. She joined Guatemala’s Lyric Opera where she sang Maddalena in Rigoletto. She also made her debut with Central City Opera performing the title role in Bizet’s Carmen. She was a soloist with the Cincinnati May Festival as part of the Dream Project. In 2016, she made her debut with Opera Theatre of Saint Louis singing Blindwoman in the world premiere of Shalimar the Clown, and covering Composer in Ariadne auf Naxos. She is a graduate of the Manhattan School of Music, and will be an apprentice artist at the Santa Fe Opera this summer, where she will sing Paquette in Bernstein’s Candide.
JASMINE HABERSHAM MARIOLA ATLANTA OPERA DEBUT: THE PIRATES OF PENZANCE, 2016
Jasmine Habersham, soprano, is a native of Macon. She has sung the roles of Pip in Moby Dick (Utah Opera), Pamina in The Magic Flute: Opera on the Go (Opera Theater St. Louis), Papagena in Die Zauberflöte (Cincinnati Opera), Yum-Yum in The Mikado (Kentucky Opera), Esther in Intimate Apparel (Cincinnati OperaFusion), Clara in Porgy and Bess (Utah Festival of Opera and Musical Theater), and Edith in The Pirates of Penzance (The Atlanta Opera). She has received numerous awards, including an Encouragement Award (2013 Southeast Metropolitan Opera National Council Auditions), the Strauss Award (National Orpheus Competition), John Alexander Memorial Award (CCM), Young Artist Guild Award (Central City Opera), and as a finalist for the 2017 Lotte Lenya Competition. She also has appeared as a young artist at the Glimmerglass Festival, Kentucky Opera, Central City Opera, and the Brevard Music Center. Jasmine is graduate of Shorter University and received her Master’s and Artist Diploma from the University of Cincinnati College-Conservatory of Music. During her studies at CCM, she performed the roles of Despina in Cosi fan tutte, Norina in Don Pasquale, Mrs. Julian in Owen Wingrave, and Pearl in Morning Star. This summer, Jasmine will perform the role of Lucy in Gregory Spears’ Fellow Travelers at Minnesota Opera. 21
CAST & CREATIVE BEN EDQUIST MANFRED LEWIN ATLANTA OPERA DEBUT
American baritone Ben Edquist, a recent graduate of the distinguished Houston Grand Opera Studio, was named one of OperaNow’s “Ten Young Opera Singers to Watch” in 2016. His roles with Houston Grand Opera include Belcore in L’elisir d’amore, Pilot in The Little Prince, Jigger Craigin in Carousel, Wagner in Faust, the Captain in Eugene Onegin, Sciarrone in Tosca, Marchese d’Obigny in La traviata, and Older Thompson in Cipullo’s Glory Denied. With Houston Grand Opera, Edquist originated the roles of Sir Walter Raleigh in Gregory Spears’ O Columbia, the baritone Angel in Heggie’s It’s a Wonderful Life, and Edward Kynaston in Carlisle Floyd’s Prince of Players. Recent performances include William in The Fall of the House of Usher, the Father in The Juniper Tree, and Antonio in Il viago a Reims with Wolf Trap Opera, and a return to Glimmerglass Opera to perform Jigger Craigin, and Papageno in a new production of Die Zauberflöte. Future performances include a debut with Garsington Opera as Remo in the world premiere of David Sawer’s The Skating Rink, William Dale in Silent Night with Austin Opera, and Bernardo in West Side Story with Grand Teton Music Festival, conducted by Donald Runnicles.
TOM KEY GAD BECK
ATLANTA OPERA DEBUT: THE ABDUCTION FROM THE SERAGLIO, 2016 Tom Key has served as artistic director of Theatrical Outfit since 199,5 where his drive to tell “stories that stir the soul” has developed the company into one of Atlanta’s major performing arts institutions. He has appeared in more than 100 productions from off-Broadway to Los Angeles, including, the Alliance Theatre (Art, Grapes of Wrath, Candide, Our Town, A Christmas Carol); Atlanta Symphony Orchestra (The Defiant Requiem); Kenny Leon’s True Colors Theatre; and Arena Stage in Washington, D.C. (Guess Who’s Coming to Dinner); The Atlanta Opera (The Abduction from the Seraglio); and Theatrical Outfit (Big River, Young Man From Atlanta, Red). He has performed his solo dramatization, C.S. Lewis On Stage, across North America, including residencies at Harvard, Yale, Cambridge, and Oxford universities. At Theatrical Outfit, he has directed numerous productions, including Horton Foote’s Dividing the Estate (ArtsATL “Best Production of the 2013-14 Season”), Godspell, and Memphis. He is celebrated nationally for creating, starring in, and co-authoring with Russell Treyz and Harry Chapin the off-Broadway musical hit Cotton Patch Gospel. He has received The Governor’s Award in the Humanities; the Georgia Arts and Entertainment Legacy Award, Two Dramalogue Awards for Outstanding Contribution to the Theater, and two Mayoral proclamations for his service to the city of Atlanta. 22
CAST & CREATIVE MIRIAM GOLOMB DANCER
Miriam started her training in Philadelphia at the Olga Kresin Ballet School. At age 15, she was chosen to compete at the XI International Ballet Competition, held in Moscow at the Bolshoi Theatre. She continued her education at the North Carolina School of the Arts, and spent summers training all over the world. Miriam has danced professionally with the Louisville Ballet, Ohio Dance Theatre, Columbia Classical Ballet, The Alabama Ballet, and The Georgia Ballet. She was a founding member of Proia Dance Project, and has performed as a guest artist with Tanz Farm and Fly on a Wall. In 2017, she created a traveling workshop series “The Art of Dance: An Introduction to Movement and Beginning Ballet Technique,” an all-levels experience facilitating mindfulness and joy through dance movement in a supportive and joyful environment.
NICOLE JOHNSON DANCER
Nicole Johnson is an Atlanta native who trained at The Atlanta Ballet Centre for Dance Education and joined Atlanta Ballet in 2006. In 2009, she began to explore more contemporary work with dance maker Lauri Stallings, and this led to the formation of gloATL, a platform for contemporary movement. She has had the opportunity to work intimately with a number of artists across many mediums and this has given her the understanding that all work is truly collaborative at heart. Alongside her career as a performer, she has been teaching dance since 2003, primarily focusing on ballet and contemporary technique. She began teaching at Callanwolde in the summer of 2016, and is the cocoordinator of Callanwolde’s School of Dance.
BRANDON NGUYEN DANCER
Brandon is a native of Fort Worth, Texas, and received his dance training at the Houston Ballet Ben Stevenson Academy. He has danced with Atlanta Ballet, Orlando Ballet, and Cirque du Soleil. He has enjoyed dancing works by John McFall, Stanton Welch, Ohad Naharin, James Kudelka, Helen Pickett, Sean Nguyen-Hilton, George Balanchine, and Douglas Lee. He is also a licensed massage therapist and enjoys helping people heal, relax, and discover! He is very grateful to his family and to his past, present, and future teachers.
JOSHUA RACKLIFFE DANCER
Joshua Rackliffe is a performance-based artist from Mableton. He received his Bachelor of Arts in dancemaking from Columbia College Chicago, and relocated to Atlanta shortly after. He is in his sixth season as a full-time dance artist with Core Dance. Under the artistic direction of Sue Schroeder, he has been able to dance, choreograph, teach, and travel. When not working at Core, he can be found collaborating with local artists and spends the evenings working as alter ego and “Atlanta’s Best Drag Queen” Brigitte Bidet. 23
BOARD OF DIRECTORS OFFICERS
CHAIR Ms. Cathy Callaway Adams VICE CHAIR Mr. Charles “Charlie” R. Yates, Jr. IMMEDIATE PAST CHAIR Mr. William E. Tucker TREASURER Mr. Robert Dean VICE CHAIR Mr. John L. Hammaker SECRETARY Mr. Michael E. Paulhus VICE CHAIR Mr. Rhys T. Wilson
Ms. Elizabeth Adler Mr. Bryan H. Barnes Mr. 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
Mr. Dieter Elsner Dr. Donald J. Filip Mr. Kevin Greiner Mrs. Joanne Chesler Gross Mr. Howard W. Hunter Mr. Gregory F. Johnson Mr. Kevin Kelly Mr. Alfred Kennedy, Jr. Mr. Michael Keough Mr. Andrew Long Mr. James B. Miller
Mrs. Nancy Carter Bland The Very Reverend Samuel G. Candler Mr. Carl I. Gable, Jr. Mrs. Nancy Hall Green Mrs. Mary B. James
Mrs. Sandra S. Morelli Mr. William E. Pennington Mr. Herbert J. Rosenberg Mr. Charles Sharbaugh Mr. Timothy E. Sheehan Mr. Alex Simmons, Jr. Mr. William F. Snyder Mrs. Christine St.Clare Mr. G. Kimbrough Taylor, Jr. Ms. Bunny Winter
Mr. Carter Joseph Mrs. Emily Knobloch Mr. George Levert Mrs. Peggy McDowell Mr. Harmon “Sandy” B. Miller, III
Mr. Bruce A. Roth Mr. J. Barry Schrenk Mr. Mark K. Taylor Mr. Thomas R. Williams Mr. Robert G. Woodward
110 Shade in THE
Based on the play The Rainmaker by N. Richard Nash
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Tomer Zvulun CEO, GENERAL & ARTISTIC DIRECTOR Micah Fortson MANAGING DIRECTOR
Arthur Fagen CARL & SALLY GABLE MUSIC DIRECTOR Lauren Bailey DIRECTOR OF ARTISTIC ADMINISTRATION Jessica Kiger AUDIENCE DEVELOPMENT & EDUCATION MANAGER Rolando Salazar ASSISTANT CONDUCTOR/INTERIM CHORUS MASTER/ MUSIC ADMINISTRATOR Wade Thomas ARTISTIC SERVICES & STUDIO MANAGER Mark McConnell ORCHESTRA PERSONNEL MANAGER Adelaide Federici ORCHESTRA LIBRARIAN
Dave Smith DIRECTOR OF PRODUCTION Jody Cohen PRODUCTION COORDINATOR Brian August PRODUCTION STAGE MANAGER RenÃ©e Varnas RESIDENT ASSISTANT STAGE MANAGER Justin Michel LIGHTING SUPERVISOR Christopher Dills RESIDENT SCENIC DESIGNER/PROPS COORDINATOR Joanna Schmink COSTUMES COORDINATOR Mary Torres FIRST HAND Abigail Polston CUTTER/DRAPER Alexandra M. Nattrass STITCHER Laura Elizabeth Payne STITCHER
FINANCE & ADMINISTRATION
Inga V. Murro CONTROLLER Kenneth R. Timmons HUMAN RESOURCES & OFFICE MANAGER Ruth Strickland BOOKKEEPER Laina Bennett EXECUTIVE ASSISTANT TO THE GENERAL & ARTISTIC DIRECTOR
Rae Weimer DIRECTOR OF DEVELOPMENT Rachel Jorgensen DIRECTOR OF DEVELOPMENT OPERATIONS Daniel Britt MAJOR GIFTS OFFICER Greg Carraway FOUNDATION & GRANTS MANAGER James Tyson ANNUAL FUND MANAGER Brandon Gardner PROJECT & EVENTS MANAGER Katie Lawrence DEVELOPMENT SERVICES & DATABASE MANAGER
MARKETING & COMMUNICATIONS
Holly Hanchey DIRECTOR OF MARKETING Scott Hazleton DIRECTOR OF MEDIA & COMMUNICATIONS Renee Smiley SENIOR MANAGER, TICKETING SERVICES Matt Burkhalter CREATIVE SERVICES MANAGER Rebecca Danis MARKETING MANAGER 26
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