THE ATLANTA OPERA :: THE THREEPENNY CARMEN + THE THREEPENNY OPERA :: APR–MAY 2021

THE ATLANTA OPERA

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30, 23, 25, 28, , 7 1 , 5 1 IL APR 8, 2021 MAY 2, 6, &

3PENNY OPERA

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The Big Tent @ Cobb Energy Performing Arts Centre

W E LCO M E Letter From Tomer Zvulun . . . . . .

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THE THREEPENNY CARMEN — S P O N S O R S & C R E D I T S Sponsors . . . . . . . . . . . . . . . . 4 Credits . . . . . . . . . . . . . . . . . 6 F E AT U R E Production Note . . . . . . . . . . . .

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A B O U T Cast & Creative . . . . . . . . . . . .

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THE THR S P O N S O Sponsors . .

Credits . . .

EEP R S . . . . . .

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ENNY OPERA — & C R E D I T S . . . . . . . . . . . 28 . . . . . . . . . . . 30

F E AT U R E Production Note . . . . . . . . . . . . 32 A B O U T Cast & Creative . . . . . . . . . . . . 36 B E H I N D T H E C U R TA I N The Atlanta Opera Orchestra . . . . 48 Community Engagement . . . . . . . 50 S U P P O R T Annual Giving . . . . . . . . . . .

In Memoriam . . . . . . . . . . . .

Barbara D. Stewart Legacy Society Tributes & Memorials . . . . . . .

Corporate Partners . . . . . . . .

Foundations & Government Support

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L E A D E R S H I P Board of Directors . . . . .

Executive Committee . . . .

Advisory & Artistic Councils Staff . . . . . . . . . . . . . .

House Policies . . . . . . . .

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welcome

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Life has its seasons, and we are thankfully nearing the end of one of them—the longest winter in memory. Today, Atlanta is alive with color from cherry trees and tulips and the recent few weeks truly feel like a new beginning. Many of us have endured a winter of loss, disorientation and privation.

And I can think of no greater balm than an evening of great tunes, hence Carmen and Threepenny Opera.

But there is something more to this series: it has teeth.

In an almost Mr. Rogers-like fashion, there is biting social commentary softened through irresistible melodies, dazzling flamenco dancers and, yes, puppets, thanks to the Center for Puppetry Arts.

The pandemic has been disproportionately cruel to people who are marginalized in our society—seniors, the homeless, meatpackers, prisoners, and the Black and Latinx communities. Add to that eight people, mostly immigrants, who were savagely slaughtered by a man with a gun, a couple of miles away. Both Carmen and Threepenny Opera pick at these wounds. The title “Threepenny Opera,” originally “Beggar’s Opera,” is a play on words, juxtaposing the hardship of life on society’s bottom rung with the art of the elite.

If you’ve never seen a full, three-hour, full-scale production of Carmen, I hope one day that you do. It’s a winner from start to finish, but absolutely untenable under current safety protocols. Virus precautions required us to create a new version that will strip down the grand opera elements and crystalize the story. The Atlanta Opera is not alone in reinterpreting this masterpiece through a different lens. This is a work that has inspired a wide range of iterations, from cabaret-style Carmen to Carmen in a gorilla suit. Her story provokes new conversations. After all, who is she, but a woman expressing sexual freedom at the fringe of society. It doesn’t matter if she’s a Gypsy in Seville or a cabaret singer in Texas. Her very existence stirs up male aggression, which, as we’ve seen in recent events, is all too real.

Threepenny Opera posed a unique creative challenge. We went to the source, the Kurt Weill Foundation, and stitched together this 90-minute version which we’re pleased to present.

Throughout the pandemic, I’ve often reflected on Weill’s words: “If the boundaries of opera cannot accommodate the theater of our time, then these boundaries must be broken.” By now, most of us have broken boundaries, dispensing with things that don’t apply in the age of COVID, while safeguarding things we hold dear. In that spirit, we present to you what we hope is a satisfying and thought-provoking evening of music and theatre.

One final thought: The Atlanta Opera proudly presents these productions as a collaboration between people of many traditions: Asian, Black, White, South American, Mediterranean, English-speaking, Spanish-speaking, European, gay, straight, religious, non-religious, and others. In the arts and specifically at The Atlanta Opera, we believe that what unites us, is far greater than what divides us. These shows are a testament to the fact that this country is, and has always been, a melting pot. I hope that our work, and the work of artistic collaborations around the world can help usher in a better future for us all.

Thank you for coming. Enjoy the show.

Tomer Zvulun | Carl W. Knobloch, Jr. General & Artistic Director

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BIG TENT SERIES SPONSOR The Molly Blank Fund of The Arthur M. Blank Family Foundation THE THREEPENNY CARMEN PRODUCTION SPONSOR Dr. Harold Brody & Mr. Donald Smith

Official Beverage of The Atlanta Opera

Mayor’s Office of Cultural Affairs

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

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THE ATLANTA OPERA COMPANY PLAYERS JAMIE BARTON

MEGAN MARINO

ALEK SHRADER

KEVIN BURDETTE

MICHAEL MAYES

RICHARD TREY SMAGUR

JASMINE HABERSHAM

RYAN MCKINNY

REGINALD SMITH, JR.

DANIELA MACK

MORRIS ROBINSON

TALISE TREVIGNE

SUPPORT FOR THE ATLANTA OPERA COMPANY PLAYERS Cathy Callaway Adams & Mark Adams

Mr. William Pennington

Triska Drake & G. Kimbrough Taylor

Dr. Harold Brody & Mr. Donald Smith

John Hammaker

Mr. William F. Snyder

Mr. John Haupert & Mr. Bryan Brooks

Rhys T. & Carolyn Wilson

David & Laura Kavtaradze

Ms. Bunny Winter & Mr. Michael Doyle

Victoria & Howard Palefsky

THE ATLANTA OPERA GLYNN STUDIO PLAYERS The Studio Players are supported by gifts from Beth & Gary Glynn and the Donald & Marilyn Keough Foundation JOSHUA CONYERS GABRIELLE BETEAG JOSEPH LATTANZI CALVIN GRIFFIN SUSANNE BURGESS BRIAN VU

ADDITIONAL SUPPORT FOR THE ATLANTA OPERA GLYNN STUDIO PLAYERS Bryan & Johanna Barnes

Kurt & Jennifer Hilbert

Mr. Robert Dean & Mr. Robert Epstein

Greg & Candy Johnson

THE ATLANTA OPERA DIRECTOR’S CIRCLE Cathy Callaway Adams & Mark Adams

Mr. John Haupert & Mr. Bryan Brooks

Antinori Foundation

Howard Hunter, Gramma Fisher Foundation

Julie & Jim Balloun

Donald & Marilyn Keough Foundation

Mr. & Mrs. Paul Blackney

Mr. & Mrs. Michael L. Keough

*Nancy & *Jim Bland

*Mr. & Mrs. Carl W. Knobloch, Jr.

Laura & Montague Boyd

Mary Ruth McDonald

Dr. Harold Brody & Mr. Donald Smith

James B. Miller, Jr.

Ms. Janine Brown & Mr. Alex J. Simmons, Jr.

Victoria & Howard Palefsky

John & Rosemary Brown

Mr. William Pennington

Mr. & Mrs. John L. Connolly

Jerry & Dulcy Rosenberg

Ann & Frank Critz

Katherine Scott

*Martha Thompson Dinos

Mr. William F. Snyder

Triska Drake & G. Kimbrough Taylor

Judith & Mark Taylor

Carl & Sally Gable

Rhys T. & Carolyn Wilson

Beth & Gary Glynn

Ms. Bunny Winter & Mr. Michael Doyle

Dr. & Mrs. Alexander Gross

The Mary & Charlie Yates Family Fund

John L. Hammaker

*deceased

6 | thethreepennycarmencredits MUSIC Georges Bizet ADAPTATION Jorge Parodi & Tomer Zvulun ADDITIONAL TEXT Tom Key CONDUCTOR Jorge Parodi PRODUCTION DIRECTOR Tomer Zvulun SCENIC DESIGNER Julia Noulin-Mérat COSTUME DESIGNER Joanna Schmink LIGHTING DESIGNER Marcella Barbeau WIG & MAKEUP DESIGNER Frandresha “Brie” Hall PROJECTIONS DESIGNER Erin Teachman FLAMENCO CHOREOGRAPHER Sonia Olla FLAMENCO ACCOMPANIST Ismael Fernández CHOREOGRAPHER Ricardo Aponte SUPERTITLES Jonathan Dean FILMED MEDIA Felipe Barral CAST (IN ORDER OF VOCAL APPEARANCE) LILAS PASTIA Tom Key CARMEN (APRIL 15, 17, 23, & 25) Megan Marino* CARMEN (APRIL 28, 30, MAY 2, 6, & 8) Ashley Dixon FRASQUITA Alejandra Sandoval MERCEDES Gabrielle Beteag† EL REMENDADO Nathan Munson EL DANCAIRO (APRIL 15, 17, 23, 25, 28, 30, & MAY 2) Calvin Griffin† EL DANCAIRO (MAY 6 & 8) Brian James Myer DON JOSE Richard Trey Smagur* ZUNIGA Jose Caballero MICAELA Jasmine Habersham* ESCAMILLO (APRIL 15, 17, 23, & 25) Michael Mayes* ESCAMILLO (APRIL 28, 30, MAY 2, 6, & 8) Theo Hoffman COVERS LILAS PASTIA Jeff McKerley CARMEN Gina Perregrino** FRASQUITA Adelaide Boedecker MERCEDES Maria McDaniel Willathgamuwa EL REMENDADO Robert Banks DON JOSE Dominic Armstrong MICAELA Susanne Burgess† ESCAMILLO Erik Larson FLAMENCO DANCER Sonia Olla DANCERS Gwynn Root, Bailey Jo Harbaugh, Brandon Nguyen-Hilton MUSICAL PREPARATION & ASSISTANT CONDUCTOR Clinton Smith ASSISTANT DIRECTOR Bruno Baker PRODUCTION STAGE MANAGER Megan Bennett ASSISTANT STAGE MANAGERS Kristin Kelley & Colleen Kane SUPERTITLE OPERATOR Anna Young

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ORCHESTRA FLUTE/ PICCOLO Jim Zellers CLARINET John Warren VIOLIN I Lisa Morrison VIOLIN II Patrick Ryan VIOLA Joli Wu CELLO Hilary Glen BASS Emory Clements GUITAR John Huston PIANO Clinton Smith PERSONNEL MANAGER Jim Zellers

SAFETY ADVISORY COUNCIL Dr. Harold Brody Dr. Carlos del Rio Dr. Donald J. Filip Mrs. Joanne Chesler Gross Mr. John Haupert Mr. Andrew Long Mr. Howard Palefsky Mr. Charles Sharbaugh Mr. Alex Simmons, Jr. Mr. Rhys T. Wilson

Performed in French with English supertitles. Approximate running time: 100 minutes *member of The Atlanta Opera Company Players | †member of the Glynn Studio Players **alumnus of the Atlanta Opera Studio

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8 | thethreepennycarmenproductionnote The Threepenny Carmen WRITTEN BY

Julia Brown Simmons “So this is how liberty dies. With thunderous applause.” While Padmé Amidala says this in Star Wars: Episode III upon the announcement of the emergence of the first Galactic Empire, she could have just as well been describing Bizet’s Carmen.

The opera epitomizes personal liberty, and the titular character essentially personifies freedom— nobody can control Carmen or pin her down; she will always be her own artist. So, when Carmen dies at the opera’s conclusion, liberty dies—and for over a century, as the curtain closes, audiences have responded with thunderous applause.

In a way, Georges Bizet himself exemplifies the same personal liberty he writes into his opera: despite push-back regarding the subject matter of the work, Bizet forged ahead to create his artistic vision. Bizet composed Carmen at the request of the directors of the Opéra-Comique in Paris. The opera is based on Mérimée’s novel of the same name—a foundation which received criticism both before and after the opera’s premier. The controversy began with one of the directors, who thought the story was unsuitable for the opera house, particularly its portrayal of sexual promiscuity, rowdy women, and a staged death. The criticism continued through the first staging of the opera in 1875, which received outraged responses from press and audience alike.

Bizet received objections not only for the subject of the work, but also for the liberties he took in his compositional style. The orchestra complained about his style of scoring. The chorus took issue with Bizet’s demand that they act

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as individual people throughout the show rather than responding as a uniform group. Not only was Bizet freely innovating his artistic creation, he also encouraged the individuality and freedom of his performers by insisting they act with personal liberty.

Ultimately, Bizet’s pursuit of artistic freedom paid off. Applause came for Bizet, but like his titular character, it came after the curtain had closed on his life. Despite the “shocking” elements of the opera, or perhaps because of those elements, Carmen ran for many performances in 1875 Paris—no doubt in part spurred on by piqued interest because of Bizet’s early death in the middle of its run. The opera also traveled throughout Europe in the coming years, receiving praise from acclaimed composers such as Tchaikovsky and Brahms. Carmen has since been a staple of opera houses across the globe.

In order to mount this production safely while in the midst of the current pandemic, The Atlanta Opera has deconstructed and reconstructed Carmen, stripping it of its grand opera form while drawing its fundamentals to the forefront. In this reconstruction—going by the title “The Threepenny Carmen”—the staging and plot may look a little different from the original, but the opera maintains the elements that have led to its success since the premiere.

The Threepenny Carmen is set during the COVID-19 pandemic in Lillas Pastia’s bar in Texas, featuring Carmen as a performer, along with her friends Frasquita and Mércedès. As scene one opens, Don José and his friend Zuniga, two local cops, visit the bar and watch the show, featuring Carmen and her friends singing “Les tringles des sistres tintaient” (The Gypsy Song: “The sound of sistrumbars did greet”). Toward the end of the night, Carmen’s “Habanera” captivates Don José, who only comes out of his trance because of a call from Micaëla—a girl from his hometown who begs him to return to his mother, sick with COVID-19. After the call, Don José witnesses Carmen flirting with Zuniga. Jealousy and a drug-induced state lead Don José to shoot Zuniga.

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10 | thethreepennycarmenproductionnote Scene two begins as Don José, who has recently been released from prison, returns to see Carmen at The Threepenny Tavern, where they reconcile (“Je vais danser en votre honneur” or “Now I shall dance for your reward”). Don José’s mind begins to wander toward his sick mother while Carmen attempts to keep his attention through song, “La fleur que tu m’avais jetée” (“The flower you threw at me”), which is interrupted by Micaëla’s “Je dis que rien ne m’épouvante” (“I say that nothing shall deter me”).

Scene three introduces Escamillo, a toreador, who serenades Carmen with his song, “Votre toast, je peux vous le rendre” (The Toreador Song: “For a toast, your own will avail me”). Don José’s jealousy prompts him to confront Escamillo, who leaves instead of engaging.

Don José and Carmen argue, but Micaëla ultimately interrupts and finally convinces Don José to return to his mother.

The final scene reveals that Don José was too late to see his mother before her death. Defeated, Don José again heads to The Threepenny Tavern, where Carmen and her friends sing “Mêlons! Coupons!” (The Card Trio: “Shuffle!

Cut them!”). Carmen sees her death as she reads her fortune in the cards. Fulfilling this fortune, Don José kills her, and the curtain closes.

Carmen’s freedom—as a woman and as an artist— empowers and inspires passion. She maintains her right to perform amidst a pandemic, not allowing mere circumstances to prevent her self-expression. Her art inspires passion—sometimes so much passion that it leads to the downfall of those who deem themselves above her. Not even those who claim to have control over her—law enforcement, cops—can rob her of her freedom. Instead, her freedom overpowers them.

Carmen is liberty.

While Padmé Amidila condemns those who applaud the death of liberty, in our case perhaps there is good reason for applause at the end of Carmen. We do not applaud the death of liberty because we are glad to see

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it go and be replaced by something else. Instead, we applaud because we recognize what Carmen represents: a free woman and a free artist who cannot be held back.

We applaud because we see the importance of what this opera can tell us: —freedom in artistic creation empowers and impassions, whether that passion looks like scathing remarks in the press or jealous outbursts.

We applaud the liberty that allowed for the creation of the work and the liberty that lives within the work.

Therefore, while the death of liberty may be met with thunderous applause, it is not for its death that we applaud, but for the life of that liberty in Carmen.

Costume sketches

by Costume Designer, Joanna Schmink for Don Jose, Carmen, and Escamillo.

12 | thethreepennycarmencast&creative Internationally acclaimed conductor, Jorge Parodi, has worked extensively in the Americas and Asia and has led several productions at The Atlanta Opera, Opera Tampa, Savannah Opera, Buenos Aires Lírica (Argentina), the Castleton Festival, The Banff Centre (Canada) and The Juilliard School. Recent credits include his debut at New York City Opera, Chautauqua Opera and Opera Orlando.

He has led the World Premiéres of Anton Coppola’s Lady Swanwhite for Opera Tampa, and John Musto’s Rhoda and the Fossil Hunt in a coproduction of On Site Opera, JORGE PARODI Lyric Opera of Chicago Lyric’s Unlimited and Pittsburgh Opera. Reviewed as having “the most expressive CONDUCTOR conducting hands since Stokowski” by the New York Daily ATLANTA OPERA DEBUT News, Argentinean born Jorge Parodi has worked with MARIA DE BUENOS AIRES, such companies as the Teatro Colón in Argentina, the 2017 Volgograd Opera in Russia, the Encuentros Internacionales de Opera in Mexico, and the International Vocal Arts Institute in Israel. He has collaborated with such artists as Isabel Leonard, Eglise Gutiérrez, Tito Capobianco, Sherrill Milnes, Aprile Millo and Rufus Wainwright and has assisted conductors Lorin Maazel and Julius Rudel, among others. Maestro Parodi is the Music Director of the Senior Opera Theatre at the Manhattan School of Music, where he has led its productions to critical acclaim. He was appointed General and Artistic Director of Opera Hispánica. Among many performances during his tenure as Artistic Director of Opera Hispánica, maestro Parodi performed with such artists as Eglise Gutiérrez and Metropolitan Opera star, Isabel Leonard. He conducted OH Festival’s production of Piazzolla’s María de Buenos Aires which The New York Times described as “excellent.” Upcoming performances with Opera Hispánica include a recital with tenor Ricky Garcia and a coproduction with Teatro Grattacielo. Mr. Parodi is the Founder and Music Director of the Tokyo International Vocal Arts Academy Summer Workshop. He has been a faculty member at The Juilliard School for over a decade and he is Vocal Coach of the prestigious Juilliard School’s PreCollege Division. He has offered master classes at the Instituto Superior de Arte del Teatro Colón (Buenos Aires), the San Francisco Conservatory of Music, the Manhattan School of Music (as coteacher with opera legend Martina Arroyo), the Escuela Superior de Canto (Madrid) and the Kunitachi Music College (Tokyo).

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Carl W. Knobloch, Jr. General & Artistic Director of The Atlanta Opera since 2013, Israeli born Tomer Zvulun is one of the leading stage directors of his generation, earning consistent praise for his creative vision and innovative interpretations. His work has been presented by prestigious opera houses in Europe, South and Central America, Israel and the US, including The Metropolitan Opera, Washington National Opera, Seattle, Houston, Dallas, San Diego, Boston, Pittsburgh, Minnesota, Montreal, Buenos Aires, and the festivals of Wexford, Glimmerglass and Wolf Trap, as well as leading educational institutes and universities TOMER ZVULUN such as The Juilliard School, Indiana University, and Boston CARL W. KNOBLOCH, JR. University. He spent seven seasons on the directing staff GENERAL & ARTISTIC at The Metropolitan Opera, where he directed revivals of DIRECTOR Carmen and Tosca and was involved with more than a dozen new productions. He is a frequent guest director PRODUCTION DIRECTOR at companies such as Seattle Opera (Semele, La bohème, ATLANTA OPERA DEBUT Eugene Onegin, Lucia di Lammermoor), The Dallas Opera THE FLYING DUTCHMAN, (Die Fledermaus, La bohème), Houston Grand Opera 2009 (Flying Dutchman, Rigoletto), Wexford Festival (Silent Night, Dinner at Eight), Cincinnati Opera (Magic Flute, Don Giovanni, Flying Dutchman), Wolf Trap (Falstaff, Don Giovanni), Israeli Opera (Dead Man Walking, Giulio Cesare) among others. His European premiere of Silent Night at the Wexford Festival received two Irish Times Awards and traveled from Ireland to Washington National Opera, The Glimmerglass Festival, and the opera companies of Atlanta, Austin, and Salt Lake City. He directed over 15 new productions at his home company in Atlanta, including Dead Man Walking, The Flying Dutchman, Soldier Songs, Silent Night, Maria de Buenos Aires, La bohème, Madama Butterfly, Lucia di Lammermoor, The Magic Flute, and Eugene Onegin. During Tomer’s tenure, the company’s fundraising has tripled, resulting in twice the number of productions presented annually. His focus on innovation has garnered national attention and resulted in a Harvard Business School case study chronicling The Atlanta Opera’s turnaround, an International Opera Awards nomination, an ArtsATL Luminary Award, and an invitation to deliver a TEDx Talk about innovation in opera.

14 | thethreepennycarmencast&creative Julia Noulin-Mérat is an American, French, and Canadian producer, designer and is the General Director and Chief Executive Officer of Opera Columbus. Noulin-Mérat is the creative director for Hong Kong-based More Than Musical and is the Artistic Advisor of Guerilla Opera. Previously, for eight years she was the Associate Producer at Boston Lyric Opera. In addition, Noulin-Mérat has worked on over 400 opera, theater, and television productions, including 25 new operas and 22 new plays. Other projects include a TEDx talk on site-specific opera productions in the modern JULIA NOULIN-MÉRAT age, Neverland a $20 million, 50,000 square immersive theater piece in Beijing based on Peter Pan directed by SCENIC DESIGNER Allegra Libonati (China Broadway), the Big Tent Series a ATLANTA OPERA DEBUT safe, outdoor fall festival directed by Tomer Zvulun (The PAGLIACCI & THE KAISER Atlanta Opera), an immersive Pagliacci (Boston Lyric OF ATLANTIS, 2020 Opera) production complete with fairgrounds inside an ice rink directed by David Lefkowich (Boston Lyric Opera), and Playground a National touring operatic sound sculpture in collaboration with composer Ellen Reid (Opera Omaha). Her work has been featured in Opera News, LiveDesign, the New York Times and the Wall Street Journal to name a few. www.noulinmerat.com

JOANNA SCHMINK COSTUME DESIGNER

Joanna has designed and coordinated costumes for The Atlanta Opera for more than 25 seasons. She has created original work for mainstage productions of Dead Man Walking, Così 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, Yardbird, 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.

ATLANTA OPERA DEBUT COSÌ FAN TUTTE, 2000

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BRUNO BAKER ASSISTANT DIRECTOR ATLANTA OPERA DEBUT

MARCELLA BARBEAU LIGHTING DESIGNER

Bruno Baker is a Latinx NYC based American/Brazilian multidisciplinary stage director. He has worked as an assistant director at Boston Lyric Opera and Madison Opera, as a stage manager at the Park Avenue Armory, and on the staging staff for Santa Fe Opera. Previous work on the staging staff includes Guerilla Opera, Boston Conservatory at Berklee, and LoftOpera. During the COVID-19 crisis, Mr. Baker associate directed a new filmed version of La bohème for Hong Kong-based opera company More Than Musical, co-produced with Opera Omaha and Tri-Cities opera. He spent a few months at home in Rio De Janeiro, developing an anthology of short operas, inspired by Brazilian musical genres. He is a recipient of the 2021 OPERA America Robert L.B. Tobin Director-Designer Prize for his proposed production of Anthony Davis’ The Central Park Five.

Marcella Barbeau (she/her) is a lighting designer based in New York City and currently serves as the lighting supervisor for The Atlanta Opera. Her recent credits include: Dolores Claiborne, Pelléas et Mélisande (Boston University Opera Institute), Native Gardens, Barefoot in the Park, The Lifespan of a Fact, True West (Gloucester Stage), and Trayf (New Repertory Theatre). The Threepenny Carmen and The Threepenny Opera mark her fifth and sixth productions with the opera. As a Chinese American designer, Marcella actively seeks to collaborate and amplify the voices of fellow BIPOC artists of all intersectionalities. She received her Master of Fine Arts from Boston University.

ATLANTA OPERA DEBUT PAGLIACCI & THE KAISER OF ATLANTIS, 2020

FRANDRESHA “BRIE” HALL WIG & MAKEUP DESIGNER ATLANTA OPERA DEBUT LA BOHÈME, 2015

“Frandresha “Brie” Hall is an Atlanta native specializing in hair and makeup for film, television, theatre and celebrities for over 15 years. She began working with The Atlanta Opera in 2015 for the production of La bohème. She quickly grew to become an Assistant Designer for The Atlanta Opera’s productions of Dead Man Walking, La traviata, and Salome. As The Atlanta Opera’s resident Wig and Makeup Department Head, she made her Designer debut with the productions of Pagliacci and The Kaiser of Atlantis. Other credits include The Atlanta Opera’s productions of West Side Story, Eugene Onegin, Frida, La Cenerentola, Porgy and Bess and Bard Summerscape’s Production of Demon. Film credits include “The Nth Ward,” “The Oval,” Aretha Franklin’s biopic “Respect,” “Dear Evan Hansen,” and “Black Lighting.”

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ERIN TEACHMAN PROJECTIONS DESIGNER

Erin Teachman has been freelancing as a projection and digital artist for six years working across disciplines to bring digital media to stages across the United States, including Ford’s Theatre, Baltimore Center Stage, the Alley, Dallas Theatre Center, Arena Stage, Florida Grand Opera, the Washington Ballet, the Kansas City Ballet, among others. Erin previously assisted on productions of Dead Man Walking and Frida and worked as digital media designer and 3D artist on Salome. He is excited to continue working with The Atlanta Opera to deliver live storytelling safely under the Big Tent in these extraordinary times.

ATLANTA OPERA DEBUT SALOME, 2020

Hailed by The New York Times as “a furnace of earthy sensuality,” Sonia Olla was born and raised in Barcelona where she earned a degree in Spanish Dance and Flamenco at the esteemed “Instituto de Teatro y Danza.” She has toured the world as company member and soloist with flamenco greats such as Antonio Canales, Eva la Yerbabuena, Rafaela Carrasco, Merche Esmeralda, María Pagés and La Farruca, along with performing at the famous Spanish Tablaos.

Together with the Flamenco singer Ismael Fernández, she combines teaching with her performance and choreography SONIA OLLA career. Venues include the Kennedy Center, Carnegie Hall, Lincoln Center, along with New York clubs such as Le FLAMENCO DANCER Poisson Rouge and Joe’s Pub. US press includes The New & CHOREOGRAPHER York Times, Washington Post and The New Yorker. In 2015 ATLANTA OPERA DEBUT and 2016, Sonia collaborated with the pop-icon Madonna choreographing the worldwide “Rebel Heart Tour,” and in 2017 she worked with Ricky Martin providing Flamenco choreography for Lola Lola in his show “All In!” Sonia and Ismael are recipients of the CUNY Dance Initiative (CDI) Residency for 2018 and 2019, debuting their original piece “Ella” at CDI’s 5th Anniversary Fest. 2019 highlights included the New York Flamenco Festival; International Dance Festival of Havana, Cuba; Edmonton Flamenco Festival and a the couple’s Caribbean tour. In 2020 they collaborated with Berklee College to develop a cutting-edge ensemble exploring Flamenco and Jazz, creating workshops and performances for Berklee Performance Center. The Ensemble performed at the BPC in Boston in 2020, and Sonia continues this collaboration in 2021.

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Described by The Washington Post as the “most charismatic performer” and a “connection to the Gypsy source,” Ismael Fernández was born in Seville, of Gypsy descent, grew up performing in flamenco festivals throughout the world with his internationally renowned family, “La Familia Fernández”. His career began in Spain’s premier flamenco tablaos such as El Cordobes in Barcelona, La Carboneria in Seville and other famous flamenco cuevas of Granada. He currently resides in New York, combing Cante classes with performance, radio ISMAEL FERNÁNDEZ and television appearances. Ismael’s voice is featured in pop-icon Madonna’s “Rebel Heart Tour” during “La Isla FLAMENCO Bonita.” He performed as a tribute to Alejandro Sanz ACCOMPANIST at the Latin Grammy’s in 2017 and lent vocals to Ricky ATLANTA OPERA DEBUT Martin’s show “All In!” for the number Lola Lola. Sonia Olla and Ismael finished touring in Asia and debuted their Modern Pure Flamenco piece “Ella” at the CUNY Dance Initiative’s 5th Year Fest. 2019 saw them perform in New York City, Flamenco Festivals across North America, Havana, Cuba and Miami. Ismael recently performed his upcoming album “Trato” at NYC’s Joe’s Pub and regularly performs his original music throughout NYC. Ismael and Sonia created and toured their new show Gloria in the Caribbean, presented by the Spanish embassy of Trinidad and Tobago and Guyana. As teaching artists at Berklee College of Music, the couple have created the only Flamenco theory programming in North America.

Ricardo Aponte is delighted to return to The Atlanta Opera after choreographing Frida in 2019. Ricardo is an Atlanta based director and choreographer and a three time Suzi Bass Award winner, who’s work has been seen at The Alliance Theatre, Theatrical Outfit, Aurora Theatre, Actor’s Express, Atlanta Lyric Theatre, and Georgia Ensemble Theatre, among other productions around the country. He’s also the founder and artistic director of Theatre Platform Project, a theatre education nonprofit that serves underserved communities.

RICARDO APONTE CHOREOGRAPHER ATLANTA OPERA DEBUT FRIDA, 2019

18 | thethreepennycarmencast&creative Tom Key served as Artistic Director of Theatrical Outfit from 1995-2020, where his drive to tell “stories that stir the soul” 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 TOM KEY River, Young Man From Atlanta, Red). He has performed NARRATOR his solo dramatization, C.S. Lewis On Stage, across North America, including residencies at Harvard, Yale, ATLANTA OPERA DEBUT Cambridge, and Oxford universities. At Theatrical Outfit, THE ABDUCTION FROM he has directed numerous productions, including Horton THE SERAGLIO, 2016 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.

This season Megan Marino joins Les musiciens du Louvre with Mark Minkowski conducting the Da Ponte Trilogy and her debuts of Susanna in Le nozze di Figaro, Zerlina in Don Giovanni, and Dorabella in Così fan tutte at the Opéra royal de Versailles. She also makes her debut with Houston Grand Opera as Elsa Schraeder in The Sound of Music, returns to Santa Fe Opera as Cherubino in Le nozze di Figaro. Her return to the Metropolitan Opera in Lulu was canceled due to COVID-19 as were returns to Opéra national de Paris as Wellgunde. Her debut at the Opéra national de Bordeaux, also in the Da Ponte Trilogy, MEGAN MARINO was postponed. In the earlier part of the 2019-20 season, additional support by she returned to the Metropolitan Opera as Flora in La Triska Drake & G. Kimbrough Taylor traviata and Opera Colorado for her Rosina in Il barbiere di Siviglia. Future engagements include debuts with the CARMEN Gran Teatre del Liceu and Bayerische Staatsoper as well (APRIL 15, 17, 23, & 25) as returns to Santa Fe Opera, and Dallas Opera. She made her Metropolitan Opera debut in Die Frau ohne Schatten ATLANTA OPERA DEBUT and has also returned in Iolanta, Suor Angelica, Rusalka, EUGENE ONEGIN, 2019 and Thaïs. She joined Opéra national de Paris (Parsifal); Dallas Opera (Falstaff); The Atlanta Opera (Eugene Onegin); Lyric Opera of Chicago (Der Rosekavalier); Santa Fe Opera (Madama Butterfly); Florida Grand Opera, Fort Worth Opera, Opera Fort Collins, Virginia Opera, and Kentucky Opera (Il barbiere di Siviglia); Lyric Opera of Kansas City (Hänsel und Gretel, Eugene Onegin); Des Moines Metro Opera (Falstaff); Spoleto Festival USA (Kát´a Kabanová); Opera Delaware (La Cenerentola); and Central City Opera (Così fan tutte).

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Mezzo-soprano Ashley Dixon is a Grand Finals winner of the 2018 Metropolitan Opera National Council Auditions.

She possesses a “robust instrument full of beguiling vocal colors, as well as formidable technical command” (The San Francisco Chronicle). In spring of 2020, Ms. Dixon made her critically acclaimed debut with the Los Angeles Opera, stepping into a run of performances as Sara, Duchess of Nottingham in Roberto Devereux alongside bel canto veterans Ramon Vargas and Angela Meade.

Of these performances, she was praised as having “an exquisite gentleness… Dixon inhabits her persona, remains ASHLEY DIXON likable, inured to any judgment. With her melodious and precise voice, Dixon navigates her character’s dilemmas CARMEN with sure-fire finesse (LA Excites).” A 2019 alumna of (APRIL 28, 30, MAY 2, 6, & 8) San Francisco Opera’s Adler Fellowship, Ashley Dixon made her SFO mainstage debut in Jake Heggie and Gene ATLANTA OPERA DEBUT Scheer’s It’s a Wonderful Life as an Angel First Class.

During her two-year tenure, she was heard as Mércèdes in Carmen, the Third Wood Sprite in Rusalka, the Italian Singer in Manon Lescaut, and the Sandman in Hansel and Gretel. In “The Future is Now,” the end-of-season concert featuring the Adler Fellows, Ms. Dixon performed a duet from Massenet’s Cendrillon and Dopo notte, the glittering final aria from Handel’s Ariodante, which was hailed as a “phenomenal performance” by San Francisco Classical Voice. Ms. Dixon’s current engagements include A solo appearance in San Francisco Opera’s Holiday Gala, Alma Mahler’s Sieben Lieder with the Spokane Symphony, the role of Doris in Elizabeth Cree with West Edge Opera, and several projects with San Jose Opera.

Mexican soprano, Alejandra Sandoval, is building an international career in venues from Guanajuato to Beijing.

Recent engagements include Norina in Don Pasquale at the Camerata de Coahuila, Violetta in La traviata with the Orquesta Sinaloa de las Artes and the Teatro Del Bicentenario in Leon, Mimì in La bohème with the State of Mexico Symphony Orchestra, Donna Anna in Don Giovanni with the Symphony Orchestra Ciudad Juárez, the title role in Mario Lavista’s Aura in Mexico City, and Madama Cortese in Il viaggio a Reims and Donna Elvira in Don Giovanni at the Opera de Bellas Artes in Mexico City. Recent concert ALEJANDRA SANDOVAL engagements include Rossini’s Petite Messe Solennelle, Mahler’s Fourth Symphony with the Xalapa Symphony FRASQUITA Orchestra, Beethoven’s Ninth Symphony with the State of Mexico Symphony Orchestra, the Verdi Requiem ATLANTA OPERA DEBUT with the Mexico City Philharmonic Orchestra, Orff’s Carmina Burana at the International Festival Cervantino in Guanajuato. She has worked with renowned conductors such as Enrique Batiz, Arthur Fagen, Yoav Talmi, Ramón Shade, Román Revueltas, Enrique Patrón de Rueda, Guillermo Villareal, José Guadalupe Flores, Mario Rodriguez Taboada, Lanfranco Marcelletti, John Goldwin, Armando Vargas, Eduardo S. Zúber, Luis Manuel Sánchez, and Jorge Casanova.

She was the winner of the XXIV National Singing Contest “Carlo Morelli.” She won the third prize in the National Singing Contest Opera de San Miguel in and has been a semifinalist and finalist in several international competitions including Truhillo City in Peru; Iris Adami Corradetti in Padova, Italy; Competizione dell’Opera in Dresde; Francisco Vinas in Barcelona; Toti dal Monte in Treviso, Italy; and the Hans Gavor Belvedere in Austria.

20 | thethreepennycarmencast&creative Gabrielle Beteag is an Atlanta-based mezzo soprano. In March 2020, she was named a Grand Finals Winner of the Metropolitan Opera National Council Auditions, where she was praised for her “choice voice” and “dramatically vivid” performance. Next summer, she will perform Marcelina in Le nozze di Figaro with the Merola Opera Program.

She joined Chautauqua Opera as a Young Artist in 2019, where she was featured in their touring outreach program as Aunt Bartolo in The Barber of Seville in California and on the mainstage as Woman in a Hat and Duchess in The Ghosts of Versailles. Her other role credits include GABRIELLE BETEAG Lady Billows in Albert Herring, Secretary in The Consul, Donald & Marilyn Keough Madame de Croissy in Dialogues des Carmélites, and Foundation Augusta Tabor in The Ballad of Baby Doe. She has won MERCEDES and placed in several national competitions, including Shreveport Opera’s Mary Jacobs Smith Singer of the ATLANTA OPERA DEBUT Year Competition (First Runner Up, 2020), the Opera Birmingham Vocal Competition (Finalist, 2019), and the Kristin Lewis Vocal Scholarship Competition (Grand Prize, 2018), which sponsored her on a trip to Austria to study at the Wiener Staatsoper.

Nathan Munson has been praised for his vocal beauty, maintaining a versatile presence on the concert and operatic stage. He has sung leading and supporting roles with the Sarasota Opera, Hawaii Opera Theatre, the Atlanta Opera, Opera North, Piccola Opera San Antonio, Capitol City Opera, dell’Arte Opera, and the Illinois Opera Theatre. Roles include Beppe in Pagliacci, the Steersman in Wagner’s Der fliegende Holländer, Tom Snout in A Midsummer Night’s Dream, Normanno in Lucia di Lammermoor, Pedrillo in Die Entführung aus dem Serail, Remendado and El Dancaïre in Carmen, Rodolfo in La NATHAN MUNSON bohème, Roméo in Roméo et Juliette, Ferrando in Così fan EL REMENDADO tutte, Cassio in Verdi’s Otello, and Dr. Baglioni in a world premiere revision of Daniel Catan’s La Hija di Rappaccini.

ATLANTA OPERA DEBUT In addition to his operatic appearances, Dr. Munson has LUCIA DI LAMMERMOOR, been a frequent visitor to the concert stage. He will 2011 premiere a new work for tenor and orchestra this Spring, entitled To Be or Not To Be? composed by Thomas Ludwig. Before cancellations due to the COVID-19 pandemic, he was to have sung with the Greenville Symphony Orchestra in Beethoven’s 9th Symphony, Carmina Burana with Berry College, and Haydn’s Lord Nelson Mass with the Michael O’Neal Singers. He made his Carnegie Hall debut in Haydn’s Lord Nelson Mass and debuted with the Helena Symphony Orchestra (Montana) in Handel’s Messiah. He has been soloist in Bruckner’s Te Deum, Bach’s B-minor Mass, Saint John’s Passion and Magnificat, and Mozart’s Requiem.

He has also been featured with the Kalamazoo Symphony Orchestra, Kentucky Symphony Orchestra, Huntsville Symphony, and the Georgia Symphony. Dr. Munson can be heard on the world premiere recording of The Golden Ticket (Albany Records) and was a featured soloist in a Christmas Concert with The Atlanta Opera, which was recorded live for broadcast by WABE-Atlanta. He is an Assistant Professor of Voice in the Dr. Bobbie Bailey School of Music at Kennesaw State University.

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Most recently, bass-baritone Calvin Griffin made his Metropolitan Opera debut as Brühlmann in Werther, sang the title role in Le nozze di Figaro with Florentine Opera, and appeared in concert with Virginia Symphony Orchestra and the Columbus Symphony in Handel’s Messiah, and with Sacramento Philharmonic and Opera for an evening of Mozart. Additional recent highlights include returns to the Richmond Symphony for Handel’s Messiah, Florida Grand Opera as Figaro in Le nozze di Figaro, Minnesota Opera as Eddie in The Fix, and Wolf Trap Opera as Bartolo in Il barbiere di Siviglia and Gomez CALVIN GRIFFIN in L’heure espagnole. In a busy 2017-18 season, he made additional support by debuts with Opera Birmingham as Escamillo in Carmen, Mr. Robert Dean & Mr. Robert Epstein Opera on the James as Leporello in Don Giovanni, and Opera Orlando as Alidoro in La Cenerentola. Additionally, EL DANCAIRO he returned to Arizona Opera to sing Dr. Bartolo in Il (APRIL 15, 17, 23, 25, 28, 30, barbiere di Siviglia, and debuted with Minnesota Opera & MAY 2) as the Potter’s Assistant in Fellow Travelers. A native of Columbus, OH, Calvin is an alum of the Florida Grand ATLANTA OPERA DEBUT Opera Studio where he made his debut stepping in as a THE SEVEN DEADLY SINS, cover to sing Escamillo in Bizet’s Carmen. In addition, he 2017 sang Zaretsky and covered Gremin in Eugene Onegin, sang Victor in Before Night Falls, and Samuel in Un ballo in maschera with the company.

He recently finished a stint with the Arizona Opera Studio where he performed the roles of the Captain in Florencia en el Amazonas, Zuniga in Carmen, Pistola in Falstaff, and Count Ceprano in Rigoletto.

Praised for his “robust-voiced” and “buttery baritone” (The New York Times), baritone Brian James Myer is an emerging artist on prominent opera and symphony stages in the US and beyond. A Puerto Rican native of Las Vegas, he has been establishing himself in the world of new works with companies such as New York City Opera, Florida Grand Opera, American Lyric Theatre, Opera San Jose, and Opera Las Vegas. Most notably, he created roles in two world premieres with New York City Opera in 2019, Young Erich (Dear Erich) and Carlos (Stonewall). In 2020 he made his debuts as Figaro (The Barber of Seville) BRIAN JAMES MYER with The Atlanta Opera’s Studio Tour, Mercutio (Roméo EL DANCAIRO et Juliette) with Knoxville Opera, and as a soloist with (MAY 6 & 8) the Aula Simfonia Jakarta in Jakarta, Indonesia. Other slated performances in 2020 included Figaro (Il barbiere ATLANTA OPERA DEBUT di Siviglia) with Opera on the James, the bass soloist in Beethoven’s 9th Symphony with the Hartford Symphony Orchestra, Moralès/Le Dancaïre (Carmen) with Festival Opera, Masetto (Don Giovanni) with the Berkshire Festival Opera, and his European debut as Squibby in Iain Bell’s Women of Whitechapel: Jack the Ripper with Opera North in the UK, all of which were canceled or postponed due to COVID-19.

Mr. Myer holds Bachelor’s degrees in Music Education and Romance Languages from the University of Nevada, Las Vegas and a Master’s degree in Vocal Performance from the Cleveland Institute of Music.

22 | thethreepennycarmencast&creative Richard Trey Smagur, of Clarkesville, Georgia, has been noted for his “attractive lyric tenor” and “vivid presence” (Opera Today) and was named a winner of the Metropolitan Opera National Council Auditions in 2017. He makes several significant debuts this summer, including an appearance with Wolf Trap Opera as Tybalt in Roméo et Juliette and as the tenor soloist in Beethoven’s Ninth Symphony with the National Symphony Orchestra at the Filene Center. In August, he will appear alongside Jamie Barton for Mahler’s Das Lied von der Erde at The Aspen Music Festival and School under the baton of Patrick RICHARD TREY SMAGUR Summers. A member of the Houston Grand Opera Studio, support by his role and house debuts included Gastone de Letorières Mr. William F. Snyder in La traviata, Young Servant in Elektra, and Count DON JOSE Almaviva in select performances of Il barbiere di Siviglia at the Miller Outdoor Theater in Houston. In the same ATLANTA OPERA DEBUT season, he made his house debut at The Santa Fe Opera as PAGLIACCI, 2020 Tsarevitch Gvidon in The Golden Cockerel. In the 2018-19 season, he returned to The Santa Fe Opera to make his principal role debut as Števa Buryja in Jenůfa, and appeared with Houston Grand Opera as Steuermann (The Flying Dutchman) and Parpignol (La bohéme). He appeared with the Tucson Symphony Orchestra for Handel’s Messiah in December 2019. He has appeared professionally as Tamino in The Magic Flute with OK Mozart and covered Des Grieux in Manon at Des Moines Metro Opera. In concert, he has performed in Elijah with the Tucson Desert Song Festival and as a tenor soloist with the Cincinnati Boy Choir. Last summer, he was a fellow at the Steans Music Institute at Ravinia Music Festival. He participated in HGO’s Young Artists Vocal Academy in 2012.

Colombian-American tenor, Jose Gabriel Caballero, is an active performer in the Metro-Atlanta opera and musical theater scenes. Passionate and a natural entertainer, he has been part of The Atlanta Opera Chorus since the 201617 season. Some of the mainstage shows he took part in include Silent Night, Turandot, Maria de Buenos Aires, The Flying Dutchman, The Daughter of the Regiment, Carmen, Sweeney Todd, La Cenerentola, Eugine Onegin among others. He has been featured in multiple Dinner and Divas at Capital City Opera including their popular Three Tenors show as well as the roles of Nadir in The Pearl JOSE CABALLERO Fishers, Ferrando in Così Fan Tutte, Don Jose in Carmen, ZUNIGA and he took part in two Opera’s Greatest Hits events, as well as their annual fundraiser On the Light Side, and ATLANTA OPERA DEBUT their first-ever Rising Stars Concert in 2017; he also sang the role of Gastone in their production of La traviata in 2018. Other than being an active performer, he enjoys teaching piano, guitar, and ukulele private lessons at Atlanta Music Education, helping cultivate the next generation of musicians in his community. Although relatively new to the opera world he is not new to the stage: he’s played musical theater roles including his favorites Antony in Sweeney Todd, Enjolras in Les Miserables, Chino in West Side Story, and Jack in Into the Woods. He completed his Bachelor of Music in Voice Performance at Clayton State University.

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American soprano Jasmine Habersham is a versatile and dynamic performing artist. Her 2019-20 season included Adina in L’elisir d’amore (Phoenicia Festival of Voice), Sarah Ruth in Edward Tulane (World Premiere; Minnesota Opera), and Frasquita in Carmen (European Debut; Gran Teatre del Liceu). In 2018-19, she sang Pip in Moby Dick (Opera San Jose), the world premiere of Katie Jackson in The Fix (Minnesota Opera), Clara in Porgy and Bess and Adina in L’elisir d’amore (The Phoenicia International Festival of the Voice). An avid performer of new works, Jasmine has premiered the role of Mariola in Jake Heggie JASMINE HABERSHAM and Gene Scheer’s Out of Darkness: Two Remain (The support by Atlanta Opera). She has also appeared as Pip in Moby Dick Mr. William Pennington Rhys T. & Carolyn Wilson (Utah Opera), Pamina in The Magic Flute (Opera Theater St. Louis: Opera on the Go) Papagena in Die Zauberflöte MICAELA (Cincinnati Opera and The Glimmerglass Festival), Yum ATLANTA OPERA DEBUT Yum in the The Mikado (Kentucky Opera), Esther in (Cincinnati Opera Fusion) and Clara in THE PIRATES OF PENZANCE, Porgy and Bess (Utah Festival Opera). In past summers, 2016 she participated in several young artists programs including The Glimmerglass Festival, Central City Opera, Kentucky Opera, and the Brevard Music Center. As a graduate student at the University of Cincinnati College-Conservatory of Music, she performed the roles Despina (Così fan tutte), Norina (Don Pasquale), Mrs. Julian (Owen Wingrave), and covered the role of Zerlina (Don Giovanni). She received her bachelor’s degree in vocal performance from Shorter College and her master’s and artist Diploma from the University of Cincinnati College-Conservatory of Music.

Michael Mayes stunned London audiences as Joseph de Rocher in the UK premiere of Jake Heggie’s opera Dead Man Walking alongside Joyce DiDonato at London’s Barbican Hall. His “searing performance” was hailed by critics as “sensational,” “a revelation,” and “of such stunning strength and complete identification.” He made his European debut at the Teatro Real, Madrid, in staged performances of Dead Man Walking and has performed the role with multiple opera houses, including Washington National Opera. He reprised de Rocher with The Atlanta Opera, in a critically acclaimed production co-starring MICHAEL MAYES Jamie Barton. He is renowned for his outstanding additional support by performances in contemporary operas, including the Cathy Callaway Adams & Mark Adams Grammy-nominated world premiere of Great Scott with The Dallas Opera and San Diego Opera; Margaret Garner ESCAMILLO opposite Denyce Graves with the Opera Company of (APRIL 15, 17, 23, & 25) Philadelphia and Opera Carolina, and performances in Out of Darkness, Three Decembers, Glory Denied, The ATLANTA OPERA DEBUT Wreckers, Mark Adamo’s Lysistrata, Baden-Baden 1927, SWEENEY TODD, 2018 and Everest. 2018-19 performances included a debut with Staatsoper Stuttgart as the title character in Nixon in China, Conte di Luna in Il Trovatore for Seattle Opera, Starbuck in Moby Dick in Pittsburgh, the title role in Sweeney Todd for The Atlanta Opera. He also excels in dramatic baritone roles such as Scarpia in Tosca, Jack Rance in La Fanciulla del West, and the title roles of Don Giovanni and Rigoletto.

24 | thethreepennycarmencast&creative A recent recipient of the Sara Tucker Study Grant from the Richard Tucker Music Foundation, Theo Hoffman is quickly becoming a sought-after talent. Mr. Hoffman began the COVID-19 shortened 2019-20 season with his debut at Opera Philadelphia as Denis in the critically acclaimed world premiere of Denis and Katya by Philip Venables, followed by his return to Los Angeles Opera in his first professional performances of Papageno in Die Zauberflöte, marking his eighth production with the company. The Manhattan-born baritone trained at THEO HOFFMAN Los Angeles Opera as a Domingo-Colburn-Stein Young Artist. While a young artist, he performed Maximilian in ESCAMILLO Francesca Zambello’s acclaimed production of Candide (APRIL 28, 30, MAY 2, 6, & 8) under the baton of James Conlon, as well as Le Dancaïre ATLANTA OPERA DEBUT in Carmen. He debuted with the company in 2016 as LA BOHÈME, 2015 Il medico in Macbeth opposite Placido Domingo, and performed Second Nazarene in Salome, Hermann in Les contes d’Hoffmann, First Editor in Wonderful Town, and covered Horemhab in Akhnaten.

Mr. Hoffman joined with composer and conductor Matthew Aucoin in a series of afterhours concerts at LA Opera entitled The Song: From Schubert to Springsteen as well as a chamber concert in conjunction with The Colburn School. He made his first public appearance on the Metropolitan Opera stage as a Grand Finalist in the 2016 Metropolitan Opera National Council Auditions after winning in the Eastern Region. Mr. Hoffman is the 2015 third prize-winner in the Gerda Lissner Foundation’s International Vocal Competition, and the recipient of a Richard Gaddes Career Grant from Opera Theatre of Saint Louis.

Bailey Jo Harbaugh graduated as Outstanding Senior from the Department of Dance at Kennesaw State University with Magna Cum Laude honors in 2019.

Bailey Jo’s professional career began in 2019 with an apprenticeship at contemporary company Staibdance, under the direction of George Staib and managed by Sarah Hillmer. In 2020, she was promoted to a full-time member where she currently rehearses and performs the company’s repertoire. She works in the dance ensemble with musical theater company, the Atlanta Lyric Theatre.

BAILEY JO HARBAUGH She also guests with contemporary dance collective, Fly on a Wall, where she engages intimately with its founders DANCER and members. She is over the moon to join The Atlanta ATLANTA OPERA DEBUT Opera for her third consecutive season; having previously PAGLIACCI, 2020 participated in Salome, and most recently served as dance captain for Pagliacci and The Kaiser of Atlantis in the Big Tent series closing 2020. Endless thanks and love to Tomer and The Atlanta Opera for creating pandemic-art opportunities relevant to our time. Massive gratitude to Scott and Beverly Harbaugh for their undying support of her career to which she owes it all!

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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.

BRANDON NGUYEN-HILTON DANCER ATLANTA OPERA DEBUT OUT OF DARKNESS: TWO REMAIN, 2018

Raised in Jonesborough, Tennessee, Gwynn Root received her dance training at Johnson City Ballet/CYB in East Tennessee; Central Pennsylvania Youth Ballet in Carlisle, PA; and various intensives. She studied privately under Pat Holden, Christina Fagundes Turner, Marvin Askew, and others. She has danced with the Louisville Ballet, Columbia Classical Ballet, and the Atlanta Ballet. For three years she was a member of Festival Ballet Providence, where she danced in such works as The Firebird, The Nutcracker, Romeo and Juliet, Cinderella, The Little GWYNN ROOT Mermaid, Balanchine’s Allegro Brillante and Rubies, Rite of Spring, in Christopher Wheeldon’s The American, DANCER Up Close on Hope and in Viktor Plotnikov’s House of ATLANTA OPERA DEBUT Bernarda Alba, The Widow’s Broom, The Soldier’s Tale, LA TRAVIATA, 2019 and Carmen. Her full repertoire also includes Coppelia, Giselle, The Brown-Forman and Atlanta Ballet Nutcrackers, La Bayadere, Swan Lake, Etudes, and also works by Tudor, Limon, Helen Pickett and Val Caniparoli. She is teacher at Dancemakers of Atlanta and the Dance and Music Academy of Woodstock. She has been on staff at numerous ballet and dance schools as well as a guest teacher, ballet coach, and guest artist for organizations in New England, Virginia, Tennessee, and Georgia. As a choreographer, she has set original works on both students and professionals. Mrs. Root Wolford has previously danced with The Atlanta Opera in the productions of La Traviata, Pagliacci and the Kaiser of Atlantis, and was an original cast member of Tomer Zvulun’s Salome. She lives in Atlanta with her musician and composer husband Trevor Wolford.

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CROSSROADS IMAGINE BROADWAY CONCERT FOR UNITY THE SEQUEL

SATURDAY, APRIL 17 @ 2PM

Join us!

Great seats are still available for all concerts!

FEATURING FEATURING

THE A ATLANTA TLANTA OPERA OPERA THE COMPANY PLAYERS PLAYERS COMPANY

SATURDAY, MAY 1 @ 2PM

WITH

MORRIS ROBINSON & FRIENDS

SATURDAY, MAY 8 @ 2PM

MORE INFO ON PAGE 49

The Big Tent @ Cobb Energy Performing Arts Centre

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A

NY O EP N PER

BIG TENT SERIES SPONSOR The Molly Blank Fund of The Arthur M. Blank Family Foundation THE THREEPENNY OPERA PRODUCTION SPONSOR Antinori Foundation DEDICATION This production is in memory of Martha “Mot” Thompson Dinos

This performance is funded in part by the Kurt Weill Foundation for Music, Inc., New York, NY

Official Beverage of The Atlanta Opera

Mayor’s Office of Cultural Affairs

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

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THE ATLANTA OPERA COMPANY PLAYERS JAMIE BARTON

MEGAN MARINO

ALEK SHRADER

KEVIN BURDETTE

MICHAEL MAYES

RICHARD TREY SMAGUR

JASMINE HABERSHAM

RYAN MCKINNY

REGINALD SMITH, JR.

DANIELA MACK

MORRIS ROBINSON

TALISE TREVIGNE

SUPPORT FOR THE ATLANTA OPERA COMPANY PLAYERS Cathy Callaway Adams & Mark Adams

Mr. William Pennington

Triska Drake & G. Kimbrough Taylor

Dr. Harold Brody & Mr. Donald Smith

John Hammaker

Mr. William F. Snyder

Mr. John Haupert & Mr. Bryan Brooks

Rhys T. & Carolyn Wilson

David & Laura Kavtaradze

Ms. Bunny Winter & Mr. Michael Doyle

Victoria & Howard Palefsky

THE ATLANTA OPERA GLYNN STUDIO PLAYERS The Studio Players are supported by gifts from Beth & Gary Glynn and the Donald & Marilyn Keough Foundation JOSEPH LATTANZI GABRIELLE BETEAG JOSHUA CONYERS BRIAN VU SUSANNE BURGESS CALVIN GRIFFIN

ADDITIONAL SUPPORT FOR THE ATLANTA OPERA GLYNN STUDIO PLAYERS Bryan & Johanna Barnes

Kurt & Jennifer Hilbert

Mr. Robert Dean & Mr. Robert Epstein

Greg & Candy Johnson

THE ATLANTA OPERA DIRECTOR’S CIRCLE Cathy Callaway Adams & Mark Adams

Mr. John Haupert & Mr. Bryan Brooks

Antinori Foundation

Howard Hunter, Gramma Fisher Foundation

Julie & Jim Balloun

Donald & Marilyn Keough Foundation

Mr. & Mrs. Paul Blackney

Mr. & Mrs. Michael L. Keough

*Nancy & *Jim Bland

*Mr. & Mrs. Carl W. Knobloch, Jr.

Laura & Montague Boyd

Mary Ruth McDonald

Dr. Harold Brody & Mr. Donald Smith

James B. Miller, Jr.

Ms. Janine Brown & Mr. Alex J. Simmons, Jr.

Victoria & Howard Palefsky

John & Rosemary Brown

Mr. William Pennington

Mr. & Mrs. John L. Connolly

Jerry & Dulcy Rosenberg

Ann & Frank Critz

Katherine Scott

*Martha Thompson Dinos

Mr. William F. Snyder

Triska Drake & G. Kimbrough Taylor

Judith & Mark Taylor

Carl & Sally Gable

Rhys T. & Carolyn Wilson

Beth & Gary Glynn

Ms. Bunny Winter & Mr. Michael Doyle

Dr. & Mrs. Alexander Gross

The Mary & Charlie Yates Family Fund

John L. Hammaker

*deceased

30 | thethreepennyoperacredits THE THREEPENNY OPERA

by Kurt Weill and Bertolt Brecht in collaboration with Elisabeth Hauptmann English Adaptation by Marc Blitzstein The Atlanta Opera’s production of an abridged version of Marc Blitzstein’s adaptation of The Threepenny Opera has been modeled on Brecht’s own concert narration and leadin dialogue. This English-language version has been authorized by the Estate of Bertolt Brecht and European American Music Corp. (as agent for the Kurt Weill Foundation) in recognition of the restrictions that COVID-19 has mandated for stage presentations.

CONDUCTOR Francesco Milioto CONDUCTOR Clinton Smith (select performances) PRODUCTION CONCEIVED & DIRECTED Tomer Zvulun SCENIC DESIGNER Julia Noulin-Mérat COSTUME DESIGNER Erik Teague LIGHTING DESIGNER Marcella Barbeau WIG & MAKEUP DESIGNER Frandresha “Brie” Hall PROJECTIONS DESIGNER Erin Teachman CHOREOGRAPHER Ricardo Aponte FILMED MEDIA Felipe Barral CAST (IN ORDER OF VOCAL APPEARANCE) LILAS PASTIA Tom Key MACHEATH Jay Hunter Morris JONATHAN PEACHUM Kevin Burdette* MRS. PEACHUM Ronnita Miller POLLY Kelly Kaduce TIGER BROWN Joshua Conyers† JENNY Gina Perregrino** LUCY Susanne Burgess† COVERS NARRATOR Tom Key MACHEATH Theo Hoffman JONATHAN PEACHUM Brian James Myer MRS. PEACHUM Gabrielle Beteag† POLLY Susanne Burgess† TIGER BROWN Erik Larson JENNY Maria McDaniel Willathgamuwa LUCY Maria Valdes DANCERS Gwynn Root, Bailey Jo Harbaugh, Brandon Nguyen-Hilton MUSICAL PREPARATION Elena Kholodova ASSISTANT CONDUCTOR Clinton Smith ASSISTANT DIRECTOR Bruno Baker PRODUCTION STAGE MANAGER Megan Bennett ASSISTANT STAGE MANAGERS Kristin Kelley & Colleen Kane SUPERTITLE OPERATOR Anna Young

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ORCHESTRA CLARINET I David Odom

PERCUSSION Michael Cebulski

CLARINET II Justin Stanley

ALTO SAX Luke Weathington

TRUMPET I Yvonne Toll

TENOR SAX Mace Hibbard

TRUMPET II Alexander Freund

GUITAR/BANJO Bill Hatcher

TROMBONE Richard Brady

PIANO Elena Kholodova

TIMPANI John Lawless

PERSONNEL MANAGER Jason Eklund

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SPECIAL THANKS Tomer Zvulun and The Atlanta Opera would like to thank Jon Ludwig, Jason Hines, Beth Schiavo, and the Center for Puppetry Arts.

• puppet.org The Center for Puppetry Arts is a unique cultural treasure — a magical place where children and adults are educated, enlightened and entertained. Since 1978, the Center has introduced millions of visitors to the wonder and art of puppetry and has touched the lives of many through enchanting performances, curriculum-based workshops, and the hands-on Museum, as well as Digital Learning and Outreach Programs.

MISSION - To inspire imagination, education and community through the global art of puppetry.

VISION - To be the premier puppetry center in the world through our performances, museum and educational programming.

SAFETY ADVISORY COUNCIL Dr. Harold Brody

Mr. Andrew Long

Dr. Carlos del Rio

Mr. Howard Palefsky

Dr. Donald J. Filip

Mr. Charles Sharbaugh

Mrs. Joanne Chesler Gross

Mr. Alex Simmons, Jr.

Mr. John Haupert

Mr. Rhys T. Wilson

Performed in English with English supertitles. Approximate running time: 90 minutes *member of The Atlanta Opera Company Players | †member of the Glynn Studio Players **alumnus of the Atlanta Opera Studio

32 | thethreepennyoperaproductionnote

Oscar Wilde once said, “Man is least himself when he talks in his own person.

Give him a mask, and he will tell you the truth.” The Threepenny Opera does much the same: the opera uses metaphoric masks—a satirical narrative by Bertolt Brecht and “pleasant” music by Kurt Weill—and literal masks worn and created by The Atlanta Opera to expose stark truths about the realities of money, sex, power, law enforcement, business, and government.

The narrative of The Threepenny Opera is drawn from multiple works. Taking inspiration from John Gay’s The Beggar’s Opera and poems

by Francois Villon and Rudyard Kipling, Brecht worked with Elisabeth Hauptmann to craft the libretto. Efforts for the opera began in early 1928, and it premiered on August 31 of that year. Despite its rushed composition and last-minute revisions, cuts, and changes, the work was one of the most successful productions of the Weimar Republic and quickly traveled to other countries around the world.

The immediate and continued success of the opera comes from its satirical nature. An audience member at the premiere observed that those watching the show were “forced to confront on stage their own traits,” but, “They were not repelled […] They liked it […]

The people cheered themselves, they saw

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themselves and were pleased.” Brecht’s narrative is engaging, his characters charming, and his staging entertaining. The show enchants, yet never wanders far from the social critique rippling beneath its surface, its humor steadfastly linked to an effort to expose corruption and immorality.

Weill’s music is well-matched to Brecht’s searing satire: it has a sweetness to it that amplifies the satire and stands in contrast to Brecht’s raw story. Weill’s music goes against operatic tradition—it is full of spoken dialogue and replete with popular musical idioms. The score is a step towards popular musical theater. For Weill, it was not enough to simply shake up the old institutions; as the writer Pamela Katz points out in her book The Partnership, Weill wanted to “transform them by writing music that appealed not only to the intelligence but also to the hearts and hips of a large audience. He dreamed of hearing his songs in the whistle of a taxi driver.” In The Threepenny Opera, Weill aspired for his catchy, popular music to further Brecht’s satire. Weill once said, “The charm of the piece rests precisely in the fact that a rather risqué text […] is set to music in a gentle, pleasant way.” This “gentle, pleasant” mask over Brecht’s text works to reveal rather than hide the social critique underlying this masterwork.

The Atlanta Opera has also creatively partnered with the Center for Puppetry Arts for this production. This collaboration not only permits The Atlanta Opera to increase safety precautions by reducing the number of performers on stage, it also creates a visual amplification of the effect of Weill’s music: just as Brecht’s “risqué” text is incongruous with Weill’s “gentle, pleasant” music, so is the pairing of the text with the puppets. The puppets—like the characters and the music—charm and entertain. Yet, hidden behind every puppet is a human puppeteer—a presence just beyond what is visible, a reminder that there is another reality behind the veneer of what we are seeing.

The Threepenny Opera opens with an introduction of the cast given by the narrator, expressly identified as Brecht, to the sound of Weill’s “Mack the Knife.”

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34 | thethreepennyoperaproductionnote Each of the seven main characters fall into one of four social categories: beggars, prostitutes, cops, or thugs.

Throughout the opera, these social groups interact in puppet and human form, manipulating and controlling one another for their own benefit.

In the first act, the beggar-leaders Mr. and Mrs. Peachum, have learned that their daughter Polly is in love with thug-leader Macheath and plot to end the relationship. Meanwhile, Mack and Polly proceed to get married, resulting in a celebration that includes Polly singing “Pirate Jenny” and Chief of Police Tiger Brown singing “Canon Song” with his old army pal Macheath.

Polly returns home to her parents (“Barbara Song”), who have decided the most rational and appropriate way to get rid of their unwanted sonin-law is to have Mack arrested and killed.

The second act opens as Mack takes leave of Polly in order to attend “other business.” Mrs. Peachum, meanwhile, meets with Jenny, the leader of the prostitutes, to scheme against Macheath. As Mack takes care of his “other business” (at the brothel), he and Jenny first reminisce about their times together in “The Pimp’s Ballad”—just before Jenny betrays him to the police. In jail, Mack is visited by Polly and Lucy, the daughter of the Chief of Police who (surprise!) is also married to Mack. Lucy’s marriage to Mack is revealed to Polly (“The Jealousy Duet”). Mack then escapes from prison with Lucy’s help.

The third and final act opens as Mr. Peachum begins to implement his plan to arrest Mack again, intending to have Mack killed after imprisoned. Knowing that Tiger Brown has sympathies towards Mack, he decides to blackmail Brown into arresting Macheath by using the Queen’s upcoming coronation to his advantage.

Peachum has trained his beggars to complain publicly about the monarchy at the coronation, which would reflect poorly on Tiger Brown. To avoid this embarrassment, the Chief of Police knows he must do

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Costume sketches

by Costume Designer, Erik Teague for Macheath and Jenny.

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as Peachum says, and arrests Macheath for the second time. However, just as Mack prepares for his execution, a messenger arrives as a deus ex machina to release and exonerate Macheath.

Throughout this raw story, Brecht’s characters charm and entertain, creating a satirical piece that ridicules the underbelly of an unchecked immoral and capitalist society.

Weill’s music, instead of hiding or softening these tough truths, rather creates an unsettling irony that accentuates Brecht’s story. Brecht is unafraid to delve into the truths of money, sex, power, the police, business, or government— he satirizes the corrupt and selfish tendencies that can emerge in people, the way that individuals and groups are set against one another and taken advantage of by one another. As revealed by The Threepenny Opera, give The Atlanta Opera a mask, and it will tell you the truth.

THE KURT WEILL FOUNDATION FOR MUSIC The Kurt Weill Foundation, Inc. promotes and perpetuates the legacies of Kurt Weill and Lotte Lenya by encouraging an appreciation of Weill’s music through support of performances, recordings, and scholarship, and by fostering an understanding of Weill’s and Lenya’s lives and work within diverse cultural contexts. It administers the Weill-Lenya Research Center, a Grant and Collaborative Performance Initiative Program, the Lotte Lenya Competition, the Kurt Weill/Julius Rudel Conducting Fellowship, the Kurt Weill Prize for scholarship in music theater, and publishes the Kurt Weill Edition and the Kurt Weill Newsletter. Building upon the legacies of both Weill and Lenya, the Foundation nurtures talent, particularly in the creation, performance, and study of musical theater in its various manifestations and media. Since 2012, the Kurt Weill Foundation has administered the musical and literary estate of composer Marc Blitzstein. www.kwf.org.

36 | thethreepennyoperacast&creative Praised for his energy and integrity on the podium, the Chicago Tribune has said, “Milioto presided with Bernsteinesque bravura”. A rising star of his generation, he is forging a unique career as a versatile conductor and leader. Mr. Milioto is currently Music Director of OPERA San Antonio and Artistic Advisor to the Florentine Opera Company, while maintaining positions on the music staffs of both the Lyric Opera of Chicago and The Santa Fe Opera. Mr. Milioto is excited to make his debut with The Atlanta Opera in this incredibly innovative production FRANCESCO MILIOTO of The Threepenny Opera. Following this production Mr. Milioto will return to San Antonio for performances of CONDUCTOR Lucia di Lammermoor before heading to Santa Fe for ATLANTA OPERA DEBUT Tchaikovsky’s Eugene Onegin. To begin the 2021-22 season he will make his long anticipated debut with the Florentine Opera Company in their postponed production of Verdi’s Rigoletto. Mr. Milioto will also make his debut in Charleston with Holy City Arts & Lyric Opera (HOLA) conducting a new production of La traviata performed on the local baseball field. Later in the season he returns to San Antonio to conduct their production of Rigoletto. In March of 2020, Mr. Milioto was serving in his seventh season on the music staff of Lyric Opera of Chicago where he worked on productions of Luisa Miller, Madama Butterfly, and Die Walküre in the complete Ring cycle. The 2019-20 season also included his debut with NUMI Opera in Los Angeles conducting a production of Korngold’s Der Ring des Polykrates, as well as performances of Tosca in San Antonio. Over 20 years in Chicago he has claimed the titles of Music Director to the New Millennium Orchestra, the Skokie Valley Symphony, the Highland Park Strings, Access Contemporary Music, and the Chicago Cultural Center Summer Opera. As a guest conductor he has amassed several critically acclaimed productions with Chicago Opera Theater and has collaborated with many professional local orchestras. His work with the New Millennium Orchestra and Chicago Opera Theater were each named to the Chicago Sun-Times list of the “10 best performances of the year.”

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Clinton Smith’s 2020-21 season includes a virtual recital for Opera Orlando’s Summer Concert Series. His 2019-20 season included debuts at Florentine Opera conducting Le nozze di Figaro and Opera Birmingham conducting Cendrillon. He returned to Dayton Opera to conduct La Cenerentola, and Tacoma Opera to conduct L’elisir d’amore. He spends his seventh summer on the music staff at Santa Fe Opera playing continuo and covering music director Harry Bicket’s performances of Cosí fan tutte. His recent conducting credits include Charlie Parker’s Yardbird CLINTON SMITH at The Atlanta Opera and Arizona Opera, Pagliacci and Pulcinella at Opera Orlando, Il barbiere di Siviglia at CONDUCTOR Dayton Opera and the University of Michigan, Le nozze (SELECT PERFORMANCES) di Figaro at Tacoma Opera, Alcina at Fargo-Moorhead ATLANTA OPERA DEBUT Opera, Turandot, Norma, and Hansel und Gretel with CHARLIE PARKER’S Pacific Northwest Opera, The Mikado for Kentucky Opera, YARDBIRD, 2018 and Noah’s Flood with Opera Las Vegas. He has served on the music staff of Santa Fe Opera, Juilliard Opera, Minnesota Opera, Atlanta Opera, Portland Opera, Kentucky Opera, Ash Lawn Opera, and Skylark Operas and has included the preparation of over fifty operas in German, Italian, French, English, Czech, Russian, and Mandarin. He recently concluded a collective nine years as music and artistic director of both Orchestra Seattle/Seattle Chamber Singers and the St. Cloud Symphony. His many accomplishments include conducting subscription concerts every season, creating a chamber music series, annual Messiah performances, and partnering with numerous cultural and educational organizations. For four seasons, Minnesota Opera engaged Mr. Smith as cover conductor and chorus master, where he led main stage performances of La traviata and Madama Butterfly and covered the St. Paul Chamber and Minnesota Opera Orchestras in over 20 productions. Mr. Smith holds degrees in orchestral conducting from the University of Michigan and piano performance from the University of Texas at Austin.

38 | thethreepennyoperacast&creative Carl W. Knobloch, Jr. General & Artistic Director of The Atlanta Opera since 2013, Israeli born Tomer Zvulun is one of the leading stage directors of his generation, earning consistent praise for his creative vision and innovative interpretations. His work has been presented by prestigious opera houses in Europe, South and Central America, Israel and the US, including The Metropolitan Opera, Washington National Opera, Seattle, Houston, Dallas, San Diego, Boston, Pittsburgh, Minnesota, Montreal, Buenos Aires, and the festivals of Wexford, Glimmerglass TOMER ZVULUN and Wolf Trap, as well as leading educational institutes CARL W. KNOBLOCH, JR. and universities such as The Juilliard School, Indiana GENERAL & ARTISTIC University, and Boston University. He spent seven seasons DIRECTOR on the directing staff at The Metropolitan Opera, where he directed revivals of Carmen and Tosca and was PRODUCTION DIRECTOR involved with more than a dozen new productions. He is ATLANTA OPERA DEBUT a frequent guest director at companies such as Seattle THE FLYING DUTCHMAN, Opera (Semele, La bohème, Eugene Onegin, Lucia di 2009 Lammermoor), The Dallas Opera (Die Fledermaus, La bohème), Houston Grand Opera (Flying Dutchman, Rigoletto), Wexford Festival (Silent Night, Dinner at Eight), Cincinnati Opera (Magic Flute, Don Giovanni, Flying Dutchman), Wolf Trap (Falstaff, Don Giovanni), Israeli Opera (Dead Man Walking, Giulio Cesare) among others. His European premiere of Silent Night at the Wexford Festival received two Irish Times Awards and traveled from Ireland to Washington National Opera, The Glimmerglass Festival, and the opera companies of Atlanta, Austin, and Salt Lake City. He directed over 15 new productions at his home company in Atlanta, including Dead Man Walking, The Flying Dutchman, Soldier Songs, Silent Night, Maria de Buenos Aires, La bohème, Madama Butterfly, Lucia di Lammermoor, The Magic Flute, and Eugene Onegin. During Tomer’s tenure, the company’s fundraising has tripled, resulting in twice the number of productions presented annually. His focus on innovation has garnered national attention and resulted in a Harvard Business School case study chronicling The Atlanta Opera’s turnaround, an International Opera Awards nomination, an ArtsATL Luminary Award, and an invitation to deliver a TEDx Talk about innovation in opera.

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Julia Noulin-Mérat is an American, French, and Canadian producer, designer and is the General Director and Chief Executive Officer of Opera Columbus. Noulin-Mérat is the creative director for Hong Kong-based More Than Musical and is the Artistic Advisor of Guerilla Opera. Previously, for eight years she was the Associate Producer at Boston Lyric Opera. In addition, Noulin-Mérat has worked on over 400 opera, theater, and television productions, including 25 new operas and 22 new plays. Other projects include a TEDx talk on site-specific opera productions JULIA NOULIN-MÉRAT in the modern age, Neverland a $20 million, 50,000 square immersive theater piece in Beijing based on Peter SCENIC DESIGNER Pan directed by Allegra Libonati (China Broadway), ATLANTA OPERA DEBUT the Big Tent Series a safe, outdoor fall festival directed PAGLIACCI & THE KAISER

by Tomer Zvulun (The Atlanta Opera), an immersive OF ATLANTIS, 2020 Pagliacci (Boston Lyric Opera) production complete with fairgrounds inside an ice rink directed by David Lefkowich (Boston Lyric Opera), and Playground a National touring operatic sound sculpture in collaboration with composer Ellen Reid (Opera Omaha). Her work has been featured in Opera News, LiveDesign, the New York Times and the Wall Street Journal to name a few. www.noulinmerat.com

Erik Teague is a Costume Designer in the Washington, D.C. Metro area. Originally from Cartersville, Georgia, he is happy to call Alexandria, Virginia his home. Some designs of note are La bohème, The Cunning Little Vixen, The Flying Dutchman, Odyssey, Trouble in Tahiti, and Ariadne in Naxos for The Glimmerglass Festival, costumes and puppets for The Lion, The Unicorn, and Me at the Washington National Opera; Blackbeard for Signature Theatre; La pieta del paragone at Wolf Trap Opera; The Phantom of the Opera; Sleepy Hollow, Richard III, The Trial, Titus Andronicus, The ERIK TEAGUE Hunchback of Notre Dame, and The Man in the Iron Mask at Synetic Theater; The Master and Margarita, EQUUS, The COSTUME DESIGNER Wild Party, and Arabian Nights at Constellation Theatre; ATLANTA OPERA DEBUT Color’s Garden for the National Gallery for Art; Stellaluna and 1001 Nights: A Love Story About Loving Stories with the Center for Puppetry Arts; The Navigator for 7Stages; and Les Liaisons Dangereuse, The Rocky Horror Show and Spring Awakening at Actor’s Express. Erik is a Helen Hayes Award winner and a two time Suzi Bass award winner and holds a bachelor of arts in Theatre and Performance Studies from Kennesaw State University and a master of fine arts in Costume Design from Boston University. He is deeply pleased and very excited to return to his home state for this innovative look at The Threepenny Opera, his first collaboration with The Atlanta Opera. www.erikteaguedesign.com Instagram: Opergeist

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MARCELLA BARBEAU LIGHTING DESIGNER

Marcella Barbeau (she/her) is a lighting designer based in New York City and currently serves as the lighting supervisor for The Atlanta Opera. Her recent credits include: Dolores Claiborne, Pelléas et Mélisande (Boston University Opera Institute), Native Gardens, Barefoot in the Park, The Lifespan of a Fact, True West (Gloucester Stage), and Trayf (New Repertory Theatre). The Threepenny Carmen and The Threepenny Opera mark her fifth and sixth productions with the opera. As a Chinese American designer, Marcella actively seeks to collaborate and amplify the voices of fellow BIPOC artists of all intersectionalities. She received her Master of Fine Arts from Boston University.

ATLANTA OPERA DEBUT PAGLIACCI & THE KAISER OF ATLANTIS, 2020

FRANDRESHA “BRIE” HALL WIG & MAKEUP DESIGNER ATLANTA OPERA DEBUT LA BOHÈME, 2015

ERIN TEACHMAN PROJECTIONS DESIGNER

“Frandresha “Brie” Hall is an Atlanta native specializing in hair and makeup for film, television, theatre and celebrities for over 15 years. She began working with The Atlanta Opera in 2015 for the production of La bohème. She quickly grew to become an Assistant Designer for The Atlanta Opera’s productions of Dead Man Walking, La traviata, and Salome. As The Atlanta Opera’s resident Wig and Makeup Department Head, she made her Designer debut with the productions of Pagliacci and The Kaiser of Atlantis. Other credits include The Atlanta Opera’s productions of West Side Story, Eugene Onegin, Frida, La Cenerentola, Porgy and Bess and Bard Summerscape’s Production of Demon. Film credits include “The Nth Ward,” “The Oval,” Aretha Franklin’s biopic “Respect,” “Dear Evan Hansen,” and “Black Lighting.”

Erin Teachman has been freelancing as a projection and digital artist for six years working across disciplines to bring digital media to stages across the United States, including Ford’s Theatre, Baltimore Center Stage, the Alley, Dallas Theatre Center, Arena Stage, Florida Grand Opera, the Washington Ballet, the Kansas City Ballet, among others. Erin previously assisted on productions of Dead Man Walking and Frida and worked as digital media designer and 3D artist on Salome. He is excited to continue working with The Atlanta Opera to deliver live storytelling safely under the Big Tent in these extraordinary times.

ATLANTA OPERA DEBUT SALOME, 2020

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Ricardo Aponte is delighted to return to The Atlanta Opera after choreographing Frida in 2019. Ricardo is an Atlanta based director and choreographer and a three time Suzi Bass Award winner, who’s work has been seen at The Alliance Theatre, Theatrical Outfit, Aurora Theatre, Actor’s Express, Atlanta Lyric Theatre, and Georgia Ensemble Theatre, among other productions around the country. He’s also the founder and artistic director of Theatre Platform Project, a theatre education nonprofit that serves underserved communities.

RICARDO APONTE CHOREOGRAPHER ATLANTA OPERA DEBUT FRIDA, 2019

Jason Hines is a performer, puppet designer, and resident puppet builder at the Center for Puppetry Arts. He attended the University of Connecticut’s Puppet Arts Program as a master of fine arts candidate. Hines has designed and built puppets for such Center productions as The Ghastly Dreadfuls, The Little Pirate Mermaid, Rudolph the Red-Nosed Reindeer™, Dr. Seuss’s The Cat in the Hat, and Click, Clack, Moo: Cows That Type. He stepped away from the workbench to teach occasional puppet-building workshops as part of the Center’s Teen JASON HINES and Adult Education Series. Hines is a past recipient of an Artist Encouragement Award from the Charles PUPPET DESIGNER Loridans Foundation, and a production Hines wrote and ATLANTA OPERA DEBUT directed with Jon Ludwig, Avanti, Da Vinci! The Secret Adventures of Leonardo da Vinci in 2004 before traveling to the Slovak Republic, where it became the first U.S. production to be performed at the Bábkarska Bystrica Puppetry Festival. In addition to his work at the Center, Hines has designed puppets for Shipwrecked at Kentucky’s Actors Theater of Louisville and numerous productions for Atlanta’s Alliance Theater, and he has taught puppet-building workshops for the Puppeteers of America’s National Festival. He designed and performed puppets for Dragonfruit Studios’ Spookhouse Dave and for Cartoon Network’s promotions.

Hines directed Clash Titan Clash and created the Super Villain Monologues, which toured to the 2010 Edmonton Fringe Festival in conjunction with Atlanta’s Dad’s Garage Theatre.

42 | thethreepennyoperacast&creative As the Artistic Director at the Center for Puppetry Arts, Jon Ludwig has overseen the creation of dozens of awe-inspiring puppet shows for all ages. His innovative, immersive, educational, and unique productions have engaged millions of children and adults since he joined the Center’s staff in 1978. He has brought to life beloved characters such as Cinderella, Rudolph the Red-Nosed Reindeer™, and Pete the Cat in addition to creating original characters and worlds. Nine of Ludwig’s productions have received Citations of Excellence from UNIMA-USA, and he was one of the first individual artists to be honored with the JON LUDWIG Charles Loridans Foundation’s Arts Medal in 2007. Ludwig PUPPET COLLABORATOR was the recipient of the Puppeteers of America President’s Award for Outstanding Contributions to the Art of Puppetry ATLANTA OPERA DEBUT in 2013, and Newsweek Magazine said his adaptation of PAGLIACCI, 2020 Mary Shelley’s Frankenstein was one of the highlights of the 1996 Olympic Arts Festival. In addition to his work with the Center for Puppetry Arts, Ludwig wrote, designed, and puppeteered the shadow puppet portions of The Jim Henson Company’s Bear in the Big Blue House. He has also received an Emmy nomination for Outstanding Directing in a Children’s Series for his work on Disney Channel’s The Book of Pooh. He has served as a Theatre Artist-in-Residence with Atlanta Public Schools, an Artist-inResidence at Emory University’s Department of Theatre, and participated in an exhibition of puppets at the Lincoln Center for the Performing Arts. Ludwig has co-presented workshops with Georgia State University’s arts and education department to develop concepts, scripts and designs for mainstage productions by engaging children from pre-school to 3rd grade in the creative process of making a full-length puppet play. Projects have included awardwinning books “Click, Clack, Moo Cows That Type” and the “Pete the Cat” series.

Tom Key served as Artistic Director of Theatrical Outfit from 1995-2020, where his drive to tell “stories that stir the soul” 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 TOM KEY From Atlanta, Red). He has performed his solo dramatization, LILAS PASTIA C.S. Lewis On Stage, across North America, including residencies at Harvard, Yale, Cambridge, and Oxford ATLANTA OPERA DEBUT universities. At Theatrical Outfit, he has directed numerous THE ABDUCTION FROM productions, including Horton Foote’s Dividing the Estate THE SERAGLIO, 2016 (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.

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Opera singer, Grammy-Winner and Author, Jay Hunter Morris came into the national spotlight when he created the role of Tony in Terrence McNally’s celebrated play Master Class, on Broadway in 1995. Career highlights include performances in Sydney, Melbourne, Adelaide, Seattle, Santiago, Santa Fe, San Diego, Calgary, Toronto, Los Angeles, Houston, Dallas, Hawaii, Atlanta, Paris, Monte Carlo, Budapest, Tokyo, Nice, Strasbourg, Frankfurt, Vienna, and Beijing. He debuted the role of Siegfried with the San Francisco Opera in 2011, and perhaps most famously, at the Metropolitan Opera in their new JAY HUNTER MORRIS production by Robert LePage in 2011-12. The production MACHEATH was broadcast live to cinemas worldwide, and won the 2013 Grammy for Best Opera Recording. He sang the role ATLANTA OPERA DEBUT in Budapest at the Wagner Days Festival, and again in PAGLIACCI, 2006 2016 with Houston Grand Opera. Other recent successes include his first Tristan in Valencia, under the baton of Zubin Mehta, and Schoenburg’s Guerre-Lieder at the Vienna Konzerthaus with Kent Nagano. Mr. Morris has most recently been seen on PBS in the role of Captain Ahab in Jake Heggie’s Moby-Dick, from the San Francisco Opera. A contemporary opera veteran of great renown, Mr. Morris has been heard in world premiere productions including Doctor Atomic (Adams), The Fly (Shore), Grendel (Goldenthal), Dead Man Walking (Heggie), A Streetcar Named Desire (Previn), A Christmas Carol (Bell), and he created the role of Teague in a new opera: Cold Mountain (Higdon), which premiered in Santa Fe in 2015. This year, he made his Carnegie Hall debut in John Adams’ The Gospel According to the Other Mary. In 2013, his book, “Diary of a Redneck Opera Zinger,” was published by Opera Lively.

American bass Kevin Burdette has impressed audiences with his mellifluous voice and dramatic characterizations.

The San Francisco Chronicle called his Leporello “a tour de force of vocal splendor and comic timing,” and The New York Times dubbed him “the Robin Williams of opera.” He was featured as Stefano in Adès’ The Tempest with the Metropolitan Opera, the DVD of which was awarded the Grammy Award for “Best Opera Recording.” In 2020-21, his scheduled engagements include a return to Santa Fe Opera as Quince in A Midsummer Night’s Dream and the Correspondent in the world premiere of Lord of Cries.

KEVIN BURDETTE Recent highlights include the roles of Pangloss/Martin/ additional support by Cacambo in Candide with the Gran Teatre del Liceu; Señor David & Laura Kavtaradze Russell in The Exterminating Angel with The Metropolitan JONATHAN PEACHUM Opera; Voltaire/Pangloss/Martin/Cacambo in Candide, Scattergood in The Last Savage, Sulpice in La fille du ATLANTA OPERA DEBUT regiment, and Stobrod/Blind Man in Cold Mountain (world THE PIRATES OF PENZANCE, premiere) with Santa Fe Opera; Doktor in Wozzeck with 2016 the Philharmonia Orchestra; Leporello in Don Giovanni with the Los Angeles Philharmonic; Sulpice with Washington National Opera; Don Alfonso in Così fan tutte with Seattle Opera; Beck Weathers in Everest with The Dallas Opera (world premiere); Bartolo in Il barbiere di Siviglia and Dulcamara in L’elisir d’amore with Opera Philadelphia; and Claggart in Billy Budd with Central City Opera.

44 | thethreepennyoperacast&creative A Florida native, Ronnita Miller studied at Manhattan School of Music and at the prestigious Juilliard Opera School before spending two years in Los Angeles Opera’s Domingo-Thornton Young Artist Program. At LA Opera she sang Dame Quickly in Falstaff, Tisbe in La Cenerentola, Filippevna in Eugene Onegin, Gertrude in Roméo et Juliette and Florence Pike in Albert Herring; she also appeared in Joachim Freyer’s controversial production of Der Ring des Nibelungen in the roles of Schwertleite and Flosshilde while additionally covering Erda, a role–along with First Norn–that RONNITA MILLER she went on to sing at Teatro Real Madrid, Deutsche Oper Berlin, Semperoper Dresden, San Francisco Opera, Lyric MRS. PEACHUM Opera of Chicago and The Metropolitan Opera. Highlights ATLANTA OPERA DEBUT of Ronnita’s career include her debut as Fricka Die Walkure with Odense Symphony Orchestra, a role she later sang in Amsterdam with the Concertgebouw Orchestra under the baton of Jaap van Sweden; Armando Le Grand Macabre with Simon Rattle and both the London Symphony Orchestra and the Berlin Philharmonic; at Brighton Festival, Tippett’s A Child of our Time with the Philharmonia Orchestra and Roderick Cox conducting; a special anniversary performance and live broadcast of Nathaniel Dett’s The Ordering of Moses under the baton of James Conlon at Carnegie Hall; and Mama Lucia in Cavalleria Rusticana with Chicago Symphony Orchestra under the baton of Riccardo Muti Future engagements include her debut as Amneris in Aida at Cincinnati Opera.

Praised for “shining a bright light on operatic stages around the country” (Minneapolis Star Tribune), Soprano Kelly Kaduce is a national audience and critic favorite. She is hailed as the leading singing actress of her generation. For her creation of the title role in Anna Karenina, Opera News proclaimed her “an exceptional actress whose performance was as finely modulated dramatically as it was musically… and her dark, focused sound was lusty and lyrical one moment, tender and floating the next.” Ms. Kaduce is best known for her portrayal of the Puccini Heroines: Manon KELLY KADUCE Lescaut, Mimì, Suor Angelica, and Tosca. She has sung her signature role of Cio-Cio San in Madama Butterfly around POLLY the world to high accolades, including the prestigious ATLANTA OPERA DEBUT Santa Fe Opera, where she returned the summer of 2018 TURANDOT, 2017 to reprise director Lee Blakely’s production she created in 2010. She is consistently in high demand for the classic romantic heroines: Rusalka, Thais, and La traviata to name a few. Tulsa World wrote of her American debut of Violetta, “And speaking of perfection, it was embodied in the performance of soprano Kelly Kaduce, making her Tulsa Opera debut as Violetta. People, you have got to hear this lady sing.” She is a graduate of both St. Olaf College and Boston University, and was a winner of the 1999 Metropolitan Opera National Council Auditions.

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Baritone Joshua Conyers has been hailed by Opera News with “a deliciously honeyed baritone that would seduce anyone” and The New York Times as having “a sonorous baritone” that “wheedled and seduced.” He, a native of Bronx, NY, he is quickly being championed for his captivating performances. He performed the role of Jason in the world premiere of Matt Boehler’s 75 Miles, and Uncle Wesley in Carlos Simon’s Night Trip for Washington National Opera’s American Opera Initiative. He was a member of the Cafritz Young Artist of Washington National Opera, a program of JOSHUA CONYERS the John F. Kennedy Center for the Performing Arts for the 2018-19 and 2019-20 seasons. Joshua performed the roles TIGER BROWN of First Priest in The Magic Flute, John Sorel in The Consul, ATLANTA OPERA DEBUT covered the Reverend in Jeanine Tesori’s Blue, Jim and Jake PAGLIACCI, 2020 (cover) in Porgy and Bess, Giorgio Germont in La traviata, British Major in Silent Night, Donkey in The Lion, the Unicorn, and Me, and Zaretsky in Eugene Onegin. As a Filene Artist at Wolf Trap Opera, he performed Porgy in Porgy and Bess: A Concert of Songs, Ramiro in Maurice Ravel’s L’heure espagnole, Musiklehrer in Richard Strauss’ Ariadne auf Naxos, Monterone in Rigoletto, Count Capulet in Roméo et Juliette, and the Baritone Soloist in Bernstein’s Songfest which was recorded by Naxos Records.

Praised by Opera News as a “standout,” Gina Perregrino earned her undergraduate and graduate degrees at Manhattan School of Music, before participating for two seasons in Minnesota Opera’s Resident Artist Program.

For the 2020-21 season, She will be an Opera Foundation Scholarship Singer at the Teatro Regio di Torino, with exact assignments to be determined pending the effects of the COVID-19 pandemic. During the 2018-19 season, Ms. Perregrino returned to The Atlanta Opera as Nica in Charlie Parker’s Yardbird, appeared with Dallas Opera as GINA PERREGRINO a soloist with their Hart Institute for Women Conductors and returned to Santa Fe Opera for a second apprenctice JENNY season, singing Pastuchyna in Jenu°fa after being seen as ATLANTA OPERA DEBUT Paquette in their production of Candide by Laurent Pelly THE SEVEN DEADLY SINS, during the summer of 2018. In the 2017-2018 season, Ms. 2017 Perregrino joined The Atlanta Opera where she sang Anna I in The Seven Deadly Sins and Edka in the world premiere of Out of Darkness: Two Remain by Jake Heggie. During the summer of 2017, she made her company debut at Central City Opera as an apprentice artist where she sang the title role in a performance of Carmen. Ms. Perregrino is a graduate of Manhattan School of Music where she earned both a bachelors and masters degree. There she performed the leading role (Marquise de Merteuil) in Conrad Susa’s contemporary opera Dangerous Liaisons under the baton of George Manahan, for which she received critical acclaim.

46 | thethreepennyoperacast&creative Susanne Burgess, a British soprano described as “a unique combination of precision and wonder” (Opera Wire) and “lyric splendor, with a rich, even legato” (Parterre Box).”

In early 2020, Susanne performed the role of Violetta Valéry in La traviata, starring in eight performances as part of the Winter USA Tour with Teatro Lirico d’Europa.

She then took on the demanding role of Cio-Cio San in Madama Butterfly at Opera New Hampshire. Susanne was scheduled to make her role debut as Gilda in a new production of Rigoletto at Opera North before the SUSANNE BURGESS COVID-19 pandemic. Among efforts to preserve art and Donald & Marilyn Keough opera during the pandemic, she took part in the Summer Foundation Season at Opera Theater St. Louis presenting arias and LUCY ensembles in a virtual festival which culminated in a public masterclass with the great Patricia Racette. In 2019 she ATLANTA OPERA DEBUT made her debut with New York City Opera as Hannah in the World Premiere of Dear Erich by Ted Rosenthal. She returned to the company in the role of Musetta in Puccini’s La bohème. Later that year, she joined Teatro Grattacielo in NYC as Mimì in Leoncavallo’s La bohème and La Principessa in Respighi’s La bella dormente nel bosco. Susanne made her Carnegie Hall debut in 2017 with the New England Symphony singing the soprano solos in the Fauré Requiem and John Trotta’s The Seven Last Words of Christ, and returned in 2018 to be featured in the Jubilate Deo and Requiem for the Living by Dan Forrest. Susanne is thrilled to be a part of this innovative season at The Atlanta Opera!

Bailey Jo Harbaugh graduated as Outstanding Senior from the Department of Dance at Kennesaw State University with Magna Cum Laude honors in 2019.

Bailey Jo’s professional career began in 2019 with an apprenticeship at contemporary company Staibdance, under the direction of George Staib and managed by Sarah Hillmer. In 2020, she was promoted to a full-time member where she currently rehearses and performs the company’s repertoire. She works in the dance ensemble with musical theater company, the Atlanta Lyric Theatre.

BAILEY JO HARBAUGH She also guests with contemporary dance collective, Fly on a Wall, where she engages intimately with its founders DANCER and members. She is over the moon to join The Atlanta ATLANTA OPERA DEBUT Opera for her third consecutive season; having previously PAGLIACCI, 2020 participated in Salome, and most recently served as dance captain for Pagliacci and The Kaiser of Atlantis in the Big Tent series closing 2020. Endless thanks and love to Tomer and The Atlanta Opera for creating pandemic-art opportunities relevant to our time. Massive gratitude to Scott and Beverly Harbaugh for their undying support of her career to which she owes it all!

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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.

BRANDON NGUYEN-HILTON DANCER ATLANTA OPERA DEBUT OUT OF DARKNESS: TWO REMAIN, 2018

Raised in Jonesborough, Tennessee, Gwynn Root received her dance training at Johnson City Ballet/CYB in East Tennessee; Central Pennsylvania Youth Ballet in Carlisle, PA; and various intensives. She studied privately under Pat Holden, Christina Fagundes Turner, Marvin Askew, and others. She has danced with the Louisville Ballet, Columbia Classical Ballet, and the Atlanta Ballet. For three years she was a member of Festival Ballet Providence, where she danced in such works as The Firebird, The Nutcracker, Romeo and Juliet, Cinderella, The Little GWYNN ROOT Mermaid, Balanchine’s Allegro Brillante and Rubies, Rite of Spring, in Christopher Wheeldon’s The American, DANCER Up Close on Hope and in Viktor Plotnikov’s House of ATLANTA OPERA DEBUT Bernarda Alba, The Widow’s Broom, The Soldier’s Tale, LA TRAVIATA, 2019 and Carmen. Her full repertoire also includes Coppelia, Giselle, The Brown-Forman and Atlanta Ballet Nutcrackers, La Bayadere, Swan Lake, Etudes, and also works by Tudor, Limon, Helen Pickett and Val Caniparoli. She is teacher at Dancemakers of Atlanta and the Dance and Music Academy of Woodstock. She has been on staff at numerous ballet and dance schools as well as a guest teacher, ballet coach, and guest artist for organizations in New England, Virginia, Tennessee, and Georgia. As a choreographer, she has set original works on both students and professionals. Mrs. Root Wolford has previously danced with The Atlanta Opera in the productions of La Traviata, Pagliacci and the Kaiser of Atlantis, and was an original cast member of Tomer Zvulun’s Salome. She lives in Atlanta with her musician and composer husband Trevor Wolford.

48 | theatlantaoperaorchestra VIOLIN

BASS

PERCUSSION

Peter Ciaschini The Loraine P. Williams Orchestra Concertmaster Chair

Lyn DeRamus Principal

Michael Cebulski Principal

Emory Clements

TIMPANI

FLUTE

John Lawless Principal

Helen Kim Assistant Concertmaster Fia Durrett Principal Second Adelaide Federici Assistant Principal Second

James Zellers Principal Kelly Bryant Flute/Picc

Edward Eane

OBOE

Felix Farrar

Diana Dunn Principal

Robert Givens Patti Gouvas Lisa Morrison

Christina Gavin CLARINET

Anastasia Petrunina

David Odom Principal

Virginia Respess-Fairchild

John Warren

Patrick Ryan

BASSOON

Angele Sherwood-Lawless Jessica Stinson

TBD TBD Principal

Rafael Veytsblum

Debra Grove

VIOLA

HORN

William Johnston Principal Viola

David Bradley Principal

Elizabeth Derderian-Wood Assistant Principal Viola

Jason Eklund

Ryan Gregory Julie Rosseter

Yvonne Toll Principal

Karl Schab

Hollie Lifshey

Shawn Pagliarini

Joli Wu CELLO Charae Krueger Principal Hilary Glen Assistant Principal David Hancock Mary Kenney Cynthia Sulko

TRUMPET

TROMBONE Mark McConnell Principal Richard Brady Bass Trombone TUBA Donald Strand Principal

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HARP Susan Brady Principal PERSONNEL MANAGERS Jason Eklund Jim Zellers Musicians employed in this production are represented by the American Federation of Musicians of the United States and Canada.

CONCERT FOR UNITY WITH WITH

MORRIS ROBINSON ROBINSON & & FRIENDS FRIENDS MORRIS

Unity Concert Info/Ad Morris Robinson

Joshua Conyers

Jasmine Habersham

Enoch King

Ronnita MIller

Damien Sneed

Created and lead by Atlanta native and renowned bass, Morris Robinson, and featuring noted Black opera singers, Ronnita Miller, Jasmine Habersham, and Joshua Conyers, this special concert celebration will include selections from spirituals, gospel, rock, and opera along with a spoken word performance by actor Enoch King. Presented in collaboration with City of South Fulton Parks, Recreation, and Cultural Affairs, and Kenny Leon’s True Colors Theatre Company, whose mission is to celebrate the rich traditions of Black storytelling while giving voice to bold artists from all cultures.

SAT, 5/8 @ 2PM The Big Tent Cobb Energy Performing Arts Centre 2800 Cobb Galleria Pkwy | Atlanta

MORE INFO & BUY TICKETS:

ATLANTAOPERA.ORG 404-881-8885 sponsored by

SUN, 5/9 @ 2:30PM FREE Mother’s Day Presentation Outdoors @ Southwest Arts Center 915 New Hope Rd, SW | Atlanta

RESERVE TICKETS:

TRUECOLORSTHEATRE.ORG 770-674-8033

presented in collaboration with the City of South Fulton Parks, Recreation and Cultural Affairs.

50 | communityengagement&education

Jasmine Habersham masterclass for

Education Pivots Online

students from Martha

WRITTEN BY

Ellen Stilwell School of

Jessica Kiger

leads an online

the Arts.

The COVID-19 pandemic has changed so much in our lives during this past year. It has dramatically changed the way that students learn, with more students learning virtually than ever before. The Atlanta Opera pivoted to bring our education programming to students no matter where or how they were learning this year.

Masterclasses, workshops, and residencies were reimagined for synchronous virtual learning via Zoom, and the Atlanta Opera Studio Tour production of The Bilingual Barber of Seville was reconceived as a video production and distributed to students across the state of Georgia.

Founded in 1980, The Atlanta Opera Studio Tour is the Opera’s longest-running educational initiative.

Over the past 41 years, more than one-million students throughout the state have been introduced to opera in their schools through the Studio Tour. In this season’s

atlantaopera.org | @theatlantaopera

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The Bilingual

Barber Of Seville

Book a virtual Tour today! atlantaopera.org/education “Me gusta como cantabas en diferentes idiomas como inglés y español.”

- Student from Tara Elementary School

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52 | communityengagement&education

Studio Tour production, The Bilingual Barber of Seville, opera’s most famous barber, Figaro, plays the role of translator as Rossini’s sparkling, witty score takes center stage. Created by stage director Kristine McIntyre, the 45-minute adaptation is performed in Spanish and English and demonstrates the power of love to triumph over adversity of every kind. The Studio Tour was filmed

by Felipe Barral, the Opera’s Director of Digital Media, at the Southwest Arts Center in partnership with the City of South Fulton. The virtual Studio Tour has reached over 26,000 students with two months left in the school year.

In addition to their work at the Big Tent, The Atlanta Opera Company and Studio Players have also been busy in the virtual classroom! Local high school students have been thrilled to participate in virtual Masterclasses this year with Jasmine Habersham, Mike Mayes, Jamie Barton, Joseph Lattanzi, Reginald Smith, Jr., Daniela Mack, Alek Shrader, Megan Marino, and Talise Trevigne. These experiences have made a huge impact on the students during this challenging year. Dr. Jimmy Cheek from Martha Ellen Stilwell School of the Arts had this to say about the experience: “Thank you for bringing Jasmine Habersham to do a Masterclass with the choral students at Martha Ellen Stilwell School of the Arts. It was an amazing learning experience for the students in our choral program. I look forward to working with you on future opportunities for my students to develop musically.”

A core mission of The Atlanta Opera is to provide opportunities for students of all ages. We believe opera is for everyone and we are committed to ensuring that the art form is available to the widest possible cross-section of our community. We are committed to our mission now more than ever. With the help of our dedicated team, The Atlanta Opera is striving to make a difference in our community. To learn more about the Opera’s education and community programs, visit www.atlantaopera.org/education

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dazzle.

In a word, this is Atlanta’s most dramatic event destination.

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Impeccable service. And the fabulous menus that deserve all their raves.

Inspiring your guests is easier when you can dazzle them at every turn.

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54 | giving&support ANNUAL GIVING We are grateful for the following donors’ generous support. This list reflects gifts and pledges to unrestricted operating expenses, special projects, and/or endowment made between July 1, 2019 through Feb. 28, 2021.

DIRECTOR’S CIRCLE $1,000,000+ John & Rosemary Brown *Martha Thompson Dinos Donald & Marilyn Keough Foundation

Mr. & Mrs. Michael L. Keough Mr. William Pennington Katherine Scott Judith & Mark Taylor

PATRON’S CIRCLE $15,000+

$200,000+ Anonymous *Nancy & *Jim Bland Dr. Harold Brody & Mr. Donald Smith Ann & Frank Critz The Gable Foundation Mr. Howard W. Hunter Gramma Fisher Foundation *Mr. & Mrs. Carl W. Knobloch, Jr. Mr. James B. Miller, Jr. Jerry & Dulcy Rosenberg

$100,000+ Antirnori Foundation Mr. & Mrs. Paul Blackney Beth & Gary Glynn The Karina Miller Trust

$50,000+ Laura & Montague Boyd Mr. & Mrs. John L. Connolly Triska Drake & G. Kimbrough Taylor Dr. & Mrs. Alexander Gross Mr. John Haupert & Mr. Bryan Brooks Mary Ruth McDonald Victoria & Howard Palefsky Mr. William F. Snyder Rhys T. & Carolyn Wilson Ms. Bunny Winter & Mr. Michael Doyle

$25,000+ Cathy & Mark Adams Julie & Jim Balloun Ms. Janine Brown & Mr. Alex J. Simmons, Jr. John L. Hammaker

Mr. & Mrs. C. Duncan Beard Mr. David Boatwright Mr. Frank Butterfield Carl & Sally Gable Candy & Greg Johnson Mrs. & Mr. Stephanie Morela Sandra & Peter Morelli Mr. & Mrs. John Murphy Clara M. & John S. O’Shea Milton J. Sams Christine & Mark St.Clare Mrs. Wadleigh C. Winship The Mary & Charlie Yates Family Fund

GOLD $10,000+ Elizabeth & Jeremy Adler Anonymous Mr. & Mrs. John Anzalone Bryan & Johanna Barnes Dr. Florence C. Barnett Dr. & Mrs. Asad Bashey Mr. Mario Concha Mr. Robert P. Dean & Mr. Robert Epstein *Heike & Dieter Elsner Mr. Ethan Garonzik Mrs. Roya Irvani Dr. & Mrs. David Kavtaradze Mr. Alfred D. Kennedy & Dr. Bill Kenny Mr. & Mrs. Andrew Long Dr. & Mrs. James Lowman Mr. & Mrs. Michael E. Paulhus Mr. Charles Sharbaugh John & Yee-Wan Stevens Larry & Beverly Willson Bob & Cappa Woodward Charitable Fund Mr. Tomer Zvulun & Mrs. Susanna Eiland

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SILVER $5,000+ Anonymous Mr. & *Mrs. Shepard B. Ansley Dante & Zayra Bellizzi Natalie & Matthew Bernstein Dr. R. Dwain Blackston Dr. John W. Cooledge Jean & Jerry Cooper Mr. Richard H. Delay & Dr. Francine D. Dykes Mr. & Mrs. Robert G. Edge Mr. & Mrs. Lance Fortnow Ms. Rebecca Y. Frazer & Mr. Jon Buttrey Mr. & Mrs. Edward J. Hardin Deborah & Paul Harkins Mr. L. D. Holland Mrs. Gail G. Johnson Mr. & Mrs. Michael A. Klump Belinda & Gino Massafra Shelley McGehee Mrs. Polly N. Pater Mr. & Mrs. Robert Ratonyi Mr. & Mrs. Timothy E. Sheehan Baker & Debby Smith Peter J. Stelling & Jody C. Weatherly Mr. & Mrs. George B. Taylor, Jr. Dr. & Mrs. Nicholas Valerio III Mr. & Mrs. Bill Vance

BRONZE $2,500+ Ms. Suzanne Mott Dansby Col. & Mrs. Edgar W. Duskin Dr. & Mrs. Donald J. Filip Mr. James Flanagan Mr. Michael Golden & Dr. Juliet Asher Kevin Greiner & Robyn Roberts Judge Adele P. Grubbs Dr. Thomas N. Guffin, Jr. Eda Hochgelerent MD & Bruce Cassidy MD Mary & Wayne James Ms. Salli LeVan Linda L. Lively & James E. Hugh III Peggy Weber McDowell & Jack McDowell

giving&support

Mr. Conrad Mora Mr. & Mrs. Richard P. Nicholas III Mr. & Mrs. Steve Paro The Reverend Neal P. Ponder, Jr. Mr. James D. Powell Lynn & Kent Regenstein John & Barbara Ross Morton & Angela Sherzer Mr. & Mrs. Nicholas Shreiber Johannah Smith Gail & Barry Spurlock Lynne & Steven Steindel Mrs. Hugh Tarbutton *Dr. & Mrs. R. Craig Woodward

FRIEND’S CIRCLE INVESTOR $1,000+ David Abell Scott & Betsy Akers Paula Stephan Amis Ms. Teresa Bailey Ms. Hope M. Barrett Mr. & Mrs. Harris P. Baskin Ms. Mary D. Bray Ms. Kris Christy Mr. & Mrs. Edward S. Croft III Mrs. Overton A. Currie Maureen & Michael Dailey Dr. & Mrs. F. Thomas Daly Jr. Mr. Kevin Dew & Mr. Hal Platt Jim & Carol Dew Drs. Morgan & Susan Horton Eiland Mr. Thomas Emch Rita Evans Ms. Ariana B. Fass Dr. Mary M. Finn Ms. Louise S. Gunn Mr. & Mrs. Douglas Hantula Mr. George Hickman, III Mr. & Mrs. Harry C. Howard Mr. & Mrs. David C. Huffman Cliff Jolliff & Elaine Gerke Mr. & Mrs. Gert Kampfer Mrs. Peter G. Kessenich Mr. & Mrs. Gedas Kutka Mrs. Treville Lawrence Mrs. Dale Levert & Mr. George W. Levert Allan & Veneesa Little Dr. Carlos E. Lopez Samantha & William Markle Dr. & Mrs. Steven Marlowe Mrs. Erin Martin

Mr. & Mrs. Allen P. McDaniel Ms. Priscilla M. Moran John & Agnes Nelson Mr. & Mrs. John L. O’Neal Opera Guild for Atlanta George Paulik Lucy S. Perry Mrs. Betsy Pittman Richard Restagno Mr. James L. Rhoden Mr. & Mrs. J. Barry Schrenk Dr. & Mrs. William E. Silver Mr. Fred B. Smith Dr. Jane T. St. Clair & Mr. James E. Sustman Kay Summers Dr. & Mrs. Kenneth G. Taylor Ms. Virginia S. Taylor Mrs. Rebecca Warner Ms. Betsy K. Wash Alan & Marcia Watt Dr. & Mrs. James O. Wells, Jr. Dr. & Mrs. Ben Zinn

Supporter $500+ Dr. Raymond Allen Anonymous Mr. & Mrs. Robert O. Banker Colonel & Mrs. John V. Barson, D.O. Ms. Jamie Barton Drs. Tatiana & Igor Bidikov Mr. Jonathan Blalock Dr. & Mrs. Jerry Blumenthal Stanford M. Brown Dr. Christine Bruno Dr. & Mrs. Harold L. Chapman, Jr. Mr. & Mrs. Raymond H. Chenault Mr. Pete Ciaschini Mrs. Carol J. Clark Mr. N. Jerold Cohen & Ms. Andrea Strickland Mr. Lawrence M. Cohen Aaron Coley Ms Lillianette Cook & Ms. Carol Uhl John & Linda Cooke Mr. & Mrs. Michael J. Curry Amy & James Davis Denis & Sandra DuBois Dr. & Mrs. David J. Frolich Dr. & Mrs. Joseph D. Giovinco James C. Goodwyne & Christopher S. Connelly Mr. John Greer Mr. & Mrs. Richard P. Grodzicki Mr. & Mrs. Sam Hagan

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Ms. Donna Hall Ms. Marilyn M. Hall Mr. & Mrs. Steven Hart Dean & Vivian Haulton Ms. Sharon E. Hill Donna & Richard Hiller Wayne Hoffman Mrs. Pearl B. Hollis James E. Honkisz & Catherine A. Binns Douglas Hooker & Patrise Perkins Hooker Richard & Linda Hubert Mr. Walter Huff Irmgard S. Immel Robert & Barbara Jackson Jeannie Kiger Ms. Eleanor Kinsey Dr. Rose Mary Kolpatzki Joan & Arnold Kurth Chris & Jill Le Antionesha N. Lee David & Kathy Linden Livvy Kazer Lipson Richard Lodise & Valerie Jagiella James Madsen Mr. & Mrs. Paul Manno Ms. Deborah A. Marlowe Mr. Thomas L. McCook Mr. & Mrs. M. Sean Molley Mr. Frank M. Monger Mrs. Thespi P. Mortimer Terri & Stephen Nagler Mr. Denis Ng & Mrs. Mary Jane Panzeri Ng Ms. Carol Niemi Mr. John Owens Christine & Jim Pack Mr. & Mrs. William A. Parker, Jr. Mr. Darryl-Christopher Payne Mr. & Mrs. John H. Petrey Mr. Lawrence F. Pinson Dan Pompilio & Lark Ingram Walter O. Pryor Mr. Thomas Ramsay Mr. Stephen L. Rann & Ms. Dytre Fentress Mrs. Frances G. Richards Danny & Quennie Ross Sandra & Ronald Rousseau Dr. Anne Saravo Dr. & Mrs. William M. Scaljon Mrs. MaryEarle Scovil Mr. & Mrs. Milton W. Shlapak Mr. Robert Sidewater

56 | giving&support Mr. Paul Snyder Mr. & Mrs. Robert Stansfield Judge Mike & Mrs. Jane Stoddard Steve & Christine Strong Carolyn & Robert Swain Mr. Tarek Takieddini Rae & George Weimer Ms. Parsla A. Welch Dr. & Mrs. Sam Williams Kiki Wilson Sherrilyn & Donn Wright Dr. & Mrs. Thomas J. Yuschok

Contributor $250+ Judith M. Alembik Ms. Suzanne Aloisio Mr. & Mrs. James Anderson Mr. & Mrs. David S. Baker Kelly Baker Fink Mr. Albert E. Bender, Jr. Mr. Matt Blackburn Ms. Evelyn L. Bolden Dr. Ian Bond Sharon S. Brando James & Nancy Bross Dr. & Mrs. W. V. Brown Mark & Peg Bumgardner Drs. Brenda & Craig Caldwell Dr. & Mrs. W. Jerry Capps Anne Carson Mr. Angelo A. Carusi & Ms. Janet Romanic Mrs. Nita Chambless Lori & David Chastain Mr. John Chickering Dr. Earle D. Clowney Mr. Michael Colbruno Mr. & Mrs. Newt Collinson Carol Comstock & Jim Davis T. Dennis Connally Mr. Anthony Coulter Mr. & Mrs. David Courtney Mr. David D’Ambrosio Mr. & Mrs. Harold T. Daniel Jr. Laura E. Davidson Michael H. Davis Mr. Philip D. Dawson Dr. & Mrs. Albert De Chicchis Mrs. Sally Dean Mr. Stephen H. Dirkes Dr. & Mrs. Hamilton S. Dixon Ms. Barbara B. Dowd Mr. Mark du Mas Ms. Margaret Eisenhauer

Mr. Courtney Ellis & Dr. Amina Bhatia Mr. & Mrs. Robert F. Engeman Sr. Mrs. Joyce H. Evans Mr. & Mrs. Steve Feldman Sally & Hank Fielding Ms. Lora Fitzgerald Mrs. Catherine Fox Dr. Linda Fraser Ms. Sara Frooman Mr. Glen Galbaugh Ms. Mary Anne F. Gaunt Byron Gibbs Col. & Mrs. Donald M. Gilner Dr. & Mrs. Martin Goldstein Ms. Jane Fenwick Goodwin Charita Gray Mr. William Green Helen C. Griffith Tom Grose Dr. & Mrs. Bannester L. Harbin Mr. Ronald L. Harris & Mrs. Jacqueline Pownall Steven Hauser Ms. Jan W. Hughen Mrs. Catherine Hughes Stuart Jackson & Robyn Jackson Lillie Jenkins Lou & Tom Jewell Mr. Richard P. Johnson Ms. Susan Johnston & Mrs. Shannon Motley Mr. & Mrs. Thomas E. Johnston Mr. J. Carter Joseph Mr. Scott H. Kaplan Mr. & Mrs. Edward Katze John & JoAnn Keller William W. Kelly, Jr. Matthew Kent Kevin Kinsey Michelle M.S. Lee Suzanne Lehman Mrs. Laura Leon Hamm Paulette & Matthew Levin Ms. Katharine Mackie Ross Maiwand Dr. Robert & Judge Stephanie Manis Katherine B. Maxwell & Michael J. Maxwell Mr. Stedman C. Mays , Jr. & Mr. Charles Bjorklund Mr. M. Reynolds McClatchey Jr. Mrs. Rachel Miller Mr. Simon Miller

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Ms. Sally B. Molloy & Mr. John Iacovelli Mr. Pierre P. Mouyal Barbara & Mark Murovitz Ms. Mollie W. Neal Scott Novellas Leah Partridge Mr. & Mrs. John Payan George & Libba Pickett Ms. Jody Pollard & Mr. Sean Finneran Mr. Robert Quish *Sharon & Jim Radford Mary Lou Rahn Mr. Ira Ralph Ms. Lisa Richardson Sidney & Phyllis Rodbell Weslyn A. Samson Ms. Regina Schuber Mr. Karin Schwerd Jane Shaw Dr. & Mrs. Steve M. Shindell Dr. & Mrs. Stanley J. Smits Ms. Virginia E. Spector Dr. Susan Y. Stevens Doug Steward Fred & Linda Stewart Sarah & David Sutherland Barbara & Jon Swann Ms. Stephanie Talley Mr. Fred Tuck Ms. Mary Ellen Vian Joseph D. & Lisa Gandy Wargo Mr. & Mrs. T. A. Wessels Jone Williams Mr. & Mrs. Kennedy Williams , Jr. Dr. & Mrs. David Wingert Ms. Ann D. Winters Mrs. Loretta C. Wolf Mrs. Mary S. Wright

inmemoriam

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Once described as a petite powerhouse, Martha “Mot” Thompson Dinos shared her passion and commitment to making good things happen at The Atlanta Opera for over 35 years. As an active board member, she always shared her ideas for strengthening one of the many art forms that she dearly loved, so that future generations can derive as much joy from music as she did. Mot’s mother shared her love of opera with their family when she was young and sparked an interest in singing. This love grew as Mot and her two sisters sang as a trio at community events.

As an aspiring singer, she had hopes of becoming an opera singer. As often happens, our passions lead us in new directions, and she changed her college major to science, which she described as “easier” and earned degrees in zoology and chemistry.

Mot’s generosity has benefited many institutions in addition to The Atlanta Opera: her beloved University of Georgia, the Georgia Museum of Art, Kennesaw State University, and Project Open Hand. Opera, education, and relieving hunger are some of the causes that touched her heart. She once said, “It’s everyone’s responsibility to keep good things going. There are so many bad things going on out there. We need to help the good things along.”

Mot had a twinkle in her eye and a quick wit, and her ambitions for The Atlanta Opera were always very high.

She will always be an important part of our history and we will miss her dearly.

Tomer Zvulun, General & Artistic Director of The Atlanta Opera, and Mot Dinos.

58 | giving&support BARBARA D. STEWART LEGACY SOCIETY The Atlanta Opera established the Barbara D. Stewart Legacy Society to recognize donors who have designated the Opera as a beneficiary in their estate plan. In honor of Barbara D. Stewart’s many contributions to The Atlanta Opera, our planned giving division, the Encore Society, has been renamed the Barbara D. Stewart Legacy Society.

Anonymous (4) Cathy Callaway Adams & Mark Adams Mr. & *Mrs. Shepard B. Ansley Mrs. Wallace F. Beard The Bickers Charitable Trust Mr. Jonathan Blalock Mr. Montague L. Boyd, IV Mr. Robert Colgin *Martha Thompson Dinos The Roy & Janet Dorsey Foundation Arnold & Sylvia Eaves *Ms. Dorothy E. Edwards *Heike & Dieter Elsner Ms. Melodi Ford Carl & Sally Gable Ms. Anne Marie Gary Mr. & Mrs. Sidney W. Guberman Ms. Judy Hanenkrat The Hilbert Family Trust Mr. L. Don Holland Mr. Hilson Hudson *Mrs. Joseph B. Hutchison Mr. J. Carter Joseph *Mrs. Alfred D. Kennedy, Sr. *Mrs. Isabelle W. Kennedy Mr. & Mrs. Michael L. Keough Ms. Corina M. LaFrossia

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Mr. & Mrs. John G. Malcolm Mr. Robert L. Mays Mr. & Mrs. Allen P. McDaniel Peggy Weber McDowell & Jack McDowell Mr. & Mrs. Craig N. Miller *Miss Helen D. Moffitt Mr. J. Robert Morring Clara M. & John S. O’Shea Mrs. Polly N. Pater Mr. James Paulk Mr. William E. Pennington Mr. Bruce Roth Ms. Hazel Sanger Mr. D. Jack Sawyer, Jr. Anita & J. Barry Schrenk Elizabeth Morgan Spiegel Christine & Mark St.Clare *Ms. Barbara D. Stewart Mr. Tarek Takieddini Sandra & *Tom Teepen Dr. & Mrs. Harold Whitney *Mrs. Jane S. Willson Rhys T. Wilson Ms. Bunny Winter & Mr. Michael Doyle Mr. Charles R. Yates, Jr. & Mrs. Mary Mitchell Yates *Mr. & *Mrs. Charles R. Yates, Sr. *deceased

encoreatlanta.com

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TRIBUTES & MEMORIALS In memory of Dr. Joseph C. & Ruth P. Barnett Dr. Florence C. Barnett

In honor of Mr. Robert G. Edge Mrs. Eleanor Crosby

In memory of Mrs. Barbara Bastin Avondale Estates Woman’s Club

In honor of Mr. Carl Gable Mr. Barry Berlin Mr. & Mrs. Mark Taylor

In honor of Mr. Jonathan Blalock Mr. Michael Colbruno Mr. John Thompson, II In honor of Mrs. Nancy Bland Sally & Hank Fielding In memory of Mrs. Nancy Bland Mr. & *Mrs. Shepard B. Ansley Ms. Terrell Boyle Mrs. Carol J. Clark Kathryn Dennis Mrs. Sally Hawkins Thomas & Wallis Hills Mrs. Fay Howell Mrs. Norma Jeanne Mr. & Mrs. Charles C. Josey Mr. Alfred D. Kennedy & Dr. Bill Kenny Scott Novellas The Reverend Neal P. Ponder, Jr. Mrs. Laura S. Spearman Mr. & Mrs. Ben J. Tarbutton, Jr. Constance W. Treloar Whitfield-Murray Historical Society Dr. & Mrs. Thomas J. Yuschok In honor of Dr. Hal Brody & Mr. Don Smith Jonathan Blalock In honor of Mr. John Brown Mr. & Mrs. David S. Baker In honor of Mr. Jerome Cooper Mr. & Mrs. Mark Taylor In honor of Mr. Rob Dean Jonathan Blalock Mr. Bill Witherspoon In memory of Mrs. Mot Dinos Anonymous (2) Mr. & *Mrs. Shepard B. Ansley Community Foundation for Greater Atlanta, Inc. Mrs. Betty Davis Mr. Robert P. Dean & Mr. Robert Epstein Allison Fichter & Phillip O’Brien Thomas & Wallis Hills Ms. Meredith Johnson Mr. Alfred D. Kennedy & Dr. Bill Kenny Mr. William E. Pennington Mr. Tom Presley Carol Riggs Mrs. Katherine Scott Mrs. Laura S. Spearman

In memory of Mr. Thomas Gregory Ms. Virginia Puckett Ms. Patricia Stone Mr.* & Mrs. John Zellner In memory of Mr. Kenneth Bryan Horton Dr. & Mrs. Morgan Eiland In honor of Stuart Jackson Ms Kristie Cain In memory of Mr. Charles Johnston Robert & Nancy Johnston Mr. Joseph R. Stabile & Mr. Michael W. Dunkelberger In honor of Mr. James B. Miller, Jr. Mr. & Mrs. James Edenfield In honor of Mrs. Karen Morley Mr. Mark Morley In memory of Kay Quarterman Dr. & Mrs. Ferdinand K. Levy In honor of Mr. Rolando Salazar Mr.* & Mrs. John Zellner In honor of Kylie Saunders Anne Saunders In honor of Mr. G. Kimbrough Taylor, Jr. Mr. & Mrs. Bill Vance In honor of Mrs. Rae Weimer The Reverend Neal P. Ponder, Jr. In honor of Mr. Charles R. Yates, Jr. Mr. Robert Quish Ms. Sarah Sutherland Mr. Samuel G. Tyler In honor of Mr. Tomer Zvulun & Mrs. Susanna Eiland Mr. John Greer Mr. & Mrs. Mark Taylor *deceased

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

$10,000+

$2,500+

The Coca-Cola Company Ameris Bank Anonymous

Batdorf & Bronson Coffee Roasters The Capital Group Companies Charitable Foundation CIBC Gas South Legendary Events PricewaterhouseCoopers SAP Success Factors Stryker Corporation The Hilbert Law Firm WarnerMedia

Delta Community Credit Union McMaster-Carr Supply Company Montag & Caldwell, Inc National Distributing Co., Inc. UBS Financial Services Inc. Wallace Graphics

$50,000+ Federal Home Loan Bank of Atlanta

FOUNDATIONS & GOVERNMENT SUPPORT FOUNDATIONS $225,000+

$10,000+

The Gable Foundation Donald & Marilyn Keough Foundation Lettie Pate Evans Foundation Livingston Foundation, Inc. The Molly Blank Fund of The Arthur M. Blank Family Foundation

Auburn University Foundation George M. Brown Trust Fund JBS Foundation The Ray M. & Mary Elizabeth Lee Foundation, Inc. Norfolk Southern Foundation Wells Fargo Foundation The David, Helen & Marian Woodward Fund-Atlanta

$50,000+

$5,000+

Antirnori Foundation Atlanta Music Festival Fund of The Community Foundation for Greater Atlanta The Halle Foundation Rich Foundation, Inc. The Sara Giles Moore Foundation The Zeist Foundation, Inc.

Camp-Younts Foundation Nordson Corporation Foundation Frances Wood Wilson Foundation, Inc.

$20,000+ The Jim Cox, Jr. Foundation The Kurt Weill Foundation for Music Roy & Janet Dorsey Foundation J. Marshall & Lucile G. Powell Charitable Trust

$1,000+ Atlanta Beltline Partnership, Inc. Cobb EMC Community Foundation Mary Brown Fund of Atlanta, Georgia The Hills Family Foundation, Mr. & Mrs. Thomas D. Hills, Trustees Kennesaw State University Foundation Kiwanis Foundation of Atlanta Charles Loridans Foundation, Inc.

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GOVERNMENT FUNDING $50,000+ City of Atlanta Mayor’s Office of Cultural Affairs National Endowment for the Arts

10,000+ Fulton County Arts & Culture Georgia Council for the Arts

leadership

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BOARD OF DIRECTORS OFFICERS Chair Mr. Rhys T. Wilson Immediate Past Chair Ms. Cathy Callaway Adams Vice Chair Mr. John L. Hammaker Vice Chair Mr. Charles “Charlie” R. Yates Treasurer Ms. Bunny Winter Secretary Mr. Michael E. Paulhus MEMBERS Mrs. Elizabeth Adler Mrs. Wendy Anzalone Mr. Bryan H. Barnes Mr. Dante Bellizzi Mr. Montague L. Boyd, IV Dr. Harold J. Brody Mrs. Rosemary Kopel Brown Mr. Frank H. Butterfield Mr. Mario Concha Dr. Frank A. Critz

Mr. Robert Dean Mr. Dieter Elsner Dr. Donald J. Filip Mr. Kevin Greiner Mrs. Joanne Chesler Gross Mr. John Haupert Mr. Howard W. Hunter Mr. Andrew R. Long Mr. James B. Miller, Jr. Mrs. Stephanie Morela Mrs. Sandra S. Morelli Mrs. Talia Murphy Mr. Howard Palefsky Mr. William E. Pennington Mr. Herbert J. Rosenberg Mr. Charles Sharbaugh Mr. Alex Simmons, Jr. Mr. William F. Snyder Mrs. Christine St.Clare Mr. G. Kimbrough Taylor, Jr. Mr. William E. Tucker Mr. Tomer Zvulun, Carl W. Knobloch, Jr. General & Artistic Director, ex-officio

HONORARY MEMBERS *Mrs. Nancy Carter Bland The Very Reverend Samuel G. Candler Mr. Robert G. Edge Mr. Carl I. Gable, Jr. Mrs. Nancy Hall Green Mr. Gregory F. Johnson Mr. Carter Joseph Mr. Alfred Kennedy, Jr. Mr. Michael Keough Mrs. Emily C. Knobloch Mr. George Levert Mrs. Peggy Weber McDowell Mr. Bruce A. Roth Mr. J. Barry Schrenk Mr. Timothy E. Sheehan Mr. Mark K. Taylor Mr. Thomas R. Williams Mr. Robert G. Woodward *deceased

EXECUTIVE COMMITTEE Board Chair Mr. Rhys T. Wilson

Audit Chair Mr. Bryan H. Barnes

At-Large Member Mr. Howard W. Hunter

Vice-Chair Mr. John L. Hammaker

Community Engagement Chair Mr. Alex Simmons, Jr.

At-Large Member Mrs. Christine St.Clare

Vice-Chair; Nominating & Board Engagement Co-Chair Mr. Charles “Charlie” R. Yates, Jr.

Development Chair Mr. Howard Palefsky

At-Large Member Mrs. Sandra S. Morelli

Investment Chair Mr. G. Kimbrough Taylor, Jr.

Carl W. Knobloch, Jr.

Secretary Mr. Michael E. Paulhus

Nominating & Board Engagement Co-Chair Ms. Cathy Callaway Adams

ex-officio member Mr. Tomer Zvulun

Treasurer Ms. Bunny Winter

General & Artistic Director,

ADVISORY COUNCIL Mr. Andrew J.M. Binns Mr. Kenny L. Blank Mrs. Inge Bledel

Ms. Mary Calhoun Mrs. Sally Bland Fielding Mrs. Beth W. Glynn

ARTISTIC ADVISORY COUNCIL Ms. Jamie Barton Mr. Kevin Burdette

Mr. Michael Mayes Mr. Morris Robinson

Dr. Thomas N. Guffin, Jr. Mrs. Erin Quinn Martin Mr. Paul Snyder

62 | staff EXECUTIVE Carl W. Knobloch, Jr. General & Artistic Director Tomer Zvulun

Assistant Lighting Designer Toni Sterling Sound Designer Darian Cornish

Managing Director Micah Fortson

Video Supervisor Mathew Peddie

Executive Assistant Misty Reid

Head Carpenter Hank Collins

Carl & Sally Gable Music Director Arthur Fagen

Carpenters Javid Brooks Adams, Paul Julio, Tyler Malovoz, Michael Manion, Chris Stewart, Don Stewart, Andreal Taylor

Artistic Administrator Meredith Wallace

Head Electrician Amanda Lynn Joyce

Artistic Associate Anna Young

Electricians Kathleen Cole, Wendy Derrick, Marie Dunn, Amanda Lynn Joyce, Kathrine Walding

PRODUCTION

Properties Head Cory Robertson

ARTISTIC

Director of Production Kevin G. Mynatt Associate Director of Production Meggie Roseborough

Properties Mary Alexander, Danielle Dickinson, Kerry Mozingo

Technical Director Joshua Jansen

Sound 1 Teddy Murry

Production Stage Manager Megan Bennett

Sound 2 Harvey Mills

Assistant Stage Manager Kristin Kelley

Union Steward Peter Cocchiere

Assistant Stage Manager Colleen Kane

COMMUNITY ENGAGEMENT & EDUCATION

Lighting Supervisor Marcella Barbeau

PHOTO: KEN HOWARD

Properties Artisan & Assistant Technical Director Christopher Moneymaker

atlantaopera.org | @theatlantaopera

Director of Community Engagement & Education Jessica Kiger

staff

COSTUME

DEVELOPMENT

Costume Director Joanna Schmink

Chief Advancement Officer Paul Harkins

Cutter/Draper/First Hand L. Elizabeth Payne

Individual Giving Officer Jonathan Blalock

First Hand/Stitcher Hauzia Conyers

Institutional Giving Officer Camille Cordak

Cutter/Draper Tabitha Lyons

Development Operations & Individual Giving Coordinator Elizabeth Root

Cutter/Draper Fiona Leonard Costume Developer Raina Clare Parker, Kristin Patrick, Abigail Polston Wardrobe Supervisor Fiona Leonard Dressers Jenn Ackland, Jenn Rodgers Wig & Makeup Department Head Frandresha “Brie” Hall Key Wig & Makeup Artist Irenia Vail Wig & Makeup Artists Venus Fears, Tiffany Ford, Donaldo Taylor

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Campaign Manager Sandy Feliciano FINANCE & ADMINISTRATION Director of Finance Kathy J. White Controller Inga V. Murro Human Resources & Facilities Manager Kenneth R. Timmons Bookkeeper Ruth Strickland Risk Mitigation Coordinator Kylie Saunders MARKETING, AUDIENCE DEVELOPMENT, & DIGITAL MEDIA Chief of Marketing & Audience Development Ashley Mirakian Director of Digital Media Felipe Barral Associate Director of Marketing Rebecca Danis Senior Manager, Ticketing Services Renee Smiley Creative Services Manager Matt Burkhalter

64 | housepolicies SAFETY The Atlanta Opera has completely redesigned the patron experience with safety as its number one priority.

• POD SEATING Parties will be socially distanced in “pods.”

Each party will have its own dedicated circle of space with up to 4 chairs, and each circle is physically distanced from neighboring circles.

• FACE COVERINGS Masks will be required of patrons at all times.

• HEALTH SCREENING Patrons will be required to complete a temperature check and confidential health survey prior to entry to the venue.

• TIMED TICKETS Timed tickets will be available in increments of 15 minutes to encourage social distancing and limit queues.

RESTROOMS Restrooms are located outside near the entrance to the Big Tent.

THE BIG TENT RULES & REQUESTS

PARKING Onsite parking is available at Cobb Energy Performing Arts Centre for $10.

• To ensure the safety of performers, staff, and attendees, late seating may be accommodated up to 10 minutes after curtain, in a designated location. Please plan to arrive on time to secure your purchased seat.

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

SMOKING Smoking is prohibited at the Big Tent.

SPECIAL ASSISTANCE Persons requiring access assistance are asked to contact the box office at 404-881-8885 for advance arrangements.

• INCREASED SANITATION Hand sanitizer and hand washing stations will be available throughout the venue for patron use.

• SOCIAL DISTANCING Social distancing will be encouraged with barriers and signed throughout the venue.

atlantaopera.org | @theatlantaopera

• Tickets are required for all adults and children ages 2+.

• Please turn off all cellphones prior to the beginning of each performance.

• Please limit conversation during the performance.

• Leaving while the show is in progress is discourteous and we ask that you refrain from doing so.

• Cameras (including use of cellphone camera) and audio and video recording devices are strictly prohibited at all times.

Proud supporter of

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