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WELCOME This universal truth echoes in every character of Eugene Onegin through Pushkin’s romantic story and even more so through Tchaikovsky’s ultra-romantic score. The characters make choices that prevent them from taking one path and commit them to another. They in end up in a world that is both incomplete and lonely. Tragedy is their constant, acute awareness of the other world: one that will never be theirs.

photo: Jeff Roffman

“Eugene Onegin is a story about coming to the realization, through passion rather than reason, that the romantic dreams of our youth are nothing but a mirage, albeit a gloriously beautiful one, on the horizon,” Erhard Rom, scenic designer. This quote from my brilliant colleague and set designer for the production summarizes our approach for this classic story. There is one thing that becomes evident as we age: the endless possibilities that are open before us when we are young start to narrow as we grow older. We all wonder what our lives could have been had we chosen a different path. As Robert Frost wrote: “I shall be telling this with a sigh, Somewhere ages and ages hence: Two roads diverged in a wood, and I— I took the one less traveled by, And that has made all the difference.” Some of us “tell this with a sigh” and some tell it with a smile, but in one way or another, every adult is confronted with choices that steer them toward one path or another. These choices can become a pile of disappointments or successes, but we can’t escape the fact that every choice we make probably deprives us of a different reality in which we could have existed.

The cycle of designing and staging productions never ends for The Atlanta Opera. Even as the 2018-19 season steams ahead, we are deep into plans for 2019-20. Behind the scenes, we’ve come to think of next year’s lineup as the “dangerous liaisons” season. Rossini’s irresistible take on Cinderella—and her nasty stepsisters— opens the main stage in the fall. And then we’ll expand on this theme, adding an extra dose of depravity, for Strauss’s biblical femme fatale Salome. The theme continues with Gershwin’s romance between the bighearted Porgy and the cocaine addict, Bess. And we’ll close with one of opera’s most excruciating love stories: Madama Butterfly. We’re especially excited about the 2019-20 Discoveries series, which brings inventive productions into intimate spaces. Next season, our Discoveries series will stage two contemporary operas, one based on the life of the Mexican artist and revolutionary Frida Kahlo (Frida), and another based on the real-life story of America’s longest-held prisoner of war (Glory Denied). These are exciting times for The Atlanta Opera. We are finding electric energy at the intersection of modern life, great music, and the human voice. We hope you enjoy Eugene Onegin. Come see us again and bring your friends.

Tomer Zvulun Carl W. Knobloch, Jr. General & Artistic Director The Atlanta Opera 7

SPONSORS PRODUCTION SPONSOR

Harold Brody & Donald Smith MEREDITH ARWADY SPONSORED BY

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Mayor’s Office of Cultural Affairs

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

THE ATLANTA OPERA DIRECTOR’S CIRCLE Cathy & Mark Adams Mary Ruth McDonald Mr. & Mrs. Ronald R. Antinori Peggy Weber McDowell & Jack McDowell Nancy & *Jim Bland James B. Miller, Jr. - Fidelity Southern Mr. David Boatwright Victoria & Howard Palefsky Laura & Montague Boyd Mr. William Pennington Dr. Harold Brody & Mr. Donald Smith Jerry & Dulcy Rosenberg John & Rosemary Brown Mr. William F. Snyder Mr. & Mrs. John L. Connolly Judith & Mark Taylor Ann & Frank Critz Triska Drake & G. Kimbrough Taylor Martha Thompson Dinos Brian & Marie Ward John L. Hammaker Rhys T. & Carolyn Wilson Howard Hunter - Gramma Fisher Ms. Bunny Winter & Mr. Michael Doyle Mr. & Mrs. Michael L. Keough The Mary & Charlie Yates Family Foundation *Mr. & Mrs. Carl W. Knobloch, Jr. *deceased 8

CREDITS MUSIC Pyotr Ilyich Tchaikovsky LIBRETTO Pyotr Ilyich Tchaikovsky & Konstantin Shilovsky BASED ON THE NOVEL BY Alexander Pushkin FIRST PERFORMANCE March 29, 1879, Maly Theatre, Moscow CONDUCTOR Ari Pelto PRODUCTION DIRECTOR Tomer Zvulun ASSOCIATE PRODUCTION DIRECTOR Stephanie Havey SCENIC DESIGNER Erhard Rom COSTUME DESIGNER Isabella Bywater LIGHTING DESIGNER Robert Wierzel WIG, HAIR & MAKEUP DESIGNER Dave Bova ASSISTANT LIGHTING DESIGNER Ben Rawson ASSOCIATE CONDUCTOR/CHORUS MASTER Rolando Salazar CHOREOGRAPHER Logan Pachciarz SUPERTITLES Jeremy Sortore CAST (IN ORDER OF VOCAL APPEARANCE) TATYANA Raquel González OLGA Megan Marino MADAME LARINA Margaret Gawrysiak FILIPYEVNA Meredith Arwady LENSKY William Burden EUGENE ONEGIN David Adam Moore MONSIEUR TRIQUET Justin Stolz* A CAPTAIN Jonathan Bryan* ZARETSKY Jonathan Bryan* PRINCE GREMIN Önay Köse MUSICAL PREPARATION & DICTION COACH Elena Kholodova MUSICAL PREPARATION Mauro Ronca* ASSISTANT DIRECTOR Conor Hanratty*† PRODUCTION STAGE MANAGER Brian August ASSISTANT STAGE MANAGERS Renée Varnas, Marisa Brink Performed in Russian with English supertitles Approximate running time: 2 hours, 40 minutes including 2 intermissions Costumes courtesy of Santa Fe Opera and Seattle Opera Eugene Onegin is a co-production between The Atlanta Opera, Lyric Opera of Kansas City, Hawaii Opera Theatre, Seattle Opera, and Michigan Opera Theatre. *member of The Atlanta Opera Studio †The Jerry & Dulcy Rosenberg Young Artist Stage Director, given in honor of Tomer Zvulun 9

SYNOPSIS

Lyric Opera of Kansas City's 2017 production of Eugene Onegin. photos: Cory Weaver

ACT I Act I begins with the sounds of a duet drifting from inside the house. The sisters, Olga and Tatyana, are singing a verse by Pushkin, “Slïkhalil´ vï… vdokhnulil´ vï´” (Have you not heard… have you not sighed), accompanied by the harp. Outside, their mother Larina, who is sitting with her old nursemaid, Filipyevna, is inspired to think of her youth and marriage and the importance of literature in her life. A chorus ensues, singing in traditional folk polyphony, “´Bolyat moi skorï nozhen´ ki so pokhodushki´” (My nimble feet are sore from walking), as Madame Larina’s serfs return from the fields. A single voice heard from afar begins the choral number. In response, the chorus sings a modal melody with parallel and contrary motion. They perform the Dance of the Peasants singing, “Uzh kak po mostumostochku´” (Across the little bridge). 10

The first folk song was composed by Tchaikovsky, but the second stems from oral tradition. The peasants take their leave as Olga begins a scena and aria, “Ya ne sposobna k grusti tomnoy” (I am no good at languid melancholy). Olga compares herself with her sister Tatyana who is occupied with deep thoughts. Larina frets over Tatyana’s introversion. Filipyevna announces the arrival of guests. Lensky and his sophisticated friend Onegin are presented to Olga and Tatyana. The four embark on a quartet, the two men and the sisters in respective pairs. Simultaneously, the men discuss the girls and Tatyana is sure that Onegin is the special someone for whom she yearns. They begin to walk together, Onegin with Tatyana and Lensky with Olga. In an arioso Lensky declares his love for Olga, “Ya lyublyu vas, Olga” (I love you, Olga). The descending scale motif is heard at the beginning of Lensky’s scene and arioso.

Onegin and Tatyana stroll back into view, Tatyana hanging on Onegin’s every word. He finds rural life very boring. In a cynical fashion Onegin relates the story of the unexpected death of his uncle that resulted in his inheritance of the estate nearby. As they walk, Filipyevna speculates about Tatyana’s feelings toward this new man. Tatyana has retired to her bedroom in a restless mood. The scene’s introduction is based on Tatyana’s motif. Tatyana asks Filipyevna about love and her own experience with love and marriage. Tatyana is unsatisfied with her nurse’s answers, finding them very unromantic. Tatyana asks for writing paper and pens and then sends the old nurse away. Tatyana spends the night composing a letter to Onegin in a lengthy 12-minute aria, called the Letter Scene, “Puskay pogibnu ya” (Even if it means I perish). She pours her very soul into declaring her love for Onegin. Additional musical motifs are introduced that recur in the opera, including the “fate” descending

scale motif. As the early dawn breaks, an oboe melody is heard, representing a shepherd’s pipe. The melody is an authentic shepherd’s tune. Filipyevna enters and finds Tatyana awake. She is asked to send the letter to Onegin. An anxious Tatyana waits for Onegin’s response as she listens to some peasant girls singing a folk song. Onegin arrives and tells her he was touched by her letter and that if he wished to marry he would certainly choose her. Then he admonishes Tatyana for her lack of self-control. He is gentle but cold in his demeanor. He also tells her that he feels only brotherly love for her, leaving Tatyana stunned and speechless. Onegin proffers his arm and leads the humiliated Tatyana away. The earlier music of the peasant girls frames the scene. ACT II An entr’acte based on the central theme of the Letter Scene opens the scene, where guests are assembled at the Larin

Estate to celebrate Tatyana’s birthday. A waltz plays as the guests chatter and gossip. Onegin hears the gossip and is annoyed that Lensky insisted they attend the ball. Onegin makes mischief, asking Olga to dance. Olga flirts with Onegin, upsetting Lensky. She has promised the cotillion to Onegin. Onegin makes goading comments to Lensky who is so offended that he renounces his friendship with Onegin. The men quarrel and Lensky challenges Onegin to a duel. The descending scale motif is heard. The largest ensemble in the opera, a quintet with chorus, ensues. Tatyana, Olga, Larina, Lensky and Onegin and assembled guests all express their shock, dismay, and regret over this unexpected event. Lensky rushes out of the ballroom followed closely by Onegin. The introduction to the duel scene is based on Lensky’s aria from the first act. Lensky and his second await the arrival of Onegin at the place designated for the duel. Lensky sings a farewell to Olga, “Kuda, kuda, vï udalilis” (Whither, ah, whither are ye fled). Some consider

this the finest aria written for tenor in Russian opera. Onegin arrives late in a somewhat insulting manner. The two men stand back-to-back awaiting the signal to advance. They sing a duet in the form of a canon which is set apart by half a bar. They sing the same words, which are filled with regret, but the distance between them is stated musically by the uneven canon. At the end of the duet they question whether they should call off the duel. The response, “Nyet, nyet, nyet, nyet” (No, no, no, no) seals their fate. The duel commences. When Onegin fires his pistol, he realizes with dismay that he has killed his friend. ACT III Several years have passed; Onegin has returned to St. Petersburg after a lengthy trip abroad. Onegin attends a grand ball at the home of Prince Gremin. A polonaise is being danced. At the age of 26, he bitterly states that he has done nothing with his life, “I zdyes mnye skuchno!” (I’m bored here too). His ennui combined with his guilt over the death of Lensky has never left him.

Another dance, an ecossaise (Scottish-style contredance) begins. Prince and Princess Gremin enter and greet their guests. Onegin recognizes Tatyana and cannot believe his eyes. She bears herself like a queen and is so at ease. He asks Prince Gremin about her and is told that she is his wife of two years. Gremin shares his love for Tatyana in the aria, “Lyubvi vsye vozrastï pokornï´” (Love is no respecter of age). Onegin and Tatyana meet with calm demeanor though both are affected by this unexpected encounter. Tatyana asks to be excused and leaves the ball. Onegin realizes he loves her and sings the aria, “´Uv;iuml;, somnen ´ya net´” (Alas, there is no doubt). Tchaikovsky establishes the sad irony of the situation by recapitulating the blissful opening music of Tatyana’s Letter Scene. Tatyana receives a letter from Onegin confessing his love. She is distressed, tremulous and feels a rising passion. She

begins to weep. Onegin bursts in. They begin their final duet though it must be noted that it is not a conventional duet. Their two voices are heard singing together only briefly. There are no love duets in Eugene Onegin. Tatyana reminds Onegin of his attitude years earlier. He begs forgiveness. She admits she stills loves him and he seizes the moment to entreat her to leave her marriage. Even though her heart is with him, she refuses to dishonor her husband. When Tatyana declares she will leave the room, Onegin cries out the same words that separated him from Lensky, “Nyet, nyet, nyet, nyet!” (No, no, no, no). After a tumultuous confrontation, Tatyana leaves Onegin to his fate and bids him farewell forever.

Courtesy of Virginia Opera 13

“I need people, not puppets.” – Tchaikovsky

Atlanta Opera's 2004 production of Eugene Onegin presented at the Atlanta Civic Center. photos: J.D. Scott

THE STING OF REGRET BY NOEL MORRIS

Eugene Onegin still surprises audiences for what it’s not: there’s no melodrama; it’s not exotic. It’s not a spectacle, nor is it action-packed. “How glad I am to be free of Egyptian princesses, pharaohs, poisonings, and stilted effects of all kinds,” the composer quipped. For Tchaikovsky, this was an opportunity to "convey through music everyday, simple, universally human emotions, far removed from anything tragic or theatrical.” By 1877, Pyotr Ilyich Tchaikovsky was among the most celebrated composers in the world. He lived under a spotlight, which (not unlike today) generated lots of opinions. In this instance, he ignored them. Shaking off pressures from 14

administrators, impresarios, and wellmeaning busybodies, he simply wrote what he wanted. This opera is one of those tales known by everyone in Tchaikovsky’s universe—a classic written in verse by Alexander Pushkin and first experienced as a serial novel between 1825 and 1832. Because the story deals with the internal struggles of ordinary people (which are admittedly difficult to show onstage), Tchaikovsky backed away from calling it an opera, instead calling it “lyrical scenes.” Eugene Onegin is Tchaikovsky’s private rebellion against the theater scene as he knew it. Instead of bowing to the demands of directors and impresarios, he staged its first performance in an

environment that he could control: the Moscow Conservatory. Now, 150 years later, opera directors worldwide are lining up to bring this inspired score to the stage. Here to shed some light upon its substance and its challenges is the show’s director, Tomer Zvulun. As a stage director, how do you show a character’s inner drama? Well it’s very much a psychological piece. And I’m attracted to that. The pieces that I direct are usually psychological pieces offering an inner world that only music can convey. This is the fourth time I’ve directed [Eugene Onegin] in a year and a half. I’ll direct it three more times next year. Every time I do it with a different cast, I discover so much because they can be so different. One guy sees Onegin as a jerk. Another guy tries to be thoughtful—you know, “I’m breaking up with you because I really don’t want you to wait for me, because I don’t know who I am.” As a director, it’s so interesting to mold this story depending upon the people you work with. You have to keep it open. You can’t decide the story means one thing, because it’s universal. It’s open to interpretation, which allows people to bring themselves into it. <Spoiler alert> It’s hard to cheer for the title character, Eugene Onegin. As a director, do you think it’s important to be an advocate for his point of view? Well, he is an enigma. He’s such a downer; it’s easy to depict him as a jerk. But the moment you write him off as a jerk, you can’t see his vulnerability and the character

doesn’t have the same impact. He is a tormented character. One of the most challenging things about directing this opera is finding that three-dimensionality, because Onegin doesn’t have a full aria. You meet him very briefly, and then very early on you realize that he’s doing something seemingly heartless and cruel. But the challenge is to find the subtlety and the value of his action: He doesn’t want to get married if he’s not sure. And you know, some of us can appreciate that. His breakup with Lensky is even more jarring. Onegin starts it; he agitates, and then kills his best friend. How do you go along with that? But there’s more to it than that. Onegin’s drunk—and I’m not trying to justify it—but I’ve seen a lot of people behaving badly when they’re insecure and when they’re drinking. He’s in a situation where he feels like everybody is talking about him. He’s not comfortable with the fact that Tatyana is there, he’s having too many drinks, and he’s making a mistake. And he tries to say, “Come on, man, I was just joking.” It’s Lensky who says, “No! You are an adulterer and you’re going to pay for it.” The next day, Onegin is late for the duel because he doesn’t want to go—but it’s too late. Social pressures are pushing him to make an even greater mistake. The Letter Scene is one of the most talked about moments in the opera. What gives it so much power? I think this is Tchaikovsky’s finest hour. He poured his heart—all his frustration, all his hopes, all his dreams—into this music. It’s an iconic piece of literature. I mean, the Russian people know Tatyana’s 15

letter by heart, because it crystalizes what it is to be in love for the first time. It takes you into that intimate space where you’re reaching out to a person in the hope of being together, a moment of extreme vulnerability. Who can’t relate to that? Whether it’s in a letter or a text or meeting somebody in a bar or in school, most of us can relate to the inner drama of figuring out how to tell the other person you’re in love with them. That’s what Pushkin captured. And Tchaikovsky, who was quintessentially romantic, wearing his heart on his sleeve, poured all these emotions into this music. It’s a masterpiece. And when you find the right singer/actress to convey that vulnerability and fragility, then it’s gold. Tchaikovsky credited a man named Konstantin Shilovsky as the librettist, but really, he mostly used Pushkin’s verses. Are the two works very different? Atlanta Opera's 2004 production of Eugene Onegin with Richard Paul Fink as Eugene and Aimee Willis as Tatyana.

The essence of it is the same, but the tone is different. Pushkin was a gambler, a womanizer, he was always getting in trouble. Tchaikovsky was a gentler soul, a romantic, and closeted homosexual who saw the world through a lens of romance and sweetness. When I direct this piece, it’s very much about the text and going back to the Pushkin and getting a lot of clues from it. Pushkin was acerbic and sarcastic in a very Russian way. His version is full of bitterness. Tchaikovsky took that story and gave it a spin of sweet melancholy. You mentioned Tchaikovsky’s sexuality. He wrote this piece while becoming entangled in a marriage to a dependent and unstable woman. Their union lasted a matter of days before he had a breakdown and would not see her again. Interestingly, he

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Atlanta Opera's 2004 production of Eugene Onegin with Richard Drews as Lensky and Kitt Reuter-Foss as Olga.

later remarked that he fell in love with Tatyana while writing Eugene Onegin. Do you think she was the character he had hoped for in his own marriage? Or was she the one he most identified with? He’s way more Tatyana than Onegin! But I think he’s probably each of the characters in some ways. You know, he was just as tormented and indecisive as Onegin. He probably broke the hearts of a few women. You also see a great sympathy for the idea of friendship. There’s tremendous tenderness between Lensky and Onegin. What happens between Lensky and Onegin is so senseless. As a director, how do you follow the logic of that relationship? It’s life. Life is full of mistakes. Life doesn’t always have happy endings and we don’t always get to have closure. That’s what’s so amazing about this story; it’s a 19th century story with a protagonist who’s really an anti-hero. He’s an antagonist. And the story doesn’t even end with his death or her death, which would have offered some closure. Instead you have Onegin thinking, “Damn, you know? I should have been with her, but I’m not.” I mean, how many people ask themselves, “What would have happened if I wasn’t such a jerk?” That’s what makes Onegin so modern and powerful. It’s not just a fairytale where they live happily ever after. The closure is the curse of our lives. Life goes on and sometimes we’re not in the existence we were hoping for when we were sixteen.

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CAST & CREATIVE ARI PELTO CONDUCTOR ATLANTA OPERA DEBUT

Conductor Ari Pelto is widely known for performances that have been called “poetic, earthy, vigorous” and “highly individual.” Appointed Music Director at Opera Colorado in 2015, he has conducted acclaimed performances of La traviata, Don Giovanni, Madama Butterfly, Aida, La bohème, Falstaff, La Fanciulla del West, and Lucia di Lammermoor. In contemporary repertoire, the company recently premiered Lori Laitman’s long-awaited work, The Scarlet Letter, and the world premiere of Gerald Cohen’s new opera, Steal a Pencil for Me. Recent highlights as a guest conductor include Nutcracker at Sacramento Ballet, Eugene Onegin at Lyric Opera Kansas City, Salome and Lucia di Lammermoor at Virginia Opera, a new Nutcracker and Carmina Burana at Atlanta Ballet, and L'enfant et les Sortileges at Chicago College of Performing Arts. Other engagements include A Streetcar Named Desire at Virginia Opera; The Rake’s Progress at Portland Opera; Rigoletto, Don Pasquale, Il Barbiere di Siviglia and Don Giovanni at Opera Memphis; La bohème at Opera Theatre of St. Louis; The Cunning Little Vixen at Chautauqua; Rusalka and La bohème at Boston Lyric Opera; Romeo et Juliette at Minnesota Opera; The Magic Flute, Le Nozze di Figaro, and Hansel and Gretel at Portland Opera; and Hansel and Gretel at Utah Opera. At age of 24 Pelto was appointed Assistant Conductor at the Spoleto Festival and has gone on to conduct on stages worldwide.

TOMER ZVULUN PRODUCTION DIRECTOR

ATLANTA OPERA DEBUT: THE FLYING DUTCHMAN, 2009 General & Artistic Director of The Atlanta Opera since 2013, Israeliborn Tomer Zvulun is also one of opera’s most exciting stage directors, earning consistent praise for his creative vision, often described as cinematic and fresh. His work has been presented by prestigious opera houses around the world, including the Metropolitan Opera, the opera companies of Seattle, San Diego, Minnesota, Boston, Cleveland, Dallas, Cincinnati, Pittsburgh, Buenos Aires, Wexford, New Orleans, and Wolf Trap, as well as leading educational institutes and universities such as The Juilliard School, Indiana University, Boston University, and IVAI in Tel Aviv. Since taking the leadership in Atlanta he increased the operations of the company from 12 to 32 performances a season, while stabilizing the financials. Some of his noted achievements include launching the successful Discoveries series, a program that presents new contemporary works and rarely done operas in alternative venues, creating the first young artist program in the company’s history, and doubling the company’s annual fundraising. His work at The Atlanta Opera earned the company an international reputation and numerous awards and prizes. These include the nomination of The Atlanta Opera for the 2016 International Opera Awards in London and the selection of the acclaimed Discoveries series as Atlanta Best of 2015 by The Atlanta Journal-Constitution and Silent Night for Atlanta Best of 2016. 20

STEPHANIE HAVEY ASSOCIATE PRODUCTION DIRECTOR ATLANTA OPERA DEBUT: RIGOLETTO, 2015

Winner of the Adelaide Bishop Award and the Opera America DirectorDesigner Showcase, Stephanie Havey has recently directed for Pittsburgh Opera, Opera Omaha, North Carolina Opera, Opera Grand Rapids, Syracuse Opera, and Shreveport Opera. She also created new productions for Curtis Institute of Music, Carnegie Mellon University, Tulsa Opera, Opera Columbus, Opera NEO, and Lyrique-en-mer International Festival de Belle-Ile. She is sought after as a collaborator for the development of new opera, staging new works with Opera Philadelphia for their Double Exposure event, Opera America's New Works Forum, and developing new operas as the Stage Director for North American New Opera Workshop. This season includes company debuts at Arizona Opera, Hawaii Opera Theatre, Michigan Opera Theatre, Opera Santa Barbara, New York City Opera, and a return to Pittsburgh Opera. During her two seasons as the first Resident Artist Stage Director for the Pittsburgh Opera, she received rave reviews for her new production of Il matrimonio segreto and directed numerous productions in the Opera Studio. Professional credits also include engagements with Boston Lyric Opera, Central City Opera, Glimmerglass Festival, Sarasota Opera, Virginia Opera, and Nashville Opera. She has worked extensively with many Young Artist training programs including Curtis Institute of Music, NYU Tisch School of the Arts, Oberlin Conservatory of Music, Carnegie Mellon University.

ERHARD ROM SCENIC DESIGNER

ATLANTA OPERA DEBUT: LUCIA DI LAMMERMOOR, 2011

Erhard Rom has designed settings for nearly 200 productions around the world. This season he returns to San Francisco Opera to design a new production of Susannah, after his debut there in 2012 with designs for Nixon in China. Other venues include Seattle Opera, Vancouver Opera, The Glimmerglass Festival, Opera Theatre of Saint Louis, Minnesota Opera, Syracuse Stage, Geva Theatre Center, Shakespeare Santa Cruz, Boston Lyric Opera, Florida Grand Opera, Opéra de Montréal, The Atlanta Opera, and Wolf Trap Opera among many others. He has collaborated with many of the world’s leading directors, including Colin Graham, Nicholas Muni, and Francesca Zambello, for whom he designed the world premiere of the 2011 Glimmerglass Festival production of A Blizzard on Marblehead Neck with music by Jeanine Tesori and libretto by Pulitzer Prize-winning playwright Tony Kushner. Several of his designs have been featured in the Prague Quadrennial International exhibition of scenography. He is an associate professor at Montclair State University where he teaches design. In 2014, he designed the European premiere of Kevin Puts'recent opera, Silent Night. The production was awarded two accolades at the 2015 Irish Times Theatre Awards Ceremony, including the audience choice award and best opera production of 2014. 21

ROBERT WIERZEL LIGHTING DESIGNER

ATLANTA OPERA DEBUT: LUCIA DI LAMMERMOOR, 2011 Robert Wierzel has worked in opera, theater, dance, museums, and contemporary music. Opera credits include productions with the opera companies of Paris Garnier, Tokyo, Toronto, Bergen, Norway, Glimmerglass Festival, Seattle, Boston Lyric, Minnesota, San Francisco, Houston, Virginia, Chicago Lyric, Opera Theatre of Chicago, Montreal, Vancouver, Portland, Wolf Trap, NYCO, and San Diego. His dance work includes 33 years with the Bill T. Jones/Arnie Zane Company. Broadway credits include Lady Day at Emerson’s Bar & Grill starring Audra McDonald; Fela! (Tony Award nomination), and David Copperfield’s Broadway debut, Dreams and Nightmares. Off-Broadway includes productions with the NYSF/Public Theatre, The Signature Theatre, Roundabout Theatre Company, and Playwrights Horizons. Robert’s extensive regional theatre work includes productions at the Alliance Theatre (Atlanta); Goodman Theatre; A.C.T. San Francisco; Arena Stage (Washington, D.C.), Center Stage, Chicago Shakespeare Theater; Shakespeare Theatre (Washington, D.C.); Hartford Stage; Long Wharf Theatre; The Guthrie; Mark Taper Forum; Actors Theatre Louisville, and The Old Globe. He is adjunct faculty at N.Y.U.’s Tisch School and a guest lecturer at the Yale School of Drama.

DAVE BOVA HAIR, WIG, & MAKEUP DESIGNER ATLANTA OPERA DEBUT: WEST SIDE STORY, 2018

Broadway designs include M. Butterfly, Sunset Boulevard, Bandstand, Indecent, The Real Thing, and Violet. Off-Broadway designs include BE More Chill, Jerry Springer: The Opera, Little Miss Sunshine, Here Lies Love, Buried Child, Pericles, Booty Candy, My Name Is Asher Lev, Good Person of Szechwan, Romeo and Juliet. Steppenwolf Theatre, Goodman Theatre, Signature Theatre, Playwright Horizons, Dallas Theatre Center, Shakespeare Theatre of DC, Ford’s Theatre, The Public, Public Works, Seattle Rep, Two River Theatre, Delaware Rep, Cleveland Play House, Utah Shakespeare Festival. Opera: Glimmerglass Festival 2016-18, Central City Opera 2012-15, Sarasota Opera 2015, Lyric Opera of Kansas City, Washington National Opera, Santa Fe Opera. davebovadesign.com

ROLANDO SALAZAR ASSOCIATE CONDUCTOR/CHORUS MASTER ATLANTA OPERA DEBUT: LA TRAVIATA, 2013

Rolando Salazar is the Associate Conductor and Chorus Master for The Atlanta Opera. He has served as assistant conductor and pianist at the Bellingham Festival of Music, as assistant conductor at La Musica Lirica in Novafeltria, Italy, and as coach/conductor for the Harrower Opera Workshop. He serves as artistic director and conductor of the Georgia Piedmont Youth Orchestra while maintaining a guest conducting schedule, most recently in performances with the Georgia State University Orchestra, Johns Creek Symphony Orchestra, Georgia State University Opera, and the Ozark Family Opera. Mr. Salazar also keeps an active coaching and collaborative piano schedule in Atlanta, preparing numerous singers for engagements with major orchestras and opera houses worldwide. A student of Michael Palmer, he is a graduate of Georgia State University with a Master of Music in orchestral conducting and an Artist Diploma in orchestra and opera.

LOGAN PACHCIARZ CHOREOGRAPHER ATLANTA OPERA DEBUT

Logan Pachciarz began his dance career with the guidance of Shelly Washington in Twyla Tharp’s Dance company Tharp! After extensive traveling, he continued his classical training at North Carolina School of the Arts under the tutelage of Ton Simons, Fernando Bujones, and Warren Conover. At age 18, he joined the Boston Ballet where he enjoyed performing works by such choreographers as Rudi van Dantzig, Christopher Wheeldon, and Ben Stevenson. In 2001, Logan joined the Kansas City Ballet. In his 15 years with the company he performed leading roles in a diverse repertoire, ranging from classical and neoclassical works such as Giselle, Romeo and Juliet, and The Four Temperaments to contemporary and modern pieces including Jardi Tancat, Dark Elegies, The Catherine Wheel Suite, and The Moor’s Pavane. Upon retirement, he was recognized by Dance Magazine’s Wendy Perron as one of the best dancers of 2016. He is currently the co-artistic director of The Kansas City Dance Festival and Moving Arts Cincinnati. As director, he has presented repertoire from the forefront of dance by Marco Goecke, Douglas Lee, Penny Saunders, Salvatore Aiello, Marina Kessler, Todd Bolender, Matthew Neenan, George Balanchine and Ma Cong.

DAVID ADAM MOORE EUGENE ONEGIN ATLANTA OPERA DEBUT: WINTERREISE, 2015

This season, David Adam Moore joins both L.A. Opera and Austin Opera in David T. Little’s Soldier Songs, sings Stanley Kowalski in A Streetcar Named Desire with Teatro Colón, and Lieutenant Audebert in Silent Night with Austin Opera. Last season, he made his Metropolitan Opera debut as Colonel Gomez in Adès’ The Exterminating Angel after creating the role in the world premiere at the Salzburger Festpiele and subsequent performances at Covent Garden. He returned to Covent Garden for the world premiere of George Benjamin’s Lessons in Love and Violence, sang the Count in Le nozze di Figaro (Palm Beach Opera), and performances of GLMMR's acclaimed multimedia production of Schubert’s Winterreise (Portland Opera). Recent career highlights include: Demetrius in A Midsummer Nights Dream (Teatro alla Scala); Stanley Kowalski in A Streetcar Named Desire (Lyric Opera of Chicago), Don Giovanni (Staatsoper Hannover, Nationaltheater Mannheim, Oper Kiel, Nashville Opera), Eugene Onegin (Arizona Opera), Joseph de Rocher in Heggie’s Dead Man Walking (Lyric Opera of Kansas City, Des Moines Metro Opera), Prior Walter in Eötvös’ Angels in America (L.A. Philharmonic, BBC Symphony, Opera Wrocławska, and at Fort Worth Opera), and the title role in Billy Budd and Marcello in La bohème (Pittsburgh Opera). A frequent presence at Seattle Opera, he has sung Figaro in Il barbiere di Siviglia, Zurga in Les pêcheurs de perles, Guglielmo in Così fan tutte and Jake Wallace in La fanciulla del West. He is a graduate of the Oberlin Conservatory of Music and the University of Cincinnati College-Conservatory of Music.

RAQUEL GONZÁLEZ TATYANA ATLANTA OPERA DEBUT

Hailed as a “true artist” (Opera News), soprano Raquel González from Lawrence, Kansas, recently completed three seasons as a DomingoCafritz Young Artist at Washington National Opera, where she appeared as Cio-Cio-San (Madama Butterfly), Contessa Almaviva (Le nozze di Figaro), Donna Anna (Don Giovanni), Micaëla (Carmen), and Mimì (La bohème). She is a 2019 Sphinx Organization Medal of Excellence Awardee. This season, Ms. González makes her role and house debuts as Liù in Turandot with New Orleans Opera before returning to WNO for another role debut as Anna Sørensen in Silent Night. The New Year brings several house debuts, first at North Carolina Opera as Micaëla, then she will sing Violetta in La traviata at Opera on the James before returning to Mimì at Opera Tampa. She ends the season making another house debut as Cio-Cio-San at Central City Opera. 24

WILLIAM BURDEN LENSKY ATLANTA OPERA DEBUT

American tenor William Burden has appeared at the Metropolitan Opera, San Francisco Opera, Lyric Opera of Chicago, Seattle Opera, Opera Philadelphia, Santa Fe Opera, La Scala, Glyndebourne Opera Festival, Paris Opera, Munich State Opera, Netherlands Opera, Canadian Opera, and the Saito Kinen Festival. His many roles include the title roles of The Contes d'Hoffmann, Pelléas et Mélisande, The Rake’s Progress, and Béatrice and Bénédict; Loge in Das Rheingold, Laca in Jenůfa, Captain Vere in Billy Budd, Aschenbach in Death in Venice, Don José in Carmen, Edgardo in Lucia di Lammermoor, and Lensky in Eugene Onegin. He has also appeared with the Chicago Symphony Orchestra, San Francisco Symphony, Atlanta Symphony Orchestra, Philadelphia Orchestra, Minnesota Orchestra, St. Louis Symphony, Berlin Philharmonic, BBC Symphony Orchestra, and with Les Arts Florissants on tour throughout Europe. His many recordings include Beethoven's Symphony No. 9 with Michael Tilson Thomas and the San Francisco Symphony (SFS Media), Barber’s Vanessa with the BBC Symphony Orchestra (Chandos) and Musique adorable: The Songs of Emmanuel Chabrier (Hyperion). He also appeared in the Metropolitan Opera's live HD broadcast of Thomas Adès' The Tempest. Raised in Florida, Mr. Burden received his master’s degree in Vocal Performance at Indiana University. Mr. Burden has been a member of the faculty at the Mannes School of Music since the fall of 2015, and in the fall of 2018, he joined the voice faculty of the Juilliard School of Music.

MEGAN MARINO OLGA ATLANTA OPERA DEBUT

Megan Marino is praised by Opera News as “a gifted actress with a strong, appealing voice graced by a rich lower register.” In the 2018-19 season, she makes company debuts with Dallas Opera as Meg Page in Falstaff and Opera Idaho as Anita in West Side Story. She returns to the Metropolitan Opera as Laura in Iolanta, the Nursing Sister in Suor Angelica, and for the company’s production of La traviata as well as Utah Opera as Stephano in Roméo et Juliette. Future seasons include her debut with the Opéra national de Bordeaux as well as returns to Opéra national de Paris and the Metropolitan Opera, all in new roles, and a further return to Opera Colorado. Last season, she made her debut with the Opéra national de Paris as Zweite Knappe in Parsifal. She returned to the Metropolitan Opera as Myrtale in Thais as well as for its production of Le nozze di Figaro, Santa Fe Opera for her first performances of Suzuki in Madama Butterfly, and Lyric Opera of Kansas City for her role debut as Olga in Eugene Onegin. Never straying too far from bel canto repertoire, Ms. Marino also reprised Rosina in Il barbiere di Siviglia with Kentucky Opera. 26

ÖNAY KÖSE PRINCE GREMIN ATLANTA OPERA DEBUT

Turkish Bass Önay Köse was a member of Berlin's famed Komische Oper for the past two years, where he performed a variety of roles including the Nightwatchman in Die Meistersinger von Nürnberg, Prince Gremin in Eugene Onegin, Sarastro in Die Zauberflöte and Pluto in the Monteverdi/ Katz-Chernin version of Orpheus. Current engagements include debuts with the Canadian Opera Company as Lodovico in Otello and as Colline in La bohème, with the Oper Köln as Timur in Turandot and at the Teatro Municipal in Santiago, Chile as Oroveso in Norma. In concert, Mr. Köse recently sang Lodovico and the Herald in Otello with the Los Angeles Philharmonic and Gustavo Dudamel at the Hollywood Bowl and performed in recital at Bard’s Summerscape festival in various Russian pieces. He will also sing the bass solo in Verdi’s Messa da Requiem with the Cäcilienchor in Frankfurt. He recently made his debut with Oper Frankfurt as Sparafucile in their new production of Rigoletto. In the 2017-18 season, Mr. Köse made debuts with the Bard Music Festival in Berlioz’s Roméo et Juliette and the Tulsa Opera as Mephistopheles in Gounod’s Faust, as well as performing both new and reprised roles with the Komische Oper, including the Commendatore in Don Giovanni and Don Basilio in Il Barbiere di Siviglia. Mr. Köse completed his Master’s Degree and obtained his Artist Diploma in opera studies from the Juilliard School.

MARGARET GAWRYSIAK MADAME LARINA ATLANTA OPERA DEBUT

Known for her powerful voice and galvanizing performances, mezzosoprano Margaret Gawrysiak’s engagements this season include the Old Lady in Candide with The Knights at Tanglewood and Ravinia, Marcellina in Le nozze di Figaro for her return to Opera Colorado, and Emma Jones in Street Scene with Virginia Opera. Future seasons will include a debut with Dallas Opera. The 2017-18 season saw a return to Seattle Opera as Berta in Il barbiere di Siviglia, and appearances with the Seattle Symphony for Beethoven’s Ninth Symphony and New York City Ballet for Stravinsky’s Les noces. During the 2016-17 season, the mezzosoprano performed as Marcellina in Le nozze di Figaro and Ruth in The Pirates of Penzance with Lyric Opera of Kansas City; Zita and Frugola in Opera Company of Middlebury’s production of Il Trittico; and the Old Lady in Candide with Orlando Philharmonic Orchestra. Her 2015-16 season included the world premiere of Lori Laitman’s Scarlet Letter with Opera Colorado as Mistress Hibbons; Marcellina in Le nozze di Figaro with Seattle Opera; and Mrs. Lovett in Sweeney Todd with Fresno Grand Opera. She has received awards from the Sullivan Foundation, Lotte Lenya Competition, Jensen Foundation, Portland Opera’s Lieber Awards, the Gerda Lissner Foundation, and Fort Worth Opera’s McCammon Awards. She is a graduate of Eastman School of Music and Western Illinois University, as well as Seattle Opera’s Young Artist Program. 27

MEREDITH ARWADY FILIPYEVNA ATLANTA OPERA DEBUT

Hailed by critics as a “rarity” and “a genuine contralto,” Meredith Arwady continues to delight audiences with rich vocal intensity and captivating stage presence. In the 2018-19 season, she will bring her unique vocal artistry to the Montreal Opera in two roles: Erda in Das Rheingold and Kathy Hagen in Terence Blanchard’s Champion, the latter she sang with Washington National Opera and created the role at Opera Theatre of Saint Louis. She will sing Filippyevna in Eugene Onegin with Michigan Opera Theatre, which she recently sang at Dallas Opera, and a new production of Menotti’s The Medium at Oper Frankfurt in the summer of 2019. She has recently been seen at the Santa Fe Opera as Amelfa in RimskyKorsakov’s Le coq d’or and Pasqualita in a new Peter Sellars production of Doctor Atomic. Ms. Arwady made her Los Angeles Opera debut in Woody Allen’s production of Gianni Schicchi as Zita with Plácido Domingo as Schicchi, and was seen at Houston Grand Opera, Oper Frankfurt and the Canadian Opera Company as Erda in Siegfried, as well as the First Norn (Götterdämmerung) in Frankfurt and Houston. She debuted at the English National Opera as Martha in John Adams’ The Gospel According to the Other Mary in a production by Peter Sellars and returned to the Opera Theatre of Saint Louis as Hannah in Tobias Picker’s Emmeline, Houston Grand Opera as Schwertleite in Die Walküre, and debuted at Madison Opera as Mrs. Lovett in Stephen Sondheim’s Sweeney Todd.

JUSTIN STOLZ MONSIEUR TRIQUET

STUDIO ARTIST ATLANTA OPERA DEBUT: THE SEVEN DEADLY SINS, 2017 Praised for his “effortlessly powerful” voice (The Chronicle Journal), Canadian tenor Justin Stolz is quickly establishing himself as an exciting young performer. A resident artist at The Atlanta Opera, he made a “rousing” (Opera News) professional debut last season as Der Steuermann in The Flying Dutchman. He has since appeared with the company as Tamino in The Magic Flute and Le Remendado in Carmen. He spent the summer of 2018 as an apprentice artist with Santa Fe Opera, and returns to The Atlanta Opera as a resident artist this season. He will perform Gastone in La traviata, and cover Lensky in Eugene Onegin. He will return to Santa Fe as an apprentice artist covering the role of Števa Buryja in Jenůfa. In prior seasons, Mr. Stolz has appeared as Don José in Carmen (Brott Music Festival, Indiana University Opera Theater), B.F. Pinkerton in Madama Butterfly (Indiana University Opera Theater), Mr. Owen in Postcard from Morocco (The Glenn Gould School), and Don Ottavio in Don Giovanni (The Glenn Gould School). He is a recent recipient of the first prize in The S. Livingston Mather Competition of Cleveland, Ohio. Mr. Stolz is a graduate of Indiana University’s Jacobs School of Music and The Royal Conservatory of Music (The Glenn Gould School). 28

JONATHAN BRYAN ZARETSKY / A CAPTAIN STUDIO ARTIST ATLANTA OPERA DEBUT: DEAD MAN WALKING, 2019

Jonathan Bryan, a baritone from Dallas, holds a bachelor’s degree in vocal performance from Louisiana State University, and recently received his master of music degree from the Indiana University Jacobs School of Music, where he studied with world-renowned baritone, Wolfgang Brendel. Jonathan has performed many leading operatic roles, including the title character in Mozart’s Don Giovanni, Danilo in Lehár’s The Merry Widow, Guglielmo in Mozart’s Così fan tutte, and Count Almaviva in Mozart’s Le nozze di Figaro. Other roles include Sharpless in Puccini’s Madama Butterfly, Owen Hart in Heggie’s Dead Man Walking, and Rambaldo in Puccini’s La Rondine. He has appeared as a concert soloist in works such as Haydn’s Missa in angustiis, Rossini’s Petite messe solennelle, Mozart’s Coronation Mass, Britten’s Rejoice in the Lamb, and sang with orchestras such as the Buffalo Philharmonic Orchestra and the National Symphony Orchestra. He is a former member of the Wolf Trap Opera Studio, and spent the summer of 2018 as a young artist at The Glimmerglass Festival, where he covered Eric Owens as the Forester in a new production of Janáček’s Cunning Little Vixen, and the role of Lieutenant Gordon in Kevin Puts’ Pulitzer Prize-winning Silent Night. This season, Jonathan will perform Zaretsky in Tchaikovsky’s Eugene Onegin, and Baron Douphol in Verdi’s La traviata.

ORCHESTRA SPOTLIGHT Charae playing in the Final Dress Rehearsal for Dead Man Walking in January. photo: Jeff Roffman

CHARAE KRUEGER, CELLO Charae Kreuger has played principal cello with The Atlanta Opera Orchestra since she moved to Atlanta from Boston several years ago. She trained at the New England Conservatory, and has performed with the Atlanta Symphony Orchestra, Cape Cod Symphony Orchestra, and Chamber Orchestra of Tennessee, to name a few. She was a founding member of the Arden String Quartet, and has played at venues across the U.S., including Lincoln Center and Brown University. We turned the spotlight on Charae to find out a little bit more about our principal cellist (who plays on a cello made in 1830!). 30

THE ATLANTA OPERA: How long have you been with The Atlanta Opera Orchestra? CHARAE KRUEGER: Iâ&#x20AC;&#x2122;ve played cello in The Atlanta Opera Orchestra for 15 years. TAO: Where did you grow up and how did you get into music? CK: I grew up in several places: Kansas, Nashville, California, and Saskatchewan, Canada. My parents are both musicians and music teachers, so when I was very young they were my first teachers on violin and piano.

I began cello at the age of 12 and found it was the right instrument for me! TAO: Of the Atlanta Opera productions you've played, which was your favorite? CK: My first Tosca in 2006 was a special highlight for me. I also really enjoyed playing the Piazzolla Tango opera Maria de Buenos Aires, which is coming back in March.

CK: Hmmm … maybe percussion would be fun. I’m pretty happy with cello, though! TAO: Any advice for young musicians? CK: Be persistent and passionate in studying and practicing music. Use your mind to practice intelligently, and your heart to fuel the passion and the strong work ethic that is required for a life in music. It’s a great life!

TAO: What are your favorite musical moments in Eugene Onegin, and what should audiences listen for in this opera? CK: Lensky’s Aria is a very famous tenor aria in the opera with gorgeous melancholic string lines and heartrending melodies. It has even been arranged for solo cello and orchestra and is a beautiful example of Tchaikovsky’s skill with melody and orchestral texture. TAO: What do you do when you're not playing or practicing the cello? CK: I love to take ballet classes, hiking, and shopping! TAO: What other genres of music and/ or artists do you like? CK: I love jazz and love to listen to the old greats like Miles Davis, Oscar Peterson, Bessie Smith, Stephane Grappelli. TAO: If you had to play a different instrument, what would it be? 31

THE ATLANTA OPERA CHORUS CHORUS MASTER Rolando Salazar

CHORUS MEMBERS SOPRANO

ALTO

Hanan Davis Sakinah Davis Kate Doriot Nicole Lewis Anna Kozla Natalie Rogers Rebecca Shipley Jeanette Simpson Amy Smithwick Tiffany Uzoije

Lynnette Anderson Caitlin Andrews Afton Herring Jessica Lane Allison Nance Amber Tittle Laurie Tossing Jessica Wax

TENOR

BASS

Sidnei Alferes Rob Banks Charles Baugh Jose Caballero Will Green Eric Mask William McChriston Tim Parrott Tim Tolar

William Anderson August Bair Samuel Ferreira Gus Godbee Samy Itskov Michael Lindsay Timothy Marshall Stephen McCool Taylor Miller

SUPERNUMERARIES Dayna Beilenson Rial Ellsworth Jerry Hunter Jessica Steele Megan Wartell Spiro Winsett

ACTOR CASTING CONSULTANT Clifton Guterman, Theatrical Outfit 32

THE ATLANTA OPERA ORCHESTRA VIOLIN

CELLO

HORN

Peter Ciaschini The Loraine P. Williams Orchestra Concertmaster Chair

Charae Krueger Principal

David Bradley Principal

David Hancock Assistant Principal (Acting)

Jason Eklund

Roee Harran

Jack Bryant

Helen Kim Assistant Concertmaster Fia Durrett Principal Second Lisa Morrison Assistant Principal Second (Acting)

Daniel Holloway Mary Kenney

Eric Hawkins

TRUMPET

Cynthia Sulko

Yvonne Toll Principal

BASS

Hollie Lifshey

Virginia Respess-Fairchild

Lyn DeRamus Principal

TROMBONE

Felix Farrar

Emory Clements

Edward Eanes

Robert Givens Patti Gouvas Alison James Grace Kawamura Stubbart Shawn Pagliarini Anastasia Petrunina Patrick Ryan Serena Scibelli Angele Sherwood-Lawless Mayu Sommovigo

Maurice Bell Adam Bernstein

FLUTE James Zellers Principal Kelly Bryant Erica Pirtle Piccolo

OBOE

Mark McConnell Principal Edmon Nicholson Richard Brady Bass Trombone

TIMPANI John Lawless Principal

HARP Susan Brady Principal

Jessica Stinson

Diana Dunn Principal

Rafael Veytsblum

PERSONNEL MANAGER

Christina Gavin

Mark McConnell

Andrew Zabinski

VIOLA William Johnston Principal Elizabeth Derderian-Wood Assistant Principal Josiah Coe Julie Rosseter Karl Schab Meghan Yost

CLARINET David Odom Principal John Warren

BASSOON Ivy Ringel Principal Debby Grove John Grove

Musicians employed in this production are represented by the American Federation of Musicians of the United States and Canada.

33 31

COMMUNITY ENGAGEMENT INTERVIEW WITH JAYME ALILAW, SOPRANO Audience Development and Education Manager Jessica Kiger chatted with soprano Jayme Alilaw about her work with The Atlanta Opera in the community. THE ATLANTA OPERA: When did you first start singing with The Atlanta Opera? JAYME ALILAW: I moved to Atlanta from Southern California in 2010 and joined the chorus of Porgy and Bess. AO: You were in the military before becoming a full-time artist. How has active duty prepared you for a life in the arts? JA: The military afforded me the opportunity to discover my fortitude and practice commitment, endurance, and tenacity. In this career, I have found that the ability to hang on and keep going can be just as important as talent. Doing so requires a willingness to work to strengthen areas of weakness. I've learned to stretch what I believe is possible for myself. In doing so, I've seen what I can really do! AO: What has been your favorite collaboration with The Atlanta Opera? JA: I have had the pleasure of working with The Atlanta Opera in many capacities. In the opera chorus, the experiences that stand out to me are the energy and fun of Porgy and Bess and the palpable electricity of being a part of the mad scene in Lucia di Lammermoor. Those are probably also significant for me because my daughter was a part of those 34

photo: Marsha N. Wilson Photography

shows as well. In addition, I've had so much fun collaborating with the opera to create programming and engage with our community. I've had such rewarding experiences including Blues, Opera, Art; Carols & Cocktails with Lonnie Holley, Marshall Ruffin, and O.J. Harper at Atlanta Contemporary; a collaborative performance with multi-disciplinary artist Masud Olufani for Art Over Dinner at The Art Farm at Serenbe; The High Museum with Toperoke, a collaboration for the Los Trompos exhibit; presenting La Femme Noire at The Center for Civil

and Human Rights and The Bakery; and joining with the Atlanta Beltline to present Our Walk to Healing.

me to co-found ImprOper, an operatic improv troupe that performs completely improvised operas.

Choosing a favorite is not easy! I'll choose two: The first is 24-Hour Opera Project. It is inherently creative, fast paced, challenging, and exhilarating. It always means an opportunity to work with new, talented colleagues, to be part of the creation process, to interact with audiences who love opera, and to get to experience opera in a new way, though the eyes of people for whom the project is their first exposure to opera. My other favorite is the collaboration between The Atlanta Opera and Dad's Garage Theater to participate in Dad's Garage and Friends at The Fox Theater in 2015, which has ultimately lead to me becoming an improviser and General Company member at Dad's Garage. It also helped

AO: You recently collaborated with The Atlanta Opera, the Atlanta BeltLine, Dr. Karsheik Sims-Alvarado, and Minka Wiltz on Our Walk to Healing, which drew a sizeable procession down the BeltLine. What did this event mean to you? JA: I consider myself to be both a performer and an educator and, as I pursued my degree in music, I established a personal mission statement as a teaching artist. I work to expand opera and classical audiences, I desire to acknowledge and celebrate the presence and contributions of African Americans, especially to classical music and opera, and I seek to explore the power of Jayme with members of the children's chorus from The Atlanta Opera production of Porgy and Bess in 2010, which included her daughter, Malaika (second from right). photo: Jeff Roffman

Our Walk to Healing on the Atlanta BeltLine. photo:Photography John Becker photo: Marsha N. Wilson

music in healing and restoration for the individual and the collective. Our Walk to Healing provided an opportunity to take the classically trained voice into a nontraditional space on the BeltLine, and engage with the audience and the history of activism and human rights in Atlanta. Our Walk to Healing was my personal mission in action! AO: You’re teaming up with Brittney Boykin for “Tapestry,” a workshop on African-American spirituals. What will students be doing throughout the course of the workshop? JA: Students will have the opportunity to listen to a performance and learn about the history of spirituals and how they have been used. Students will also analyze song structure ad explore 36

different types of spirituals. Finally, students will have the opportunity to write and share their own modern-day spirituals. AO: What do you hope they will gain from learning about this vital piece of American history? JA: We hope that students will gain an appreciation for this timeless music which was born from people who created a way to express their faith, cleverness, and their range of humanity even in a time and environment when the conditions were inhumane. We want the students to connect with the power of music to tell stories and provide language for deeper expression and communication.

AO: Tell us about your favorite spiritual. JA: Choosing favorites is not my strong suit! “Lord How Come Me Here” and “Watch and Pray” provide such potent and powerful glimpses into the visceral pain of the experience of slavery. The storytellers in both evoke the realness of the pain of being forcefully separated from family. And on top of that, the music is hauntingly gorgeous. AO: Any advice for young singers? JA: Gain clarity on why you sing and what you seek from a career as a performer. Many will tell you that things

rarely unfold in the neat and linear way we plan or the way we saw it play out for someone else. So, when things aren't going as expected, or even when they are, being clear on what you are doing and why will ground you and keep you anchored to a higher goal. Be flexible and open to the infinite ways this career can unfold for you. Nurture yourself as a complete person – explore interests in addition to music and singing. These will provide you with nuance and a point of view. It will keep you interested and make you interesting to listen to. Surround yourself with people who support and challenge you so that you will continue to grow. Enjoy yourself!

Jayme performing in the 2015 24-Hour Opera Project where teams collaborate to compose, direct, and stage an opera in one day. photo: Jeff Roffman

ANNUAL GIVING We are grateful for the following donorsâ&#x20AC;&#x2122; generous support. This list reflects gifts and pledges to unrestricted operating expenses, special projects, and/or endowment made between May 1, 2017, through Dec. 31, 2018. DIRECTOR'S CIRCLE $1,000,000+ John & Rosemary Brown Ann & Frank Critz $500,000+ Peggy Weber McDowell & Jack McDowell $200,000+ Anonymous Mr. Howard W. Hunter - Gramma Fisher Foundation *Mr. & Mrs. Carl W. Knobloch, Jr. Jerry & Dulcy Rosenberg Harold Brody & Donald Smith $100,000+ Mr. & Mrs. Ronald R. Antinori $50,000+ Nancy & *Jim Bland Mr. David Boatwright The Laura & Montague Boyd Foundation Martha Thompson Dinos John L. Hammaker Mary Ruth McDonald Mary & E.P. Rogers Foundation, Inc. Judith & Mark Taylor Triska Drake & G. Kimbrough Taylor Rhys T. & Carolyn Wilson Ms. Bunny Winter & Mr. Michael Doyle The Mary & Charlie Yates Family Foundation $25,000+ Cathy & Mark Adams Mr. & Mrs. John L. Connolly Dr. & Mrs. Alexander Gross Mr. & Mrs. Michael L. Keough Mr. James B. Miller, Jr. Victoria & Howard Palefsky Mr. William E. Pennington Mr. William F. Snyder Brian & Marie Ward 38

PATRON'S CIRCLE $15,000+ Julia & Jim Balloun Dr. & Mrs. Asad Bashey Mr. & Mrs. C. Duncan Beard Mr. Robert P. Dean & Mr. Robert Epstein William & Debbie Hyde Candy & Greg Johnson Mr. Kevin Kelly Mr. Alfred D. Kennedy & Dr. Bill Kenny Donald & Marilyn Keough Foundation Sandra & Peter Morelli Mr. & Mrs. Michael E. Paulhus Drs. Aileen & Richard Robinson Christine & Mark St.Clare GOLD $10,000+ Anonymous Elizabeth & Jeremy Adler Mrs. Phillip E. Alvelda Mr. & *Mrs. Shepard B. Ansley Bryan & Johanna Barnes Dr. Florence C. Barnett Mr. & Mrs. Dante Bellizzi Mr. & Mrs. Andy Berg Ms. Janine Brown & Mr. Alex J. Simmons, Jr. Mr. Mario Concha *Heike & Dieter Elsner Ms. Rebecca Y. Frazer & Mr. Jon Buttrey Carl & Sally Gable Mr. & Mrs. Michael A. Klump Ms. Carla Knobloch Dr. & Mrs. James Lowman Mr. Thomas & Mrs. Eleanor Ratchford, Jr. Mr. Charles Sharbaugh Mr. & Mrs. Timothy E. Sheehan John & Yee-Wan Stevens Mr. & Mrs. William E. Tucker Mrs. Wadleigh C. Winship Bob & Cappa Woodward Charitable Fund Mr. Tomer Zvulun & Mrs. Susanna Eiland

SILVER $5,000+ Dr. R. Dwain Blackston Dr. Bruce Cassidy & Dr. Eda Hochgelerent Dr. John W. Cooledge Jean & Jerry Cooper Ms. Suzanne Mott Dansby Mr. & Mrs. Robert G. Edge Dr. Morgan Eiland & Dr. Susan Eiland Elise R. Donohue Charitable Trust Mrs. Gail G. Johnson Mr. & Mrs. Lance Fortnow Mr. Ethan Garonzik Mrs. John W. Grant III Judge Adele P. Grubbs Mr. L. D. Holland Mr. & Mrs. Harry C. Howard James M. Kane & Andrea Braslavsky Kane Belinda & Gino Massafra Mr. Conrad Mora Mrs. Polly N. Pater Mr. & Mrs. Robert Ratonyi John & Barbara Ross Milton J. Sams Mr. & Mrs. J. Barry Schrenk Baker & Debby Smith Johannah Smith Mr. & Mrs. George B. Taylor, Jr. Dr. & Mrs. Nicholas Valerio III Rae & George Weimer Larry & Beverly Willson BRONZE $2,500+ Mrs. Elizabeth Tufts Bennett Mrs. Enrique E. Bledel Amy & James Davis Mr. Richard H. Delay & Dr. Francine D. Dykes Mr. Robert S. Devins Col. & Mrs. Edgar W. Duskin Rita Evans Dr. & Mrs. Donald J. Filip Kevin Greiner & Robyn Roberts Mr. & Mrs. Edward J. Hardin Mr. Jake Heggie Mr. & Mrs. Thomas D. Hills Lisa Kennedy

Linda L. Lively & James E. Hugh III Dr. Jill Mabley Ms. Priscilla M. Moran Mimi & Dan Maslia Mr. & Mrs. Richard P. Nicholas III Dr. & Mrs. Lawrence S. Phillips Morton & Angela Sherzer Mr. & Mrs. Nicholas Shreiber Mr. Tarek Takieddini FRIEND'S CIRCLE INVESTOR $1,000+ Anonymous Michael Arens & Jeff Daniel Mr. & Mrs. Robert O. Banker Christine M. Beard Mr. & Mrs. Paul Blackney Martha S. Brewer Chris Casey & Douglas Weiss Mr. & Mrs. Edward S. Croft III Mrs. Lavona Currie Maureen & Michael Dailey Dr. & Mrs. F. Thomas Daly Jr. Ms. Ariana B. Fass Dr. Mary M. Finn Mr. & Mrs. Michael Flaherty John Gam, Ph.D. R. Derril Gay, Ph.D. Dr. Thomas N. Guffin, Jr. Ms. Louise S. Gunn Kay & Neil Hightower Donna & Richard Hiller James Honkisz Mr. & Mrs. David C. Huffman Lou & Tom Jewell Mrs. Cecile M. Jones Mr. & Mrs. Gert Kampfer Mr. & Mrs. Gedas Kutka Ms. Brenda O. Lambert Mrs. Treville Lawrence Ms. Salli LeVan Vaneesa & Allan Little Dr. Carlos E. Lopez Dr. & Mrs. Steven Marlowe Mrs. Frances R. Mathis Mr. & Mrs. Allen P. McDaniel 39

Shelley McGehee James & Kathleen Meucci Mrs. Audrey B. Morgan Jane & Jim Murray John & Agnes Nelson Mr. & Mrs. John L. O'Neal The Opera Guild for Atlanta Clara M. & John S. O'Shea Dr. & Mrs. Donald A. Paul Mr. Darryl C. Payne & Ms. Lisa C. Richardson Lucy S. Perry Mr. Lawrence F. Pinson Mrs. Betsy Pittman Dr. Michael F. Pratt & Nancy Peterman The Reverend Neal P. Ponder, Jr. Mr. James D. Powell Tandi Reddick R.J. & D.G. Riffey, Jr. Mr. & Mrs. George P. Rodrigue Katherine Scott Mr. & Mrs. Milton W. Shlapak Mr. & Mrs. S. Albert Sherrod Mr. Fred B. Smith Mr. Paul Snyder Lynne & Steven Steindel Mr. Peter James Stelling Dr. Jane T. St. Clair & Mr. James E. Sustman Mr. Stephen H. Thompson & Mr. Drew Mote Beth O. Wade Mr. & Mrs. Leroy Walden Alan & Marcia Watt Dr. & Mrs. James O. Wells, Jr. Jone Williams Kiki Wilson Ms. Jerrie Woodward Dr. & Mrs. R. Craig Woodward Mr. Allen W. Yee SUPPORTER $500+ Anonymous Judith Alembik Dr. Raymond Allen Mr. Larry M. Anderson Daniel & Bethann Berger Mr. & Mrs. Matthew H. Bernstein Mrs. Marilee F. Betor 40

Cynthia & Albert Blackwelder Dr. & Mrs. Jerry Blumenthal Stanford M. Brown Cynthia Carns Mr. & Mrs. Anthony Catalfano Mr. & Mrs. Raymond H. Chenault Mrs. Carol J. Clark Don & Linda Coatsworth Mr. Lawrence M. Cohen Mr. & Mrs. Newt Collinson Mrs. Claudia Colvin Ms Lillianette Cook & Ms. Carol Uhl Dr. & Mrs. Harold L. Chapman, Jr. Mr. Thomas J. Collins & Jeff Holmes Mr. & Mrs. Michael J. Curry Mr. James M. Datka & Ms. Nora P. DePalma Dr. & Mrs. Albert De Chicchis Jim & Carol Dew Mr. Mark du Mas Ms. Diane Durgin Dr. & Mrs. Richard D. Franco Mr. Micah Fortson Marie Graham Mr. Ronald L. Harris & Mrs. Jacqueline Pownall Dean & Vivian Haulton Mr. George Hickman, III Mr. & Mrs. Douglas Hantula Mr. & Mrs. Howell Hollis III Richard & Linda Hubert Mary & Wayne James Robert L. Jeffrey Ms. Eleanor Kinsey Joan & Arnold Kurth Brenda Lawrence Chris & Jill Le Sophie Li Alex Livingston Richard Lodise & Valerie Jagiella Dr. Robert & Judge Stephanie Manis Samantha & William Markle Mr. Stedman C. Mays, Jr. & Mr. Charles Bjorklund Mr. M. Sean Molley Mortimer Family Barbara & Mark Murovitz Terri & Stephen Nagler Denis Ng Ms. Nancy W. Noe

Mr. Vernon Norris The Honorable & Mrs. George A. Novak *Mr. & Mrs. William A. Parker George Paulik Ms. Sandra Perkowitz Mr. Daniel V. Pompilio III & Mrs. Lark Ingram Ward Reed Lynn & Kent Regenstein Mr. John B. Rofrano Sandra & Ronald Rousseau Dr. & Mrs. William M. Scaljon Gail & Barry Spurlock Judge Mike & Mrs. Jane Stoddard Steve & Christine Strong Mr. & Mrs. James Summers Dr. & Mrs. Michael Szikman Dr. & Mrs. Kenneth G. Taylor Ms. Virginia S. Taylor Mr. & Mrs. Charles D. Tuller Mrs. Jody Collins Weatherly Mr. James Weis Virginia S. Williams Sherrilyn & Donn Wright CONTRIBUTOR $250+ Anonymous Paula Stephan Amis Charles Arp Mrs. Elizabeth Bair Mr. David Baker Colonel & Mrs. John V. Barson, D.O. Mr. & Mrs. Harris P. Baskin Mr. & Mrs. George Boulineau Ms. Susan H. Branch Mr. Paul Brenner Ms. Melodye G. Brown Mark & Peg Bumgardner Mr. & Mrs. George Cemore Dr. & Mrs. Arthur E. Chapman Mr. David F. Chastain III Mr. N. Jerold Cohen & Ms. Andrea Strickland Mr. & Mrs. Charles Cohn Carol Comstock & Jim Davis Mr. T. Dennis Connally Mr. & Mrs. John H. Crawford Mr. David D'Ambrosio

Mr. Mark Edmundson Mrs. Arnoldo Fiedotin Mr. Glen Galbaugh Col. & Mrs. Donald M. Gilner Ms. Sharon E. Hill Mrs. Margaret Talmadge Howell Ms. Jan W. Hughen Mr. Scott Ingram Stuart Jackson & Robyn Jackson Ms. Brenda D. Jennings Mr. Johnny C. Johnson Cliff Jolliff & Elaine Gerke Robert & Barbara Jackson Mr. & Mrs. Edward Katze Mr. & Mrs. Fred R. Keith Mr. & Mrs. Windell R. Keith Mr. & Mrs. Larry C. Keister John & JoAnn Keller Mrs. Peter G. Kessenich Juliette & Andrew Lebor Ms. Leslie Leland Mrs. Jeanine Lewis Ms. Joanne Lincoln Livvy Kazer Lipson Mr. Thomas L. McCook Mr. & Mrs. Henry C. Parrish III Mr. & Mrs. John Payan Mr. W. Ray Persons Ms. Sophia B. Peterman Mr. Stephen L. Rann Weslyn A. Samson Ms. Regina Schuber Mr. Robert Sidewater Dr. & Mrs. Stanley J. Smits Mr. & Mrs. Robert Stansfield Mr. & Mrs. John Stephenson Dr. Susan Y. Stevens Mr. & Mrs. Frederick A. Stuart Sarah Sutherland Carolyn & Robert Swain Mr. Richard Thio Dr. & Mrs. James H. Venable Mrs. Linda P. Vinal Ms. Parsla A. Welch Ms. Ann D. Winters *Mr. & Mrs. John Zellner *deceased

through the lobby. We have learned much from Barbara's steely determination to see the Opera succeed. Here are just three lasting lessons: 1. If you are going to succeed you must think first. Don’t make decisions based on emotion; base the decision on a clear need, a plan of action, then engage the right people, follow through, evaluate the outcome, and adjust the plan when necessary.

BARBARA D. STEWART BY RAE WEIMER

According to all who knew her, Barbara Stewart had passion for life, and gave wholeheartedly to those things dear to her heart. She loved to travel, and crossed the globe to destinations including southeast Asia, China, Tibet and India, as well as Canada and New Zealand, which she toured by motorcycle. In her journeys throughout the U.S. and Europe, however, opera was the major focus. She loved The Atlanta Opera and served on the company’s board as Treasurer, Vice President, and President at various times. Thanks to her professional background in economics, strategic planning, and financial analysis, she understood the imperfections of the company, but also its strengths and its potential. She invested both her time and her gifts to ensure the Opera’s future. The Atlanta Opera lost a tremendous friend when Barbara passed away in 2010, and the company misses the petite, quiet woman with the warm smile entering the theatre before a performance. We miss seeing the little twinkle in her eye as she cast a sideways glance as she walked 42

2. Invest your time in what educates, entertains, and inspires. Opera uses the human voice and glorious orchestration to tell stories. Opera can reflect humanity at its best and at its worst. Opera can open our minds to different perspectives and ideas. Opera can make us laugh, make us feel compassion and empathy, make us cry, and make our spines tingle. 3. Give a gift that continues long after you have left this earth, perhaps in the form of a planned gift in your will. Barbara did just this. Her gift allowed the Opera to survive the recession, helped grow the endowment, provided immediate financial resources for the operations of the company, and set the stage for the company’s future. This became her legacy. We would like to thank Barbara for the woman she was, the advice and counsel she provided, and the gifts she gave to The Atlanta Opera. In honor of Barbara’s many contributions to The Atlanta Opera, our planned giving division, the Encore Society, has been renamed the Barbara D. Stewart Legacy Society. How would you like to be remembered?

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. Stewartâ&#x20AC;&#x2122;s many contributions to The Atlanta Opera, our planned giving division, the Encore Society, has been renamed the Barbara D. Stewart Legacy Society. Anonymous Cathy Callaway Adams & Mark Adams Mr. & *Mrs. Shepard B. Ansley Mrs. Wallace F. Beard The Bickers Charitable Trust Mr. Montague L. Boyd, IV Ms. Mary D. Bray 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 Peg Simms Gary Mr. & Mrs. Sidney W. Guberman Ms. Judy Hanenkrat Mr. Hilson Hudson *Mrs. Joseph B. Hutchison Mr. J. Carter Joseph Mr. Alfred D. Kennedy Mr. & Mrs. Michael L. Keough Ms. Corina M. LaFrossia Dr. Jill Mabley 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. 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 *Mrs. Eleanor H. Strain Dr. Jane T. St. Clair & Mr. James E. Sustman Mr. & Mrs. Thomas H. 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

TRIBUTES & MEMORIALS IN HONOR OF CATHY ADAMS Turknett Leadership Group Mr. Allen W. Yee Mr. Tomer Zvulun & Mrs. Susanna Eiland IN MEMORY OF MRS. BOYCE L. ANSLEY Milton J. Sams Mr. & Mrs. J. Barry Schrenk Mr. Tomer Zvulun & Mrs. Susanna Eiland

IN HONOR OF MR. & MRS. ARTHUR FAGEN 73-'74 Chi O's IN HONOR OF MR. LANCE FORTNOW Annie Fortnow

IN MEMORY OF ELEONORA MARGET BARSON Colonel & Mrs. John V. Barson, D.O.

IN MEMORY OF ULF-DEITER FILIPP Ms. Kaaren Nowicki

IN HONOR OF DR. HAROLD BRODY Mr. Tomer Zvulun & Mrs. Susanna Eiland

IN HONOR OF JOANNE & ALEX GROSS Mr. Allen W. Yee

IN HONOR OF ROSEMARY & JOHN BROWN Mr. Tomer Zvulun & Mrs. Susanna Eiland

IN MEMORY OF HARRIETT HARRIS Gary Hanson Ms. Freya Harris Dr. & Mrs. Stuart H. Silverman

IN MEMORY OF DR. JOSEPH & MRS. RUTH P. BARNETT Dr. Florence C. Barnett IN MEMORY OF DR. JAMES W. BLAND, JR. Mr. & Mrs. J. Barry Schrenk IN MEMORY OF MR. ENRIQUE BLEDEL Mrs. Enrique E. Bledel IN HONOR OF ANN & FRANK CRITZ Mr. Allen W. Yee IN HONOR OF THE ATLANTA OPERA CHOIR & ORCHESTRA John Gam, Ph.D. IN HONOR OF MR. ROBERT P. DEAN Mr. Allen W. Yee IN MEMORY OF MRS. THELMA DEAN Marianne Craft Rae & George Weimer

IN HONOR OF MR. ROBERT G. EDGE Mrs. Eleanor Crosby Leslie Gordon & Blake Leland

IN MEMORY OF MR. & MRS. KENNETH BRYAN HORTON Dr. Morgan Eiland & Dr. Susan Eiland IN HONOR OF MS. SYDNEY HEMBREE Anonymous IN HONOR OF MARGARET TALMADGE HOWELL Dr. John W. Cooledge IN HONOR OF MR. WALTER HUFF Milton J. Sams IN HONOR OF MR. ALFRED D. KENNEDY Kay & Neil Hightower Mr. Allen W. Yee IN HONOR OF THE KEOUGH FAMILY Mr. Allen W. Yee IN MEMORY OF MR. CARL W. KNOBLOCH, JR. Mr. Tomer Zvulun & Mrs. Susanna Eiland

IN HONOR OF MR. & MRS. ALLAN LITTLE III Kristin Whatley

IN MEMORY OF MRS. ELEANOR H. STRAIN Mr. Vernon Norris

IN HONOR OF MR. WILLIAM A. MARKLE Anonymous

IN HONOR OF MR. MARK K. TAYLOR Mr. S. Jarvin Levison

IN HONOR OF MRS. MARY RUTH MCDONALD Anonymous

IN MEMORY OF MR. THOMAS H. TEEPEN Mr. & Mrs. David S. Baker Dr. & Mrs. Sheldon B. Cohen

IN HONOR OF PEGGY AD JACK MCDOWELL Mrs. Enrique E. Bledel Mr. Tomer Zvulun & Mrs. Susanna Eiland

IN HONOR OF BILL TUCKER Mr. Tomer Zvulun & Mrs. Susanna Eiland

IN MEMORY OF JANET MIDDLEBROOKS Mr. & Mrs. John Riley

IN HONOR OF MRS. REBECCA WARNER Mr. Allen W. Yee

IN MEMORY OF KARINA MILLER Peggy Weber McDowell & Jack McDowell

IN HONOR OF CINDY WIDNER WALL Mr. Allen W. Yee

IN MEMORY OF PHYLLIS MORA Mr. Conrad Mora

IN MEMORY OF MADISON WEEKS Judge Adele P. Grubbs

IN HONOR OF MRS. POLLY N. PATER Anonymous Mr. & Mrs. Brian Beem Mr. Johnny C. Johnson

IN HONOR OF MRS. RAE WEIMER Mr. & Mrs. Montague L. Boyd IV Samantha & William Markle

IN MEMORY OF JANE WILLIAM PINKSTON Kiki Wilson

IN MEMORY OF MS. GOLDIE T. WEINSTEIN Ms. Edith Kelman Lori Smith

IN HONOR OF MR. LAWRENCE F. PINSON Anonymous

IN MEMORY OF MARYA GABRIELLE WILLIAMS Jone Williams

IN MEMORY OF DR. GEORGE "PETE" RODRIGUE Mr. & Mrs. Thomas D. Hills Frances Mathis Dororthy McDaniel Catherine Rodrigue

IN MEMORY OF MRS. LORAINE P. WILLIAMS Mr. Tomer Zvulun & Mrs. Susanna Eiland

IN MEMORY OF MR. ROBERT SNEAD Dr. Florence C. Barnett

IN HONOR OF MR. CHARLES R. YATES, JR. Mr. & Mrs. John Stephenson Sarah Sutherland IN MEMORY OF MRS. DOROTHY M. YATES Mr. & Mrs. J. Barry Schrenk

CORPORATE PARTNERS $100,000+ The Coca-Cola Company Fidelity Southern Corporation The Home Depot Foundation $50,000+ Federal Home Loan Bank of Atlanta Gas South $10,000+ Batdorf & Bronson Coffee Roasters Capital Group Companies The Hilbert Law Firm, LLC Republic National Distributing Co., Inc. PNC Wealth Management PricewaterhouseCoopers SAP Success Factors TriMont Real Estate Advisors, Inc. Turner

Lyric Opera of Kansas City's 2017 production of Eugene Onegin. photos: Cory Weaver

$5,000+ Ad Graphics Affordable Equity Partners, Inc. Atlantic Trust Georgia Dermatology Center Modern Luxury St. Regis Atlanta UBS Financial Services Inc. $2,500+ Anonymous BNY Mellon Wealth Management Wallace Graphics $1,000+ Empire Distributors, Inc. Orange Cone Productions, LLC

TOGETHER, LET’S MAKE A DIFFERENCE IN THE LIVES OF OUR NATION’S HEROES The Home Depot Foundation is proud to partner with the Atlanta Opera to honor our U.S. military, veterans and their families.

homedepot.com/teamdepot

FOUNDATIONS & GOVERNMENT SUPPORT FOUNDATIONS $1,000,000+ Molly Blank Fund of the Arthur M. Blank Family Foundation

GOVERNMENT FUNDING $20,000+ Atlanta Office of Cultural Affairs National Endowment for the Arts

$850,000+ Robert W. Woodruff Foundation

10,000+ Georgia Council for the Arts

$225,000+ Livingston Foundation $50,000+ Atlanta Music Festival Association The Charles Loridans Foundation, Inc. The Sara Giles Moore Foundation The Zeist Foundation $20,000+ The Roy & Janet Dorsey Foundation J. Marshall & Lucile G. Powell Charitable Trust The Jim Cox, Jr. Foundation Wells Fargo Foundation Opera America, Inc. $10,000+ George M. Brown Trust Fund Ida Alice Ryan Charitable Trust JBS Foundation Norfolk Southern Corporation Foundation Ray M. & Mary Elizabeth Lee Foundation, Inc. David, Helen, & Marian Woodward Fund $5,000+ Camp-Younts Foundation Frances Wood Wilson Foundation, Inc. Fraser-Parker Foundation Nordson Corporate Foundation $1,000+ Bright Wings Foundation Enterprise Holdings Foundation Hills Family Foundation Kiwanis Foundation of Atlanta, Inc. Mary Brown Fund of Atlanta, Georgia Piedmont National Family Foundation Publix Super Markets Charities

BOARD OF DIRECTORS OFFICERS CHAIR Ms. Cathy Callaway Adams IMMEDIATE PAST CHAIR Mr. William E. Tucker VICE CHAIR Mr. John L. Hammaker VICE CHAIR Mr. Rhys T. Wilson VICE CHAIR Mr. Charles “Charlie” R. Yates, Jr. TREASURER Mr. Robert Dean SECRETARY Mr. Michael E. Paulhus

MEMBERS Ms. Elizabeth Adler Mr. Bryan H. Barnes Mr. Dante Bellizzi Mr. Montague L. Boyd, IV Dr. Harold J. Brody Mrs. Rosemary Kopel Brown Mr. Frank H. Butterfield Ms. Mary Calhoun Mr. Mario Concha Dr. Frank A. Critz Ms. Martha Thompson Dinos Mr. Robert G. Edge Mr. Dieter Elsner Dr. Donald J. Filip Mr. Kevin Greiner Mrs. Joanne Chesler Gross

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

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

Mrs. Peggy Weber McDowell *Mr. Harmon "Sandy" B. Miller, III Mr. Bruce A. Roth Mr. J. Barry Schrenk Mr. Mark K. Taylor Mr. Thomas R. Williams Mr. Robert G. Woodward *deceased

STAFF EXECUTIVE Tomer Zvulun CARL W. KNOBLOCH, JR. GENERAL & ARTISTIC DIRECTOR Micah Fortson MANAGING DIRECTOR

ARTISTIC Arthur Fagen CARL & SALLY GABLE MUSIC DIRECTOR Lauren Bailey DIRECTOR OF ARTISTIC ADMINISTRATION Rolando Salazar ASSOCIATE CONDUCTOR / CHORUS MASTER Wade Thomas ARTISTIC SERVICES & STUDIO MANAGER Mark McConnell ORCHESTRA PERSONNEL MANAGER Tyler Benware ORCHESTRA LIBRARIAN Jessica Kiger AUDIENCE DEVELOPMENT & EDUCATION MANAGER Alexandria Sweatt EDUCATION COORDINATOR

PRODUCTION Kevin G. Mynatt DIRECTOR OF PRODUCTION Alix Strasnick TECHNICAL DIRECTOR Jody A. Cohen PRODUCTION COORDINATOR Brian August PRODUCTION STAGE MANAGER RenÃ©e Varnas RESIDENT ASSISTANT STAGE MANAGER Justin Michel LIGHTING SUPERVISOR Adam Gegan PROPERTIES COORDINATOR Joanna Schmink COSTUME DIRECTOR Mary Torres WORK ROOM MANAGER Laura Elizabeth Payne STITCHER Abigail Dupree Polston STITCHER Emory C. Tuttle STITCHER Daniella Ampudia FITTING ASSISTANT/STITCHER Amy Fortenberry STITCHER

FINANCE & ADMINISTRATION Kathy J. White DIRECTOR OF FINANCE Inga V. Murro CONTROLLER Kenneth R. Timmons HUMAN RESOURCES & OFFICE MANAGER Chamberlynn Shelton EXECUTIVE ASSISTANT Ruth Strickland BOOKKEEPER 50

DEVELOPMENT Lisa Kennedy CHIEF DEVELOPMENT OFFICER Rae Weimer DIRECTOR OF DEVELOPMENT Rachel Jorgensen DIRECTOR OF DEVELOPMENT OPERATIONS Amy Davis MAJOR GIFTS OFFICER James Tyson ANNUAL FUND MANAGER Katie Lawrence DEVELOPMENT SERVICES & DATABASE MANAGER MARKETING & COMMUNICATIONS Holly Hanchey DIRECTOR OF MARKETING Renee Smiley SENIOR MANAGER, TICKETING SERVICES Matt Burkhalter CREATIVE SERVICES MANAGER Rebecca Danis MARKETING MANAGER The Atlanta Opera | 1575 Northside Drive N.W., Suite 350 | Atlanta, GA 30318 404-881-8885 | atlantaopera.org

A look from backstage at The Atlanta Opera's recent production of Carmen. photo: Jeff Roffman

HOUSE POLICIES CONCESSIONS

Concession stands are located in the center of the lobbies on all three levels. Food and beverage items are prohibited inside the theater. Thank you for your cooperation.

RESTROOMS

Restrooms are located on house right and house left of all three lobbies. Family restrooms are also located on house right of all three lobbies. Mobility-impaired patrons may use any of our restrooms.

PARKING

There are 1,000 parking spaces available at $10 per car. Valet service is available for $15. Please be sure to allow enough time for travel to the theater and parking as there is no late seating.

Persons requiring access assistance are asked to contact the box office at 770-916-2850 for advance arrangements. Audio-clarification devices are available to our hearing-impaired guests at no charge. This is on a first-come, first-served basis, or you may call the House Manager ahead of time to reserve one at 770-916-2828. A limited number of booster seats are also available. All items require a form of identification to be held until the item is returned.

COBB ENERGY CENTRE RULES & REQUESTS

ATM

• All patrons, regardless of age, must have a ticket in order to be admitted to the performance. Please be aware that not all performances are suitable for children.

COAT CHECK

• Infants will not be admitted to adult programs. Parents will be asked to remove children who create a disturbance.

There is one Bank of North Georgia ATM located in the grand lobby.

Coat check is available at the concierge desk.

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

ELEVATORS

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

LOST & FOUND

Lost and Found items are turned into the concierge desk on the day of a performance. To inquire about a lost item, please call the House Manager at 770-916-2828.

SMOKING

Smoking is prohibited inside the building. 52

SPECIAL ASSISTANCE

• There is no late seating allowed. Closedcircuit monitors are provided in the lobby as a courtesy to latecomers. • Please turn off all cellphones prior to the beginning of each performance. • Please limit conversation during the performance. • Cameras (including use of cellphone camera) and audio and video recording devices are strictly prohibited at all times. • Leaving while the show is in progress is discourteous and we ask that you refrain from doing so. • Please unwrap all candies and cough drops before the performance.

YOUR NEIGHBORHOOD ITALIAN RESTAURANT ANTIPASTI • ZUPPA E INSALATA • PRIMI PIATTO • VITELLO E CARNI • POLLO • PESCE • DOLCE

DINNER + LIVE ENTERTAINMENT SEVEN NIGHTS A WEEK OPEN FOR LUNCH TUESDAY - FRIDAY

3000 Old Alabama Road • Johns Creek, Ga. 30022 • (770) 664-8055 altobeli_s@hotmail.com • altobelis.com

THE ENCORE ATLANTA

PACES & VINE

DINING GUIDE

ARE YOU LOOKING FOR A GREAT NIGHT OUT? Try one of these great Cobb County restaurants before or after the show.

AMERICAN PACES & VINE — Located in The Vinings Jubilee featuring eclectic American comfort food along with lighter fare. Menu highlights include the lobster Cobb salad, Guinnessbraised beef brisket, charred salmon, and crispy pork shank. P&V is also a wine-lover’s haven with an extensive, carefully-curated wine list, Wednesday Wine Tastings and Half-Off Wine Bottle Sundays. Lunch, dinner, Saturday and Sunday brunch. Vinings Jubilee 4300 Paces Ferry Road 404-205-8255 pacesandvine.com

SOHO — American-style bistro offers fish, seafood, beef, game and poultry, with gluten-free lunch and dinner options, It has a specially priced Cobb Energy Centre theater menu that will get you in and out with plenty of time to make the performance — just show your tickets to your server. Weekly wine-and-tapas flights debut each Wednesday night. Lunch, dinner plus the all-American Sunday dinner: a lobster boil. Order ahead to ensure availability, Vinings Jubilee 4300 Paces Ferry Road 770-801-0089 sohoatlanta.com

emoryhealthcare.org/voicecenter 288

THE ENCORE ATLANTA [COBB COUNTY] DINING GUIDE CREOLE/CAJUN

MEXICAN

COPELAND’S OF NEW ORLEANS — Bayou fare plus steak, chicken, pasta and sandwiches. Fresh desserts and pastries from the Cheesecake Bakery. Live jazz Sunday brunch buffet. A favorite gathering spot for New Orleans Saints fans. Libations include the Pontchartrain Beach martini. Lunch, brunch, dinner. Takeout available. 3101 Cobb Parkway 770-612-3311 copelandsatlanta.com

CINCO – Authentic, Latin-infused Mexican cuisine served in a setting designed to put a contemporary twist on Mexican culture. Menu offers an upscale variety of items that are carefully prepared from scratch, using the finest ingredients. Fire-roasted salsa is made fresh several times a day and the signature guacamole is always made to order. Wide selection of tequilas from moderately priced to, well — check out the $100 margarita, “perfect for any occasion.” 2851 Akers Mill Road SE 770-952-5550 cincorestaurants.com

ITALIAN CRISPINA — Neapolitan-style ristorante and pizzeria in Vinings. Pizza dough is naturally leavened, never frozen, and pastas are made fresh daily. 3300 Cobb Parkway SE, Suite 208 678-426-7149 crispinaatlanta.com MAGGIANO’S LITTLE ITALY — Specializing in Italian cuisine — and lots of it — in a classy-casual setting. Pick a booth for an intimate date night, or go big; this place is good for kids and groups, too. Takeout available at all locations. Buckhead 3368 Peachtree Road 404-816-9650 Cumberland Mall 1601 Cumberland Mall 770-799-1580 Perimeter Mall 4400 Ashford-Dunwoody Road 770-804-3133 maggianos.com

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

COMFORT AND

DELIGHT 4300 PACES FERRY ROAD S.E . 30339 - VININGS

(404)205-8255

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

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

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DAVE KOZ 20TH ANNIVERSARY CHRISTMAS TOUR | Nov. 24, 8 p.m.

NIKOLAJ ZNAIDER, violin

GEORGE ENESCU (1881-1955) Rumanian Rhapsody No. 1 in A Major, Opus 11 (1901) DMITRI SHOSTAKOVICH (1906-1975) Symphony No. 1 in F minor, Opus 10 (1925) I. Allegretto; Allegro non troppo II. Allegro III. Lento IV. Allegro molto INTERMISSION PETER ILYICH TCHAIKOVSKY (1840-1893) Concerto for Violin and Orchestra in D Major, Opus 35 (1878) I. Allegro moderato II. Canzonetta. Andante III. Finale. Allegro vivacissimo Nikolaj Znaider, violin

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INA GARTEN THE SOUND OF MUSIC #RialtoATL

DEC 12 – 24, 2 018

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Spring 2018

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SANDY SPRINGS PERFORMING ARTS CENTER | SEPT-OCT-NOV 2018

20 MIN

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OFFICIAL PROGRAM OF 13MIN 35 MIN

NOV. 23-24

DAVE KOZ & FRIENDS NOV. 30

MATTHEW MURPHY

CRISTIAN MĂCELARU, Conductor

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Concerts of Thursday, May 31, and Saturday, June 2, at 8:00pm, and Sunday, June 3, 2018, at 3:00pm

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Find out what you need to know before the show. Read current and past Encore Atlanta programs.

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at M A OF AT RCUS JCC LANTA

at OG LE UNIV THORPE ER PERF SITY ’S CO OR CENT MING AR NANT ER TS

Recipient of the Regional Theatre Tony Award ®

The Flying dutchman Wagner

November 4-12, 2017 Cobb Energy Centre Recipient of the Regional Theatre Tony Award ®

JACLYN RAINEY, Horn

OCT 2017

AUG 30 – SEP 24, 2017 Shakespeare_ALL1708_1-48-mfb-8-8-17.indd 1

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Recipient of the Regional Theatre Tony Award®

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AN EVENING WITH TRAVIS TRITT OCT. 13

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THE FOX THEATRE

Recipient of the Regional Theatre Tony Award®

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Recipient of the Regional Theatre Tony Award®

2017/18

SEASON OPENING

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Robert Spano Music Director

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Robert Spano Music Director

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