THE ATLANTA OPERA :: SEPTEMBER 2018 :: "CHARLIE PARKER'S YARDBIRD"

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WELCOME Maison Rouge at Paris on Ponce (and don’t wait to buy your tickets, because they sell out quickly).

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“And the mystery of love is greater than the mystery of death.”

— Oscar Wilde, 1902, Salome One of the reasons that I always find opera so powerful is that it is all about sharing a compelling story through the beauty of the human voice. The staging, the costumes, the sets, and even the physical performance space serve that mission, and each presents an opportunity for our creative team to maximize the story’s impact.

Today’s audience expects fluidity between entertainment, interactivity, multiculturalism, and the latest technology. That’s why we’re launching new and cutting-edge productions for each of the operas this year, tapping into that fluidity to go straight to the heart.

Through an ambitious series of partnerships with opera companies across the globe, including Houston Grand Opera, Washington National Opera, Seattle Opera and the Israeli Opera, we are pooling resources to co-create productions.

We’re also expanding beyond the large theater to bring together audience and performer in a more immersive and authentic way. What do I mean by that?

Two of our shows — the sensuous tango opera Maria de Buenos Aires and Charlie Parker’s YARDBIRD — take place in a nightclub. And that’s where you’ll see them. We’re staging both shows at Le 2

For The Atlanta Opera, bringing diverse cultures to the stage isn’t just about appealing to different communities, it’s who we are. Multiculturalism — working with different languages, in different musical styles in settings across the globe — has been opera’s currency for 400 years. And no time has ever been better for opera than today — you only have to look at the diversity of music on people’s smartphones to imagine the possibilities.

These days, The Atlanta Opera is in expansion mode. We welcome Georgia native Jamie Barton, one of the most sought-after mezzos in the world, to star in her role debut as Sister Helen Prejean in Jake Heggie’s gripping death-row drama Dead Man Walking.

The wonderful American tenor William Burden makes his company debut in Tchaikovsky’s Eugene Onegin, and and Czech soprano Zuzana Markova, a rising star, makes her American debut as Violetta in Verdi’s La traviata.

Don’t be surprised if you see yourself in each of these shows, because they’re all about something that every human being understands: love. Love, in all its shades and aspects cycles through every opera, stirring up stories as universal as they are unique. For as Wilde said, “the mystery of love is greater than the mystery of death.”

It’s exactly what keeps opera lovers coming back for more.

We’re glad you’re here. Tell your friends about us and come back often.

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

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DISCOVER THE SPIVEY DIFFERENCE

2018-2019 Concert Series Clayton State University

THOUSANDS OF MILES SIMON KEENLYSIDE, baritone KATE LINDSEY, mezzo–soprano MALCOLM MARTINEAU, piano BAPTISTE TROTIGNON, piano Sunday, December 2 Sunday, November 11

THE KING’S SINGERS: CHRISTMAS GOLD Saturday, December 8

SARAH SHAFER, soprano RICHARD GOODE, piano Sunday, March 31

For tickets or more information call (678) 466-4200 or visit

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Mayor’s Office of Cultural Affairs

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.

THE ATLANTA OPERA DIRECTOR’S CIRCLE Cathy & Mark Adams Mr. & Mrs. Ronald R. Antinori - The Antinori Foundation Nancy & *Jim Bland Laura & Montague Boyd Dr. Harold Brody & Mr. Donald Smith John & Rosemary Brown Mr. & Mrs. John L. Connolly Ann & Frank Critz Mr. Robert P. Dean & Mr. Robert Epstein Martha Thompson Dinos Dr. & Mrs. Alexander Gross John L. Hammaker Mr. Howard W. Hunter - Gramma Fisher Foundation Mr. & Mrs. Michael L. Keough 6

*Mr. & Mrs. Carl W. Knobloch, Jr. Mr. & Mrs. Jack C. McDowell James B. Miller, Jr. - Fidelity Southern Victoria & Howard Palefsky Mr. William Pennington Jerry & Dulcy Rosenberg Mr. William F. Snyder Judith & Mark Taylor Triska Drake & G. Kimbrough Taylor Trimont Real Estate Advisors - Brian & Marie Ward Rhys T. & Carolyn Wilson Ms. Bunny Winter & Mr. Michael Doyle The Mary & Charlie Yates Family Foundation *deceased

CHARLIE PARKER’S YARDBIRD MUSIC Daniel Schnyder LIBRETTO Bridgette A. Wimberly FIRST PERFORMANCE June 5, 2015, Opera Philadelphia, Perelman Theater, Philadelphia CONDUCTOR Clinton Smith STAGE DIRECTOR Omer Ben Seadia SCENIC DESIGNER Christopher S. Dills COSTUME DESIGNER Joanna Schmink LIGHTING DESIGNER Joe Beumer WIG & MAKEUP DESIGNER Lindsey Ewing CAST (IN ORDER OF VOCAL APPEARANCE) CHARLIE PARKER Martin Bakari Sept. 27, 29; Oct. 3, 5, 7 CHARLIE PARKER Joshua Stewart Sept. 28, 30; Oct. 2 BARONESS PANNONICA “NICA” DE KOENIGSWARTER Gina Perregrino ADDIE PARKER Angela Brown REBECCA PARKER Chrystal E. Williams DORIS PARKER Maria Valdes DIZZY GILLESPIE Sidney Outlaw CHAN PARKER Rachel Sterrenberg SUPERNUMERARY David Van Mersbergen ORCHESTRA CLARINET/ALTO SAX John Warren Principal (acting) BASS Lyn DeRamus Principal HORN Jason Eklund Principal (acting) TRUMPET Yvonne Toll Principal TRUMPET Anderson Romero Musicians employed in this TROMBONE Mark McConnell Principal production are represented by the PERCUSSION Michael Cebulski Principal American Federation of Musicians PIANO Scott Gendel of the United States and Canada.

Additional funding in support of The Loraine P. Williams Orchestra Concertmaster Chair ASSISTANT DIRECTOR Conor Hanratty*† MUSICAL PREPARATION Scott Gendel, Mauro Ronca* PRODUCTION STAGE MANAGER Brian August ASSISTANT STAGE MANAGER Renée Varnas *member of The Atlanta Opera Studio †The Jerry & Dulcy Rosenberg Young Artist Stage Director, given in honor of Tomer Zvulun Performed in English with English supertitles Approximate running time: 1 hour, 30 minutes with no intermission.

Cover photo: Dominic M. Mercier 7

A HISTORICAL INTRODUCTION Portrait of Charlie Parker, Carnegie Hall, New York, N.Y., ca. 1947 photo: William P. Gottlieb/ Ira and Leonore S. Gershwin Fund Collection, Music Division, Library of Congress.

BY BRIDGETTE A. WIMBERLY On March 9, 1955, on his way to a gig in Boston, jazz great Charlie Parker stopped at the Stanhope Hotel to visit his friend and jazz patron, the Baroness Nica de Koenigswarter. He was near death; decades of heroin addiction, alcoholism, a bad heart, cirrhosis, and depression had taken their toll. His wife, Chan, had left him and moved to another state with their remaining children after the devastating death of their 2-year old daughter, Pree. For the next few days, Nica would try her best to nurse him back to health, soliciting the help of her physician, who warned Charlie that he should be hospitalized or risk death, but Charlie refused. On March 12, while watching television, Charles Parker Jr. died at age 34. His death certificate listed the cause of death as lobar pneumonia.

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No good deed goes unpunished. The facts about Parker’s untimely death and what happened to him postmortem created a media sensation that followed the Baroness for the rest of her life. These accusations included the deliberate misidentification of his body with the wrong name and age on his toe tag, the amount of time it took to get his body to the morgue (about five hours), and why Nica did not tell anyone he had passed, allowing his body to lay unclaimed for days. Because Nica was part of the Rothschild family (one of the richest families in the world) her actions were attributed to covering up the scandal of a black man dying in a wealthy, married, white woman’s hotel suite. Nica vehemently countered, stating she was only trying to help a sick friend get well and had immediately called the doctor when it appeared that he had passed. Charlie was taken to Bellevue Hospital morgue with his correct name, and Nica said she wanted to find Chan to let her know about his death first, from a friendly source, before the newspapers or radio announced it.

Nica searched all of New York, but Chan had moved to Pennsylvania. It wasn’t until Nica was able to find and notify Chan’s mother that she found out, adding a day or two more to Charlie’s stay in the morgue. As soon as Chan claimed his body, however, Charlie’s third wife, Doris, claimed him because Charlie and Chan had not legally married. As they fought over his body and, for decades, his estate, Nica was evicted from the Stanhope, a segregated hotel, and disinherited by her family. Her husband later divorced her and took custody of their youngest children.

Courtesy of Opera Philadelphia

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SYNOPSIS Tenor Lawrence Brownlee as Charlie Parker and soprano Rachel Sterrenberg in her professional debut as Chan Parker in the world premiere of Charlie Parker’s YARDBIRD. photo: Dominic M. Mercier

BY BRIDGETTE A. WIMBERLY Imagine having an opportunity to realize one final dream before you die. Charlie Parker often talked about writing new music for an orchestra of 40 or more. He had already accomplished quite a bit. But as of March 12, 1955, this had eluded him. As his body lies misidentified in the morgue, Charlie’s ghost enters Birdland, a 500-seat club named after him that also featured caged finches as decor. Celebrities like Marilyn Monroe, Frank Sinatra, and Joe Louis could be seen there regularly.

Owning no part of Birdland, Charlie was kicked out in 1954 after an altercation with another musician. On March 4, 1955, he made his final appearance there.

Eight days later he was dead.

His spirit, both surprised and inspired, now stands in this new Birdland. Here, he will create his final masterpiece. He is interrupted by Nica, who appears frantically in search of his wife, Chan, so she can tell her Charlie is dead. Charlie needs all the time available to write. Nica, on the other hand, needs Chan to claim Charlie’s body and end the potential nightmare of the press announcing that he has died in her hotel suite. Charlie tries to write, but the notes will not stay on the paper. As a master 10

of improvisation, Charlie long realized that the 12 semitones of the chromatic scale could lead melodically to any key, freeing musicians from the 12-bar blues.

Needing a new freedom, Charlie is visited and inspired by people who have meant much in his life. With the inspiration of his strong mother, Addie; three of his four wives, Rebecca, Doris, and Chan; and Dizzy Gillespie, his partner in the jazz revolution that was bebop, Charlie Parker will struggle to calm his demons and write his new masterpiece before his body is identified in the morgue and this gig is up forever. Can he do it or will the demons of his past rear their ugly heads?

Will he succumb to heroin or alcohol, or is he just too tired and sick to go on? Will he channel the strength and love of his mother, a woman who worked long hours to give him everything she could? He was her only child. Did she mother him too much or will he honor her with a new masterpiece? He left his first wife, Rebecca, with an infant son nearly 15 years earlier.

Can she forgive him? Charlie will bravely revisit Camarillo State Mental Hospital, a purgatory, searching for inspiration and healing. Will he find it and will he be able to forgive himself for the death of his daughter Pree, whom he could not save?

Can her forgiveness save him? This opera searches for the music in dreams deferred and the power of redemption.

We proudly close the opera with “I know why the caged bird sings,” the last stanza from “Sympathy,” a poem by Paul Laurence Dunbar (1872-1906), understanding and acknowledging both the struggle and triumph of Charlie Parker.

Courtesy of Opera Philadelphia

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ADDICT. ALCOHOLIC. JAZZ GENIUS. (left to right) Portrait of Tommy Potter, Charlie Parker, Max Roach (behind Parker), Miles Davis, and Duke Jordan, Three Deuces, New York, N.Y., ca. August 1947 photo: William P. Gottlieb/Ira and Leonore S. Gershwin Fund Collection, Music Division, Library of Congress.

BY NOEL MORRIS He was an addict, but his fluency of invention surpassed nearly every other figure in music. The tug between his genius and his tragic flaw set into motion the almost Shakespearean life of jazz legend Charlie Parker. But this opera isn’t just a history play, it’s ultimately about modern America: our music, our opioid crisis, and our racial inequity.

The idea of basing an opera on Charlie Parker touched a nerve for librettist Bridgette A. Wimberly: She had had an uncle who idolized him. As a young man, her mother’s brother became a sax player and a heroin addict. He played with Parker in a Cleveland nightclub and, like his muse, died young.

At the outset of this project, Wimberly immersed herself in Parker’s recordings, interviews, biographies, and contemporary accounts until she found the story she 12

wanted to tell: a flight of fancy into what happened during the three days Parker laid dead and misidentified in a New York City morgue.

Those who’ve known an addict will recognize the diseased web that Parker spun: lies, theft, deception, broken promises, money troubles, and abandonment. Even the premise of Wimberly’s tale captures the mindset of an addict: As long as his misdeeds remain secret, they never happened. Composer Daniel Schnyder’s opera is a ghost story. The title character believes he can go on with his life as long as no one realizes he’s dead.

Hiding behind the confusion over his corpse, Charlie sets out to write his masterpiece — a reference to his interest in writing music more in the style of Stravinsky or Bartók.

Never one to look back, Charlie’s ghost plunges into his art. Death, however,

has other ideas. One by one, the most important people and events in his life return to envelope him like a blanket. In the end, he gives up on composition and sings the finale, “I know why the caged bird sings.”

Here, Schnyder sets a text from the poem “Sympathy” by Paul Laurence Dunbar.

Charles Parker Jr., aka Yardbird or Bird, was born Aug. 29, 1920, in Kansas.

His mom, a single mother, put an alto saxophone in his hand when he was 11.

A few years later he left school to focus on music, teaching himself to play in all 12 keys (unconventional for jazz musicians).

This became his foundation for blowing the top off any and all melodic possibilities.

fathered a son while still a teen in Kansas City but had little to do with the boy.

He had two more children with Chan, his common-law wife. In 1954, their 3-yearold daughter, Pree, died of cystic fibrosis.

This tragedy sent Parker into a tailspin, and he landed in a California mental hospital, where he spent six months.

Parker lived his last days in New York’s Stanhope Hotel, in the suite of Baroness Pannonica de Koenigswarter, a Rothschild known as Nica. She tried to get him to check himself into a hospital, but he refused. The official record indicates he died of pneumonia and a bleeding ulcer, although he also had “The rhythm section had a heart attack and him by the tail, but there was no holding or cornering advanced cirrhosis of the liver.

By 16, Parker was already abusing heroin and alcohol. Then jazz Bird. Disappearing acts drummer Jo Jones were his specialty. Just when Nica, whose building came to town. Sitting was segregated, feared you thought you had him, in on an open jam, eviction. Her efforts to he’d move, coming up with Parker launched into conceal Parker’s death one of his signature another idea, one that was delayed by five hours chromatic odysseys. as bold as red paint on a the delivery of his body That day, however, he white sheet.” to the morgue and couldn’t find his way – STANLEY CROUCH caused confusion over back into the tune.

Charlie Parker biographer his identity. Tabloids Jones became angry ran the headline “Bop and hurled a cymbal King Dies in Heiress’ Flat.” Nica lost her at Parker. Humiliated, Charlie went home apartment, her husband, custody of her and doubled down until he mastered children, and was disowned by her family. the music that swirled inside his head.

Note that Schnyder gives the character of The coroner registered Parker under the Charlie a similarly virtuosic style, pushing wrong name and estimated his age at 60. the tenor to the outer extremes of his He was 34. range and incorporating transcriptions of actual Charlie Parker solos.

Charlie Parker’s YARDBIRD takes place At 19, Parker moved to New York City.

Throughout his 20s he, along with Dizzy Gillespie and Thelonious Monk, pioneered a new kind of jazz known as bebop.

Parker married four times (three of his wives show up in the YARDBIRD ensemble). He

in the nightclub that bears — capitalized on — his name: Birdland, a New York club that opened in December 1949.

Parker headlined there for a short time but fell out with the owners because, co-owner Oscar Goodstein said, “He was continually wanting money.”

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CAST & CREATIVE CLINTON SMITH CONDUCTOR ATLANTA OPERA DEBUT

Clinton will make his Arizona and Atlanta Opera debuts conducting Charlie Parker’s YARDBIRD this season, along with Pagliacci/Pulcinella for Opera Orlando, and return to Atlanta Opera’s music staff for Dead Man Walking. Recent conducting credits include Il barbiere di Siviglia at Dayton Opera and the University of Michigan; Le nozze di Figaro at Tacoma Opera; Alcina at Fargo-Moorhead Opera, Turandot, Norma, and Hansel und Gretel with Pacific Northwest Opera; The Mikado for Kentucky Opera; and Noah’s Flood with Opera Las Vegas. He has served on the music staff of Santa Fe Opera for six seasons, as well as Juilliard Opera, Minnesota Opera, The Atlanta Opera, Portland Opera, Kentucky Opera, and Ash Lawn Opera. For a collective nine seasons, he was music and artistic director of Orchestra Seattle/Seattle Chamber Singers and the St. Cloud Symphony. Previously, Minnesota Opera engaged Clinton as chorus master/cover conductor, where he led mainstage performances of La traviata and Madama Butterfly and assisted in the preparation of more than 20 productions.

OMER BEN SEADIA STAGE DIRECTOR ATLANTA OPERA DEBUT

Omer Ben Seadia has quickly established herself as one of the fresh new voices in opera to watch. After working for the Israeli Opera for more than a decade, Ms. Ben Seadia moved to the United States to begin her international directing career. Her upcoming productions include Ariadne auf Naxos at Cincinnati Opera, Elektra at the Canadian Opera Company as an associate director, La bohème at Opera Santa Barbara, and Tom Cipullo’s Josephine and After Life at Opera Colorado. Previous productions include Idomeneo at Wolf Trap Opera, the world premiere of Steal a Pencil for Me at Opera Colorado, a revival production of Tosca at Houston Grand Opera, the Apprentice Scenes Program at Santa Fe Opera, Faust at Tulsa Opera, L’italiana in Algeri as well as a revival of A Streetcar Named Desire at Opera Santa Barbara, Considering Matthew Shepard with Cincinnati Opera and the Vocal Arts Ensemble, L’elisir d’amore at Naples Opera, a double bill of Der Kaiser von Atlantis/ Brundibár with Cincinnati Chamber Opera, the Schwabacher Concert with the Merola Opera Program, Don Pasquale, Le Docteur Miracle, Saint John’s Passion, and Don Carlos at Cincinnati CollegeConservatory of Music, Così fan tutte at the University of Michigan, and Roméo et Juliette at the International Vocal Arts Institute. Omer has taught acting at the Houston Grand Opera Studio, the Young Artist Vocal Academy (YAVA), and at the Aspen Music Festival and School.

She is a graduate of the directing program at the Cincinnati CollegeConservatory of Music and the Merola Opera Program.

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CHRISTOPHER S. DILLS SCENIC DESIGNER

ATLANTA OPERA DEBUT: MARIA DE BUENOS AIRES, 2017 Christopher has a B.F.A. in theater 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 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, The Seven Deadly Sins, and Out of Darkness. 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

JOE BEUMER LIGHTING DESIGNER ATLANTA OPERA DEBUT

Joe Beumer has lit theater, opera, dance, and television nationally and internationally. Recent designs include Tosca (Madison Theatre in Long Island); Peter and the Starcatcher (Playhouse on Park in Hartford, Conn.), the national tour of With Love, Marilyn; Fellow Travelers (Prototype Festival - orig. design Thomas C. Hase); What We Wanted at the Clurman Theatre (off-Broadway), Piece by Piece (Dixon Place - NYC); West Side Story, Chicago, and A Raisin in the Sun (Summer Rep Theatre in Sonoma, Calif.); Dracula: Bloodlines, The Great Gatsby, and Swan Lake (Dayton Ballet); and Tosca (Permian Basin Opera in Midland, Texas).

Other highlights include La bohème (Crested Butte Music Festival in Colo.), Mary Poppins (Syracuse Stage in N.Y.), four productions for the New York Musical Festival, the Brazilian premiere of Ghost: The Musical (w/Paul Miller), Angela Johnson’s Mahalo & Good Night (Epix Films, filmed live in the Hawaii Theatre in Honolulu) and the regional premiere of Considering Matthew Shepard (Cincinnati Opera/VAE). As scenic and lighting designer, recent projects include Mr. Burns: A Post-Electric Play, Noises Off!, Buried Child, Peter/Wendy, Twelfth Night, MacBeth, and Bloody Bloody Andrew Jackson. Additional companies include The Public Theatre (NYC), Lyric Opera of Chicago, Opéra de Montréal, Asolo Repertory Theatre, Philadelphia Theatre Company, and Cincinnati Shakespeare, among others. Joe is a proud member of United Scenic Artists, Local USA 829. www.joebeumer.com 15

JOANNA SCHMINK COSTUME DESIGNER ATLANTA OPERA DEBUT: COSI FAN TUTTE, 2000

Joanna has designed and coordinated costumes for The Atlanta Opera for more than 25 seasons. She has created original work for mainstage productions of CosĂŹ fan tutte, Fidelio, Cold Sassy Tree, La rondine, La traviata, Porgy and Bess, Romeo and Juliet, and many others. Her designs have been presented in the Discoveries series productions of Three Decembers, Maria de Buenos Aires, The Seven Deadly Sins, and Out of Darkness: Two Remain. She also designs for the Alliance Theatre, Theatrical Outfit, Aurora Theatre, Horizon Theatre, and 7 Stages.

Her work at regional companies includes productions with Alabama Shakespeare Festival, Memphis Ballet, Augusta Ballet, and Music Mansion Theater.

LINDSEY EWING WIG & MAKEUP DESIGNER

ATLANTA OPERA DEBUT: THE SEVEN DEADLY SINS, 2017 Lindsey Ewing is delighted to be returning to design for her fifth production with The Atlanta Opera. This is her second time as wig and makeup designer. She is a graduate of The University of North Carolina School of the Arts, where she received her bachelor of fine arts (concentration in wig and makeup design) in 2008. Lindsey has worked with such companies as Sarasota Opera, Opera Carolina, Piedmont Opera, Utah Shakespearean Festival, The Spoleto Festival, Playmaker’s Rep, The University of Maryland, Aurora Theatre, Kennesaw State University, Oglethorpe University, and Serenbe Playhouse. She is the resident wigmaster at the Alliance Theatre in Atlanta. www.LEHairandMakeupArtistry.com

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MARTIN BAKARI CHARLIE PARKER ATLANTA OPERA DEBUT

Praised by Opera News as a “vocally charismatic” performer with a “golden tenor,” Martin Bakari continues to distinguish himself as a dynamic artist in a wide array of musical and theatrical genres.

Trained at Juilliard, Boston University, Tanglewood, and London’s Royal College of Music, his recent engagements include appearances with Portland Opera, Pittsburgh Opera, Utah Opera, LA Opera, Opera Carolina, Madison Opera, Virginia Opera, Palm Beach Opera, Opera Saratoga, Beth Morrison Projects, the Kennedy Center, the New Hampshire Philharmonic, the Jazz at Lincoln Center Orchestra with Wynton Marsalis, Opera Noire, and NY Harlem Productions, with whom he has performed Gershwin’s Porgy & Bess in Dresden, Hamburg, Munich, Frankfurt, Cologne, Tel Aviv, Haifa, and Bari. In 2019, Martin will make his house debut with Fort Worth Opera as Peter the Honeyman in Porgy & Bess and makes a return to Portland Opera for Philip Glass’ In the Penal Colony. Mr. Bakari’s recording of Grigory Smirnov’s Dowson Songs was recently released by Naxos Records featured by Opera News as a “Critic’s Choice” album. www.martinbakari.com

JOSHUA STEWART CHARLIE PARKER ATLANTA OPERA DEBUT

A native of New Orleans, tenor Joshua Stewart has been praised for his compelling artistry and versatility. Recent appearances include the Shepherd in Stravinsky’s Oedipus Rex conducted by Esa-Pekka Salonen and directed by Peter Sellars at the Baltic Sea Festival in Stockholm; Lazarus in the world premiere of Wake at the Birmingham Opera Company, directed by Sir Graham Vick; and tenor soloist in Tippett’s A Child of Our Time with the RTVE Symphony Orchestra in Madrid. Upcoming performances include his debut at Arizona Opera in Charlie Parker’s YARDBIRD and Beethoven’s 9 Sinfonie with the City of Birmingham Symphony Orchestra under the direction of Sir Simon Rattle. Recent debuts include the title role in Charlie Parker’s YARDBIRD with Madison Opera, Trin in La fanciulla del West at the Hamburg State Opera, and Belmonte in Die Entführung aus dem Serail with Opera de Lausanne and Opera de Fribourg. He also performed the Shepherd in Stravinsky’s Oedipus Rex at the Festival d’Aix-en Provence and the Royal Festival Hall in London under the musical direction of Esa-Pekka Salonen. He is a former member of the studio of Munich’s Bavarian State Opera, where he made his debut in 2012 and participated in the world premiere of Erich Zeisl’s/Jan Duszynsk’s Hiob. He has performed in numerous festivals and worked with renowned conductors throughout the world, as well as having the honor of performing for several world leaders.

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ANGELA BROWN ADDIE PARKER

ATLANTA OPERA DEBUT: IL TROVATORE, 2009 Angela Brown personifies the ideal soprano: sheer vocal power; luxurious finesse; and shimmering, high pianissimos. With a charming personality larger than life, she unites opera, pop, and gospel in one sensational voice. Her highly successful Metropolitan Opera debut in the title role of Aida captured instant attention from international media and catapulted her onto the world’s prestigious opera and symphonic stages. Angela’s international reputation continues to grow with new milestones that include singing on the Grammy Awardwinning recording of Ask Your Mama, composer Laura Karpman’s setting of the poem by Langston Hughes, and debuting the role of Addie Parker in the American opera Charlie Parker’s YARDBIRD in the 2015 world premiere with Opera Philadelphia. She reprised the role in historic performances at The Apollo in New York City as well as Lyric Opera of Chicago, Madison Opera, and in London at The Hackney Empire. This season, Angela co-stars in Indianapolis Symphony’s IPL Yuletide Celebration with singer Josh Kaufman and appears with Phoenix Symphony Orchestra, Astoria Music Festival, and Portland Summerfest, as well as national performances of Opera ... from a Sistah’s Point of View. www.angelambrown.com

RACHEL STERRENBERG CHAN PARKER ATLANTA OPERA DEBUT

Lyric soprano Rachel Sterrenberg is a native of Madison, Ga. Her most recent performances have been hailed as having “admirable dynamic control” with “perfect diction and soft smiling tone” by Opera News and the Philadelphia Inquirer, respectively. The 2017-18 season held several exciting debuts and returns for Ms. Sterrenberg. She began the season with her home company of Opera Philadelphia as Pamina in the highly anticipated East Coast premiere of the Barrie Kosky Die Zauberflöte as part of Festival O17. She went on to sing Annina in La traviata for her company debut with The Dallas Opera, and returned to Madison Opera for Rosalba in Florencia en el Amazonas.

She performed her signature role of Chan Parker in Charlie Parker’s YARDBIRD with Madison Opera, Lyric Opera of Chicago, and English National Opera to critical acclaim. In the 2015-16 season, she joined Opera Philadelphia for a second year as an Emerging Artist where she performed Annina in La traviata and Sara in Cold Mountain.

Rachel made her professional debut with Opera Philadelphia in the 2015 world premiere of Charlie Parker’s YARDBIRD as Chan Parker. Rachel was awarded second place in the Mid-Atlantic Region of the Metropolitan National Council Auditions after winning in the Philadelphia District. She is a recent recipient of the prestigious Shoshanna Foundation Grant.

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MARIA VALDES DORIS PARKER ATLANTA OPERA DEBUT

American soprano and Atlanta native Maria Valdes has been praised for her “silvery tone, glassily smooth phrasing, and fine-caliber dynamics” (San Francisco Classical Voice). Highlights of the 2018-19 season include the world premiere of Sueños de Béjar with Opera San Antonio and a return to Phoenix Symphony for performances of Handel’s Messiah.

Last season, Ms. Valdes made her debut with New York City Opera, in cooperation with Houston Grand Opera, as Diana in the mariachi opera, Cruzar la cara de la luna, and with Opera San José as Despina in Così fan tutte. She made her company debut with The Berkshire Opera Festival as Gilda in Rigoletto and Opera Theatre of St. Louis as Amore in Gluck’s Orfeo ed Euridice. She joined the Phoenix Symphony as the soprano soloist in Brahms’ Ein Deutsches Requiem and returned to the Bellingham Festival of Music to sing Poulenc’s Gloria. An accomplished recitalist, Ms. Valdes made her New York recital debut with NYFOS performing with Steven Blier and Michael Barrett in Compositora, a recital of female Latin American composers. The New York Times praised Ms. Valdes for her interpretation of the repertoire with “keening clarity.” An award winner in the regional Metropolitan Opera National Council auditions, she is the winner of the top prize at the Corbett Opera Scholarship Competition at Cincinnati College-Conservatory of Music and is the recipient of a Shoshana Foundation Grant.

CHRYSTAL E. WILLIAMS REBECCA PARKER ATLANTA OPERA DEBUT

Virginia native Chrystal E. Williams appears nationally and internationally in both opera and concert work. Recent engagements include Olga in Eugene Onegin with Northern Lights Festival; Rebecca Parker in Charlie Parker’s YARDBIRD with English National Opera and Hackney Empire (UK); a Philadelphia Orchestra debut under the baton of Yannick Nézet-Séguin; Publia in Rossini’s Aureliano in Palmira at Caramoor; soloist in Petite messe solennelle with OperaDelaware; and Coretta Scott King in Philip Glass’ Appomattox with Washington National Opera. Recently, she was heard as Charlotte in Werther with Baltimore Concert Opera and OperaDelaware. She returns to Birmingham Opera Company (UK) in 2019 as Lady Macbeth of Mtzensk. Other notable engagements include Norrköping Symphony Orchestra in Sweden, Cairo Symphony, Dido and Aeneas with Birmingham Opera Company, Portsmouth Community Concerts Series (Va.), the Apollo Theater, Opera Philadelphia, Hänsel und Gretel with Knoxville Opera, and Rosina in Il barbiere di Siviglia with Sarasota Opera. She has been honored by the Wilhelm Stenhammar International Music Competition, the International Belvedere Singing Competition, Giulio Gari International Music Competition, New England Region Finals of The Metropolitan Opera National Council Auditions, Liederkranz Foundation, and the Giargiari Bel Canto Competition.

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SIDNEY OUTLAW DIZZY GILLESPIE

ATLANTA OPERA DEBUT: THE BARBER OF SEVILLE, 2014 Lauded by The New York Times as a “terrific singer” with a “deep, rich timbre” and the San Francisco Chronicle as an “opera powerhouse” with a “weighty and forthright” sound, Sidney Outlaw was the grand-prize winner of the Concurso Internacional de Canto Montserrat Caballe in 2010 and continues to delight audiences in the United States and abroad with his rich and versatile baritone and engaging stage presence. He also joined the Metropolitan Opera Roster that same year in the production of John Adams’ The Death of Klinghoffer. This rising American baritone from Brevard, N.C. recently added a Grammy Award nomination to his list of accomplishments for the Naxos Records recording of Darius Milhaud’s 1922 opera trilogy, L’Orestie d’Eschyle, in which he sang the role of Apollo. In 2018 he debuted as Artist in Residence with the Manchester Chamber Music Festival. In September, Sidney released a major recording as a soloist of Handel’s Messiah with The Baltimore Symphony. Perhaps one of Sidney’s most interesting credits is his work with the U.S. State Department, where he worked under President Barack Obama as a cultural arts ambassador for the Arts Envoy program. In that position, he performed all over the world, including Guinea, West Africa and Russia. Sidney has served on the voice faculty of the Aaron Copland School of Music in NYC for the past four years.

GINA PERREGRINO BARONESS PANNONICA DE KOENIGSWARTER

ATLANTA OPERA DEBUT: THE SEVEN DEADLY SINS, 2017 Praised by Opera News as a “standout,” young mezzo Gina Perregrino is already garnering attention on stages around the country. This past summer she joined Santa Fe Opera as Paquette in a new production of Candide by Laurent Pelly. In the 2017-18 season, she joined The Atlanta Opera as Anna I in The Seven Deadly Sins and Edka in the world company premiere of Out of Darkness: Two Remain by Jake Heggie.

That summer, she made her company debut at Central City Opera as an apprentice artist, where she sang the title role in a performance of Carmen. The 2016-17 season included several operatic debuts. Ms. Perregrino performed at Minnesota Opera for two productions, singing Stéphano in Romeo et Juliette and Clizia in L’arbore di Diana. She joined Querido Arte in Guatemala, where she sang Maddalena in Rigoletto in a production that was broadcast on Univision TeleOnce throughout Guatemala and parts of Central America. In the 2016 summer season, Ms. Perregrino made her debut with Opera Theatre of Saint Louis singing Blindwoman in the world premiere of Shalimar the Clown. She was the grand-prize winner of the Metropolitan International Vocal Competition, where she sang the Brahms Songs with Viola in a winners’ gala at Lincoln Center. She was a soloist with the Cincinnati May Festival as part of its Dream Project, which included Mendelssohn’s A Midsummer Night’s Dream and Vaughan Williams’ A Tribute to Music.

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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

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

HONORARY MEMBERS

Mrs. Nancy Carter Bland The Very Reverend Samuel G. Candler Mr. Carl I. Gable, Jr. Mrs. Nancy Hall Green Mr. Carter Joseph Mr. Alfred Kennedy, Jr. Mr. Michael Keough Mr. George Levert

Mr. Gregory F. Johnson Mr. Kevin Kelly Mr. Andrew Long Mr. James B. Miller Mrs. Sandra S. Morelli Mr. William E. Pennington Mr. Herbert J. Rosenberg Mr. Charles Sharbaugh Mr. Timothy E. Sheehan Mr. Alex Simmons, Jr. Mr. Paul Snyder Mr. William F. Snyder Mrs. Christine St.Clare Mr. G. Kimbrough Taylor, Jr. Ms. Bunny Winter

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 21

STAFF EXECUTIVE Tomer Zvulun CARL W. KNOBLOCH, JR. GENERAL & ARTISTIC DIRECTOR Micah Fortson MANAGING DIRECTOR ARTISTIC Arthur Fagen CARL & SALLY GABLE MUSIC DIRECTOR Lauren Bailey DIRECTOR OF ARTISTIC ADMINISTRATION Rolando Salazar ASSOCIATE CONDUCTOR / CHORUS MASTER Wade Thomas ARTISTIC SERVICES & STUDIO MANAGER Jessica Kiger AUDIENCE DEVELOPMENT & EDUCATION MANAGER Malesha Taylor EDUCATION COORDINATOR Mark McConnell ORCHESTRA PERSONNEL MANAGER PRODUCTION Kevin Mynatt DIRECTOR OF PRODUCTION Dave Smith DIRECTOR OF TECHNICAL PRODUCTION Jody Cohen PRODUCTION COORDINATOR Brian August PRODUCTION STAGE MANAGER Renée Varnas RESIDENT ASSISTANT STAGE MANAGER Justin Michel LIGHTING SUPERVISOR Christopher Dills RESIDENT SCENIC DESIGNER / PROPS COORDINATOR Joanna Schmink COSTUME DIRECTOR Mary Torres WORK ROOM MANAGER Abigail Dupree Polston CUTTER / DRAPER Laura Elizabeth Payne STITCHER Emory C. Tuttle STITCHER Daniella Ampudia FITTING ASSISTANT / STITCHER Amy Jackson STITCHER Alyson Rubin COSTUME INTERN FINANCE & ADMINISTRATION Inga V. Murro CONTROLLER Kenneth R. Timmons HUMAN RESOURCES & OFFICE MANAGER Chamberlynn Shelton EXECUTIVE ASSISTANT Ruth Strickland BOOKKEEPER DEVELOPMENT Lisa Kennedy CHIEF DEVELOPMENT OFFICER Rae Weimer DIRECTOR OF DEVELOPMENT Rachel Jorgensen DIRECTOR OF DEVELOPMENT OPERATIONS Amy Davis MAJOR GIFTS OFFICER James Tyson ANNUAL FUND MANAGER Katie Lawrence DEVELOPMENT SERVICES & DATABASE MANAGER MARKETING & COMMUNICATIONS Holly Hanchey DIRECTOR OF MARKETING Renee Smiley SENIOR MANAGER, TICKETING SERVICES Matt Burkhalter CREATIVE SERVICES MANAGER Rebecca Danis MARKETING MANAGER 22

THE ENCORE ATLANTA

DINING GUIDE

ARE YOU LOOKING FOR A GREAT NIGHT OUT?

PACES & VINE

Try one of these great Cobb County restaurants before or after the show.

For dinner-and-show packages, please visit encoreatlanta.com/offers.

AMERICAN PACES & VINE — Located in The Vinings Jubilee featuring eclectic American comfort food along with lighter fare. Menu highlights include the lobster Cobb salad, Guinnessbraised beef brisket, charred salmon, and crispy pork shank. P&V is also a wine-lover’s haven with an extensive,

Paces & Vine’s AHI TUNA POKE: chopped ahi tuna, black sesame, avocado, ponzu, nori, cilantro-garlic mayo with wonton chips.

THE ENCORE ATLANTA [COBB COUNTY] DINING GUIDE

carefully-curated wine list, Wednesday Wine Tastings, and Half-Off Wine Bottle Sundays. Lunch, Dinner, Saturday and Sunday Brunch. Vinings Jubilee, 4300 Paces Ferry Road, 404-205-8255, pacesandvine.com.

SOHO — American-style bistro offers fish and seafood, beef, game and poultry, with gluten-free lunch and dinner options, plus their specially-priced Cobb Energy Centre theater menu will get you in and out with plenty of time to make the performance; just show your tickets to your server. Different weekly “wine and tapas”

CREOLE/CAJUN COPELAND’S OF NEW ORLEANS — Bayou fare, plus steak, chicken, pasta and sandwiches.

Fresh desserts and pastries from the Cheesecake Bakery. Live Jazz Sunday brunch buffet. A favorite gathering spot for Saints fans. Libations include the “Pontchartrain Beach” martini.

Lunch, brunch, dinner. Takeout available.

3101 Cobb Parkway, 770-612-3311, copelandsatlanta.com.

ITALIAN CRISPINA RISTORANTE & PIZZERIA — Bringing Neapolitan style fare to Vinings since May, 2015 with a mission to share their Italian heritage and delight guests with exceptional cuisine. Pizza dough is naturally leavened, never frozen, and pastas are made freshly daily. 3300 Cobb Parkway SE, Unit 208, 678-426-7149, crispinaatlanta.com.

PACES & VINE, MARKFBAXTER.COM

SOHO’s PAINTED HILLS SHORT RIB TACOS, black pepper mustard, caramelized onions, cilantro sauce in potato shell.

flights debut each Wednesday night.

Lunch, dinner (both have gluten-free options) plus their All-American Sunday dinner: a lobster boil. Order ahead to ensure availability, Vinings Jubilee, 4300 Paces Ferry Road, 770-801-0069, sohoatlanta.com.

FRESH, SEASONAL FOOD IN VININGS VILLAGE Join us before or after the show! Theater menu available.

4300 Paces Ferry Road • 770.801.0089 • www.SOHOatlanta.com

THE ENCORE ATLANTA [COBB COUNTY] DINING GUIDE

In addition to handmade pastas made fresh daily, Crispina’s naturally leavened pizzas are woodfire oven-baked.

COPELAND’S OF NEW ORLEANS’ EGGPLANT PIROGUE: fried eggplant slices, au gratin sauce, Gulf shrimp, fresh crab claws served on a bed of angel hair pasta.

from moderately priced to, well — check out their $100 margarita, “perfect for any occasion,” they say.

2851 Akers Mill Road SE, 770-952-5550, cincorestaurants. com.

SPANISH ROSSO – Rosso is intended to be a social platform; small dishes meant to be mixed and shared among many.

Rosso brings an authentic Spanish and Mediterranean experience to the Atlanta area. In addition to many Spanish plates, they offer a variety of Spanish wines,

COPELAND’S OF NEW ORLEANS, CRISPINA

MEXICAN CINCO – Authentic, Latin-infused Mexican cuisine served in a setting that is designed to put a contemporary twist on Mexico’s culture. Unique menu offers an upscale variety of items that are carefully prepared from scratch, using only the finest ingredients.

Fire-roasted salsa is made fresh several times a day and their signature guacamole is always made to order. Wide selection of tequilas

A

COMFORT AND

DELIGHT 4300 PACES FERRY ROAD S.E .

30339 - VININGS

(404)205-8255

Crispina Ristorante & Pizzeria Neapolitan Style Italian LOCALLY OWNED X GLOBALLY INSPIRED HOURS M-F 11:30a-2:30 M-Th 4:30p-10p F-Sa 4p-11p Su 4p-10p

LOCATION 3300 COBB PARKWAY SE UNIT 208 ATLANTA, GA 30339 (678) 426-7149

CrispinaAtlanta.com

THE ENCORE ATLANTA [COBB COUNTY] DINING GUIDE

A South City Kitchen Vings specialty and a crowd favorite, SHRIMP & GEECHIE BOY GRITS — with tasso ham and smoked tomato-poblano gravy — can be made as a gluten-free dish.

GAMBAS PARRERA —Rosso’s prawn dish from the south and center of Spain consists of black tiger jumbo shrimp, garlic and olive oil served over a bed of homemade croutons.

SOUTHERN/SOUTHERN-INSPIRED SOUTH CITY KITCHEN — With a stylish, Southern-contemporary menu, this DiRoNA restaurant helped make grits hip for the business crowd. 1675 Cumberland Parkway, 770-435-0700, southcitykitchen. com.

ROSSO TAPAS BAR, SOUITH CITY KITCHEN

house cocktails, sangrias, sherries and after-dinner drinks. One popular drink option: the Spanish Wine Flight, offering an exclusive taste of three house chosen wines in 2 oz portions. This tradition encourages not only knowledge of respected Spanish wines, but the ability to pick your favorite! Community atmosphere, imaginative cocktails paired with a contemporary take on traditional Spanish tapas.

3300 Cobb Pkwy SE Unit 208, 770-672-4460, rossotapasbar.com.

at M A OF AT RCUS JCC LANTA

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WELLSTAR & MAYO CLINIC

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