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SALOME Richard Strauss

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“And the mystery of love is greater than the mystery of death.” That’s a line that has haunted me for the better part of two opera seasons. It sums up our greatest love stories—La bohème, La traviata—but it didn’t come from a love story. Rather, it came from one of the most shocking scenes (I dare say) in all of entertainment—the ending of Salome. Salome isn’t just a shocker, however. Like any good antihero story, there is something relatable about this teenage girl. She grasps at finding love from the only adult who seems capable of it. When things don’t work out, she sinks into darkness, and we can’t look away; after all, the potential for darkness lies within each of us. And a lot of people enjoy exploring that dark side—at least from the safety of a theatre seat. Programming an opera season is like a 3-D puzzle. We strive to bring important performers to our city, which means offering the right roles. We champion both classic and contemporary operas. We work to present art that tells us something about life. And we try to feature a range of experiences. Salome is a zinger because it’s thoughtprovoking; it offers lots of room for creativity and can be a phenomenal vehicle for a great artist—if you can get one. Salome is one of the hardest roles to cast. To take on this title character, the performer must possess the power and endurance of a Wagnerian soprano, and the stage presence of a nubile young girl. As it happened, I was at The Atlanta Opera offices looking at a list of dramatic sopranos when I recognized the name Jennifer Holloway. She and I had worked together as young artists in St. Louis. I remembered she lives in Atlanta and graduated from The University of Georgia, and was now singing Salome all over Europe. I thought, “she’d be perfect.” So I called her cell phone. She answered from the Kroger across the street. The Atlanta Opera has come a long way in recent years. The staff has worked very hard to be a company worthy of great artists. As you can imagine, it’s especially gratifying for us when a great artist can come home to sing. I hope you enjoy the show. Tell your friends about us and come back soon.

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


Carl & Emily Knobloch Gramma Fisher Foundation - Howard Hunter SPECIAL THANKS

Dr. & Mrs. Alexander Gross

Official Beverage of The Atlanta Opera

Mayor’s Office of Cultural Affairs

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

THE ATLANTA OPERA DIRECTOR’S CIRCLE Cathy & Mark Adams Mr. & Mrs. Ronald R. Antinori Nancy & *Jim Bland Laura & Montague Boyd Dr. Harold Brody & Mr. Donald Smith Ms. Janine Brown & Mr. Alex J. Simmons, Jr. John & Rosemary Brown Mr. & Mrs. John L. Connolly Ann & Frank Critz Martha Thompson Dinos Triska Drake & G. Kimbrough Taylor Dr. & Mrs. Alexander Gross John L. Hammaker Howard Hunter, Gramma Fisher Foundation | @theatlantaopera

Donald & Marilyn Keough Foundation Mr. & Mrs. Michael L. Keough *Mr. & Mrs. Carl W. Knobloch, Jr. James B. Miller, Jr. Mary Ruth McDonald Victoria & Howard Palefsky Mr. William Pennington Jerry & Dulcy Rosenberg Mr. William F. Snyder Judith & Mark Taylor Brian & Marie Ward Rhys T. & Carolyn Wilson The Mary & Charlie Yates Family Fund




MUSIC Richard Strauss LIBRETTO Hedwig Lachmann’s translation of Oscar Wilde’s drama, adapted by the composer FIRST PERFORMANCE Dec. 9, 1905, Königliches Opernhaus, Dresden CONDUCTOR Arthur Fagen, Carl & Sally Gable Music Director PRODUCTION DIRECTOR Tomer Zvulun, Carl W. Knobloch Jr. General & Artistic Director SCENIC & PROJECTION DESIGNER Erhard Rom COSTUME DESIGNER Mattie Ullrich LIGHTING DESIGNER Robert Wierzel WIG & MAKEUP DESIGNER Anne Ford-Coates ASSOCIATE PROJECTION DESIGNER Erin Teachman CHOREOGRAPHER Amir Levy SUPERTITLES Jonathan Dean CAST (IN ORDER OF VOCAL APPEARANCE) NARRABOTH Adam Diegel THE PAGE Elizabeth Sarian* FIRST SOLDIER Mitch Gindlesperger SECOND SOLDIER Isaac Kim* JOCHANAAN Nathan Berg SECOND NAZARENE/CAPPADOCIAN/SLAVE Philip Cokorinos SALOME Jennifer Holloway HERODIAS Jennifer Larmore HEROD ANTIPAS Frank van Aken FIRST JEW Julius Ahn SECOND JEW Brian Frutiger THIRD JEW Nathan Munson FOURTH JEW Justin Stolz** FIFTH JEW Alan Higgs** FIRST NAZARENE Jonathan Bryan* SUPERS Jerry Hunter, David Van Mersbergen, August Bair, Jonathan Mccullum, Will Kimball DANCERS Gwynn Wolford, Hailey Rose Walsh, Ellen Peterson, Mary-Evelyn Hunt, Bailey Jo Harbaugh, Jillian Mitchell DANCER CASTING CONSULTANT Sarah Hillmer MUSICAL PREPARATION Elena Kholodova, Álvaro Corral Matute* ASSISTANT DIRECTOR Ellen Jackson† PRODUCTION STAGE MANAGER Jenny Harber ASSISTANT STAGE MANAGERS Renée Varnas, Marisa Brink Performed in German with English supertitles Approximate running time: 1 hour and 50 minutes *member of The Atlanta Opera Studio †The Jerry & Dulcy Rosenberg Young Artist Stage Director, given in honor of Tomer Zvulun **alumnus of The Atlanta Opera Studio


6 | synopsis

The Atlanta Opera’s 2003 production of Salome at the Fox Theatre with Aimee Willis as Princess Salome & Allan Glassman as Herod Antipas.

The palace of Herod at Tiberias, Galilee (Judea), c. 30 A.D. At King Herod’s palace, the young captain Narraboth admires the beautiful princess Salome, who sits at the banquet table with her stepfather, Herod, and his court. A page warns Narraboth that something terrible might happen if he continues to stare at the princess, but Narraboth won’t listen. The voice of Jochanaan is heard from the cistern, where he is kept prisoner, proclaiming the coming of the Messiah, and two soldiers comment on the prophet’s kindness and on Herod’s fear of him. Suddenly Salome appears, disgusted with Herod’s advances toward her and bored by his guests. Jochanaan’s voice is heard again, cursing the sinful life of Salome’s mother, Herodias. Salome asks about the prophet. The soldiers refuse to allow her to speak with him, but Narraboth, unable to resist her, orders that Jochanaan be brought forth from the cistern. | @theatlantaopera

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8 | synopsis Although initially she is terrified by the sight of the holy man, Salome quickly becomes fascinated by his appearance, begging him to let her touch his hair, then his skin, and finally his lips. Jochanaan forcefully rejects her. Narraboth, who can’t bear Salome’s desire for another man, kills himself. Salome, not noticing him and beside herself with excitement, continues to beg for Jochanaan’s kiss. The prophet tells her to save herself by seeking Christ and retreats into the cistern, cursing Salome. Herod appears from the palace, looking for the princess and commenting on the moon’s strange appearance. When he slips in Narraboth’s blood, he suddenly panics and suffers hallucinations. Herodias angrily dismisses his fantasies and asks him to go back inside with her, but Herod’s attentions are now focused on Salome. He offers her food and wine, but she rejects his advances. From the cistern, Jochanaan resumes his tirades against Herodias, who demands that Herod turn the prophet over to the Jews. Herod refuses, maintaining that Jochanaan is a holy man and has seen God. His words spark an argument among the Jews concerning the true nature of God, and two Nazarenes talk about the miracles of Jesus. As Jochanaan continues to accuse her, Herodias demands that he be silenced. Herod asks Salome to dance for him. She refuses, but when he promises to give her anything she wants, she agrees once she has made him swear to keep his word. Ignoring her mother’s pleas not to, Salome dances seductively, removing her clothes. The delighted king wants to know what reward she would like, and she asks for the head of Jochanaan on a silver platter. Horrified, the king refuses, while Herodias laughs approvingly at Salome’s choice. Herod offers other rewards, but Salome insists, reminding Herod of his oath. The king finally gives in. As the executioner descends into the cistern, the princess anxiously and impatiently awaits her prize. When the prophet’s head is brought to her, she passionately addresses Jochanaan as if he were still alive and kisses his lips. The terrified Herod, outraged at Salome’s behavior, orders the soldiers to kill her. – Courtesy of Pittsburgh Opera and Opera News | @theatlantaopera



An early rendering of one of Salome’s costume by Mattie Ullrich.

10 | productionnote

“And when the daughter of the said Herodias came in, and danced, and pleased Herod and them that sat with him, the king said unto the damsel, Ask of me whatsoever thou wilt, and I will give it thee.� Mark 6:22 KJV



Noel Morris

Mattie Ullrich | @theatlantaopera

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There was a time when combining church and theater was considered an act of indecency. Early performances of Handel’s Messiah, for example, scandalized upstanding citizens of Dublin and London. The silent partners of 19thcentury opera were ever-present censors, functionaries who prevented composers from showing priests, biblical figures, crucifixes, and religious rites in the disreputable atmosphere of a theater. Depending on the degree of Church influence in a particular city, composers were perennially having to rewrite shows to gain a censor’s approval. Needless to say, creating an opera based on the story Salome was a bold move—even in 1905. Incest was not unusual for the Herod family, which inspired this tale. Herod the Great, King of the Roman province of Judea (and villain of the Christmas story) divided his kingdom among three sons: Herod Archelaus, Herod Antipas, and Philip. Philip married his first cousin Herodias and produced a daughter. Herodias later deserted him for her brother-in-law Herod Antipas. Enter John the Baptist, who denounced the queen: “For John had said unto Herod, It is not lawful for thee to have thy brother’s wife” (Mark 6:18 KJV). Herodias was outraged. Threatened by John’s popularity among the masses, she convinced her husband, Herod Antipas, to have John arrested. According to the Gospels, it was she who persuaded her daughter to dance for the king and condemn John to death. When first adapting this story for the stage, playwright Oscar Wilde took liberties with this part of the tale (perhaps a plot based on removing a political rival seemed too ordinary). Instead, Wilde created an intense psychological thriller by shifting the dramatic thrust onto the shoulders of a psychopathic teenager. Salomé entertains through shock: 1. a young girl locks horns with a ruthless tyrant, 2. a despicable father figure is consumed with lust for his stepdaughter, 3. the girl uses his lust, manipulating him to gain power over the object of her own desire—the holy man John the Baptist (in the opera he’s called Jochanaan, a transliteration of the Hebrew name).

12 | productionnote Although Wilde was an Irishman, he wrote his 1891 play Salomé in French. The following year, Salomé went into rehearsal in London starring the legendary Sarah Burnhardt, but the Lord Chamberlain shut it down. Citing a ban on depicting biblical figures on the stage, an official decree prohibited any public performance of Salomé, a decision that remained in effect until 1931. Nevertheless, the play was published in English and in French. Fifteen years after it was written, Salomé finally had its premiere in Paris, but the playwright couldn’t attend. At the time, Oscar Wilde, who was gay, was in Newgate Prison serving a sentence of hard labor for “gross indecency” (homosexuality was not decriminalized in the United Kingdom until 1967). In 1902, Max Reinhardt, an aspiring young director, launched his career staging a German version of Salomé in Berlin. By the time Richard Strauss saw the play, he had already read it and chosen the key of C-sharp minor for the opening line “How beautiful the princess Salome is tonight!” Strauss was raised among the lions of 19th-century music. His father, Franz, had been a brilliant and wellconnected French horn player. “Vehement, irascible, tyrannical” is how Richard described him. An ardent musical conservative, Franz Strauss loathed the musical shockwave issuing from the pens of contemporaries such as Franz Liszt and Richard Wagner. “[Franz] Strauss is a detestable fellow,” Wagner quipped. “But when he plays the horn, you can’t be angry with him.” It’s difficult to comprehend this schism in 19th-century music because none of it sounds radical to 21st-century ears - like trying to feel shocked by the sight of a woman wearing pants. Ironically, even as Franz Strauss championed the traditional, there was a modernist giant developing under his own roof. Richard, who would become one of the most successful composers of the coming age, later recalled having led a secret life in his father’s home: “I still remember very well how at around seventeen years of age, I almost feverishly swallowed the score of [Wagner’s] Tristan and fell into a frenzy of enthusiasm.” | @theatlantaopera

At the age of 24, Richard Strauss wrote his first international hit, the tone poem Don Juan, a piece which aligned him firmly with the modernists. Through the tone poems, and an enormous outpouring of art songs, Strauss discovered his uncanny gift for turning visual images and narrative into sound. Looking toward the new century, he employed lush, unorthodox harmonies and opulent orchestration. During this time, he was making good money as a conductor, but still had his sights firmly set on opera. By 1903, he had written three operas without much success. His Feuersnot (1901) had run into trouble with authorities over sexual content. In correspondence with Gustav Mahler, who was artistic director of the Vienna Court Opera, Strauss remained optimistic: “The censor in Vienna I find extremely funny! I can’t dare to hope for a ban. The advertising value of a ban by the censor would be the best thing that could happen to my little opera, since it wouldn’t mean that the performance in Vienna was actually cancelled, but just postponed.” In fact, more than a century later, Feuersnot had yet to catch on, but Strauss’s comment certainly showed his attitude toward scandal. After all, his next opera would be based on a play that wasn’t even allowed on the English stage. Using Hedwig Lachmann’s German translation of Oscar Wilde’s play, Strauss began serious work on Salome in 1903. He made a number of cuts to the play eliminating subplots and minor characters. In 1904, he continued work while on tour of the United States. Back home, he played excerpts for his father. “My God, what nervous music,” said the old man. “It’s as if one’s pants were full of maybugs.” Richard finished Salome in Berlin during the summer of 1905, three weeks after his father had died. Reflecting the emotional power of the story, the role of Salome is demanding and particularly difficult to cast. The part calls for a singer with the stamina and voltage of a dramatic soprano (think Isolde or Brünnhilde), but with a lightness that befits the teenaged character. and

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14 | productionnote then there’s the “Dance of the Seven Veils” — the singer must be able to infuse this ten-minute striptease with a potency that justifies just about everything else that happens dramatically. Salome received its premiere in Dresden at the end of 1905. Reportedly, there were 38 curtain calls. Within two years, Salome saw some fifty other productions, and Strauss quickly became a wealthy man. In New York City, Salome was given two public showings in 1907 by The Metropolitan Opera before it was banned. The detractors, headed by the daughter of the powerful board member J.P. Morgan, attempted to enlist the help of English composer Edward Elgar. Elgar refused, stating that “[Strauss is] the greatest genius of the age.” While in 1909, Oscar Hammerstein’s opera house staged a production in New York and a touring company from Renderings of

Chicago brought the production back to the city in

costumes for Herodias

subsequent years, the Met’s ban on Salome remained in

and Jochanaan.

place until 1934. | @theatlantaopera

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16 | cast&creative General and 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 TOMER ZVULUN as leading educational institutes and universities such CARL W. KNOBLOCH JR. as The Juilliard School, Indiana University, and Boston GENERAL & ARTISTIC University. He spent seven seasons on the directing staff DIRECTOR at The Metropolitan Opera, where he directed revivals of Carmen and Tosca and was involved with more than a PRODUCTION DIRECTOR dozen new productions. He is a frequent guest director ATLANTA OPERA DEBUT at companies such as Seattle Opera (Semele, La bohème, THE FLYING DUTCHMAN, Eugene Onegin, Lucia di Lammermoor), The Dallas Opera 2009 (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. | @theatlantaopera

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Arthur Fagen is a regular guest of the world’s leading opera houses, concert halls, and music festivals, including, most notably, the Metropolitan Opera, Lyric Opera of Chicago, Staatsoper Berlin, Bavarian State Opera, Deutsche Oper Berlin, and Vienna Staatsoper. In North America, he has been a frequent guest of the New York City Opera, Portland Opera, Chautauqua, and New Orleans Opera, among others. Notable orchestras he has conducted include the Baltimore Symphony Orchestra; the Czech Philharmonic; RAI Orchestras of Turin, Naples, ARTHUR FAGEN Milan, Rome; and Israel Symphony Orchestra. Maestro CARL & SALLY GABLE Fagen served as music director of the Dortmund MUSIC DIRECTOR Philharmonic Orchestra and Opera, principal conductor in Kassel and Brunswick, chief conductor of the Flanders CONDUCTOR Opera in Antwerp and Ghent, and was music director of ATLANTA OPERA DEBUT the Queens Symphony Orchestra. He has made a number LA TRAVIATA, 2005 of recordings for Naxos and BMG. Born in New York, maestro Fagen began his conducting studies with Laszlo Halasz and served as assistant to Christoph von Dohnanyi at Frankfurt Opera and James Levine at the Metropolitan Opera. Maestro Fagen is professor of music in instrumental conducting at Indiana University’s Jacobs School of Music.

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. ERHARD ROM He has collaborated with many of the world’s leading directors, including Colin Graham, Nicholas Muni, and SCENIC & PROJECTION Francesca Zambello, for whom he designed the world DESIGNER premiere of the 2011 Glimmerglass Festival production ATLANTA OPERA DEBUT of A Blizzard on Marblehead Neck with music by Jeanine LUCIA DI LAMMERMOOR, Tesori and libretto by Pulitzer Prize-winning playwright 2011 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.

18 | cast&creative Mattie Ullrich has designed costumes for opera, theater, film, musicals, dance, and print. Recent opera productions include the world premiere of David T. Little and Royce Vavrek’s new work JFK at Fort Worth Opera; La clemenza di Tito at LA Opera; Satyagraha at the Ekaterinburg State Opera and Ballet (Russia); Don Giovanni at the Norwegian Opera and Ballet (Oslo, Norway); I due Foscari for Theater an der Wien (Vienna, Austria), Palau des Artes (Valencia, Spain) and LA Opera; Oresteia for Bard Summerscape Festival; Eliogabalo for Gotham Opera (performed at MATTIE ULLRICH the NYC venue “The Box”); Nabucco productions at the Washington National Opera, Opéra de Montréal, Florida COSTUME DESIGNER Grand Opera, and Opera Philadelphia; and Zaide for Wolf ATLANTA OPERA DEBUT Trap Opera. She has designed many new Off-Broadway plays including The Starry Messenger with Mathew Broderick (The New Group), The Pride directed by Joe Mantello (Wicked), Fault Lines directed by David Schwimmer (Friends), Things We Want directed by Ethan Hawke (The New Group); and the popular one woman show Bad Dates directed by John Benjamin Hickey (Playwrights Horizons). Film projects include “Year of the Fish” (Sundance), “Sovereignty”(multi-festival, award winning short) and “Shoplifting Chanel.”

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 and Grill starring Audra ROBERT WIERZEL McDonald; Fela! (Tony Award nomination), and David Copperfield’s Broadway debut, Dreams and Nightmares. LIGHTING DESIGNER Off-Broadway includes productions with the NYSF/Public ATLANTA OPERA DEBUT Theatre, The Signature Theatre, Roundabout Theatre LUCIA DI LAMMERMOOR, Company, and Playwrights Horizons. Robert’s extensive 2011 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. | @theatlantaopera

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Selected designs include Frozen, A Bronx Tale, On Your Feet!, Disaster!, On the Twentieth Century, It Shoulda Been You (Broadway); Little Dancer, Show Boat, La bohème, Wagner’s Ring Cycle, Philip Glass’ Appomattox (Kennedy Center); Twelfth Night (McCarter Theatre); Candide (Opéra National Bordeaux); Dark Sisters (Gotham Chamber Opera); Freshwater (Women’s Project); and The Music Man (Royal Opera House Muscat).


Amir is thrilled to be back at The Atlanta Opera having choreographed the 2018 Carmen production. Born and raised in Israel, Amir has received numerous awards and honors from the America-Israeli Cultural Foundation and was declared a Distinguished Artist by the Israeli Ministry of Education. Amir has been a company member with leading dance organizations including the Bat-Dor Dance Company, Ballet Hispanico of New York and he has spent the last twenty seasons with the Metropolitan Opera as both dance captain and as principal dancer. AMIR LEVY With the Met, Amir has been seen in over 50 productions, including many via the Met HD Live broadcast series seen CHOREOGRAPHER in movie theaters across the globe. These broadcasts ATLANTA OPERA DEBUT have showcased his work with some of opera’s leading CARMEN, 2018 directors including Anthony Minghella (Madama Butterfly), Adrian Noble (Macbeth) Julie Taymor (Die Zauberflöte), Franco Zeffirelli (Turandot), Michael Mayer (Rigoletto), Bartlett Sher (Tales of Hoffman) and Francois Girard (Parsifal). Additionally, he has worked closely with some of the world’s leading singers including Renée Fleming, Christine Goerke, Jonas Kaufmann, Peter Mattei, Natalie Dessay, and Anna Netrebko. Apart from appearing on stage, he has been an associate choreographer to Sara Erde and Richard Eyre on critically acclaimed productions of Werther (Met), Manon Lescaut (Baden-Baden) and Le Nozze di Figaro (Met Season Opening Production 2014). Major musical theater credits include the first national tours of Victor/Victoria and the Hal Prince Evita, where he recently set the lead dancers tracks for new international touring companies in association with original choreographer Larry Fuller.

20 | cast&creative Jennifer Holloway started the season with the first Act of Wagner’s Walküre together with Joana Mallwitz and the Wiener Symphoniker at the Konzerthaus in Vienna. Further concert highlights of the current season will bring her to Evian (Sieglinde/Walküre first Act), São Paulo (Beethoven, Missa in C-major), Helsinki (Verdi’s Messa da Requiem) and Japan where she will perform with the Yomiuri Nippon Symphony Orchestra under the baton of Sebastian Weigle. Furthermore she will return to Hamburg where she will sing Chrysothemis in Elektra. In JENNIFER HOLLOWAY the 2018-19 season she sang Sieglinde in Die Walküre at Staatsoper Hamburg and Oper Frankfurt presented her as SALOME Grete in a new production of Schreker’s Der ferne Klang. ATLANTA OPERA DEBUT Later in the season she performed in Ariadne auf Naxos COSÌ FAN TUTTE, 2011 as Komponist at the Teatro Colon in Buenos Aires and in Zemlinsky’s Lyric Symphony with the Gürzenich Orchester Köln. She appears regularly in concert. One highlight on the concert stage was the world premiere of Frédéric Chaslins Love and a Question, which he composed specifically for her. She has also developed a strong artistic partnership with Jean-Christophe Spinosi and his Ensemble Matheus. In the 2015-16 season she sang Mozart’s Große Messe in c-moll with the Dresdner Philharmoniker under the baton of Bertrand de Billy. Born in the United States, she garnered international attention in 2006 at the Santa Fe Opera, singing the part of Le Prince Charmant in Massenet’s Cendrillon. Her success there led to invitations from leading opera houses in both the United States and Europe.

Frank van Aken is widely acknowledged to be one of the most popular tenors in his generation. A winner of Christina Deutekom Voice Competition, Frank van Aken studied at the Royal Conservatory in The Hague and was a student of James McCray. He gave his professional debut as Macduff in Macbeth at Nationale Reisopera in Enschede, followed by his Italian debut as Cavaradossi in Tosca in Rome. He was a member of the Opera in Düsseldorf before he joined the Opera Frankfurt. Guest performances have taken him to Bayreuth Festival, Liceo in Barcelona, FRANK VAN AKEN to the Festival in Baden-Baden, the Royal Opera House in London, Staatsoper Vienna and to the Scala in Milan. HEROD ANTIPAS He debuted at the Metropolitan Opera as Siegmund ATLANTA OPERA DEBUT in the spring of 2012. Highlights were Tannhäuser in Budapest, the title roles of Tristan in Tristan und Isolde and Guntram at Semperoper Dresden, Alexej Iwanowithsch in The Gambler at Oper Frankfurt, Tambourmajor in Wozzeck at De Nationale Opera Amsterdam and Egisth in Elektra and Laca in Jenůfa at Greek National Opera, the title roles of Parsifal and Tannhäuser at Nationaltheater Mannheim, Sjoejski in Boris Godunov in Concertgebouw in Amsterdam and Herod in Salome in Wiesbaden. In 2019-20 Van Aken will appear as Tristan in a concert version of Tristan und Isolde with the Orquesta nacionales de Espana in Madrid under the baton of David Afkam and Tristan in Tristan and Isolde at National Theater Mannheim. | @theatlantaopera

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22 | cast&creative Jennifer Larmore is one of the most distinguished mezzosopranos of our time. In the 2019-20 season, she will appear as Marcellina in a new production of Le nozze di Figaro at the Théâtre des Champs-Élysées, in her role debut as Herodias in Salome at the New National Theatre of Tokyo, and as Geneviève in Pelléas et Mélisande in a new staging at the Teatro Regio of Parma and in Piacenza. Among her many career highlights are her debut at the Metropolitan Opera as Rosina in Il barbiere di Siviglia in 1995, where she later sang the title roles of Giulio Cesare, La JENNIFER LARMORE Cenerentola and L’italiana in Algeri; Giulietta in Les contes d’Hoffmann, Orlofsky in Die Fledermaus, Hansel in Hansel HERODIAS and Gretel, Gertrude in Hamlet by Thomas and the world ATLANTA OPERA DEBUT premiere of Tobias Picker’s An American Tragedy. Other LA CENERENTOLA, 2008 engagements have led her to virtually every major opera house in the world, including La Scala, Paris Opera, Berlin Deutsche Oper, Vienna State Opera, and Covent Garden. In addition to her many activities, travels, performances and causes, “author” Jennifer Larmore has released the book “Una Voce.” In collaboration with double bass player Davide Vittone, she has created an ensemble called Jennifer Larmore and OpusFive. The three programs they offer are entertaining and varied with songs and arias, cabaret/operetta, movies and Broadway which feature string quintet and voice. They have given concerts in Seville, Pamplona, Valencia, Las Palmas, Mallorca, Menorca, Venice, Aix en Provence, Amiens, Olten, Paris, Mersin and Dublin. A “tall, majestic bass” with “impeccable technique” and “a palpable presence on stage,” Canadian bassbaritone Nathan Berg’s career has spanned a vast range of repertoire on the concert and operatic stage. His recent dramatic work has earned acclaim around the globe, from the title role in Der fliegende Holländer in his Bolshoi Theatre debut to Doktor in Wozzeck with the BBC Scottish Symphony Orchestra and the Houston Symphony, for which he won a Grammy Award. In the 2019-20 season, he will make a house and role debut as Jochanaan in NATHAN BERG Salome with Hawaii Opera Theatre, and returns to the roster of the Metropolitan Opera in Manon and Turandot. JOCHANAAN On the concert stage, he will sing Palemon in Thaïs with ATLANTA OPERA DEBUT the Toronto Symphony, join the Rotterdam Philharmonic on a European tour to sing Der Einarmige in Die Frau ohne Schatten with Yannick Nézet-Séguin, debut the role of Kurwenal in Tristan und Isolde with the Taiwan Philharmonic, and perform Lélio with the Helsinki Philharmonic. Finally, he will perform Beethoven’s Ninth Symphony with Filharmonia Narodowa in Warsaw, Poland, as well as the Naples Philharmonic, and Greensboro Symphony. He is in demand by the world’s most distinguished conductors including Kurt Masur, Sir Andrew Davis, Hannu Lintu, Roger Norrington, Hans Graf, Donald Runnicles, Philippe Herreweghe, Vasily Petrenko, Vladimir Ashkenazy, and Michael Tilson Thomas. Born in Saskatchewan, Nathan Berg studied in Canada, the United States, Paris, and at the Guildhall School of Music in London, where he won the prestigious Gold Medal for Singers. | @theatlantaopera

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Adam Diegel made his Metropolitan Opera début as Froh in Robert Lepage’s landmark production of Das Rheingold conducted by Maestro James Levine. Further appearances at The Metropolitan Opera include Pinkerton in Madama Butterfly under Plácido Domingo and Ismaele in Nabucco under Paolo Carignani. This season he will make his debut in as Radames in Aida with Opera Tampa and Manrico in Il Trovatore with Pensacola Opera. He will also sing Pinkerton in Madama Butterfly with Nashville Opera. Additional highlights of his career include ADAM DIEGEL performances as Cavaradossi in Tosca with Palm Beach Opera, Vancouver Opera, Glimmerglass Opera, Seattle NARRABOTH Opera, and The National Theatre in Budapest; Pinkerton ATLANTA OPERA DEBUT in Madama Butterfly at Opera Hong Kong, Palm Beach MADAMA BUTTERFLY, 2014 Opera, Fort Worth Opera, Arizona Opera, Lithuanian National Opera, The Savonlinna Opera Festival, and at the Guangzhous Opera House in China; Don José in Carmen at San Francisco Opera; Glimmerglass Opera, Opera Theatre of St. Louis, Florida Grand Opera, English National Opera, and Opera Australia; Ismaele in Nabucco at Opera Philadelphia; and Rodolfo in La bohème at Opera Omaha and Minnesota Opera; Maurizio in Adriana Lecouvreur; and Rodolfo in Luisa Miller at Opéra National de Lyon. You can read more about Adam at

Elizabeth Sarian is proving herself a young artist to follow in the leading lyric mezzo-soprano repertoire. She spent the 2018-19 season as a member of The Atlanta Opera Studio, making her debuts as Flora in La traviata, Sister Lillianne in Dead Man Walking, and Olga (cover) in Eugene Onegin. She returns as a member of the Studio this season performing as Tisbe in La Cenerentola, and Kate Pinkerton and Suzuki (cover) in Madama Butterfly. She has spent two summers (2018, 2019) as a member of the prestigious Apprentice Singer Program at Santa Fe ELIZABETH SARIAN Opera, performing in the chorus and covering Pastuchnya °fa. In the summer of 2017, she was a Studio Artist in Jenu STUDIO ARTIST in Central City’s Bonfils-Stanton Artist Training Program, THE PAGE where she covered Mercédès in Carmen. Elizabeth earned her graduate performance diploma and master ATLANTA OPERA DEBUT of music in vocal performance and pedagogy from the DEAD MAN WALKING, 2019 Peabody Institute of the Johns Hopkins University. During her studies, she performed the title role in Massenet’s Chérubin, Cherubino in Le nozze di Figaro (also performed at the Amalfi Coast Music Festival), Third Lady in The Magic Flute, Mae Jones in Street Scene—highlighting her eleven years of formal dance training—and covered Hansel in Hansel und Gretel, and Dorabella in Così fan tutte. She has been awarded two Encouragement Awards from the Capitol District of the Metropolitan Opera National Council Auditions and is a two-time recipient of the George Castelle Memorial Award in Voice from the Peabody Conservatory.

February 7–15, 2020

Gospel, Brubeck & Rhythms of the City

The sweeping rhythms and infectious energy of jazz and gospel music intertwine three works making their Atlanta Ballet debut. Featuring members of the Spelman College Glee Club, Lydia Pace of The Anointed Pace Sisters, music by the iconic Dave Brubeck, and more!

Visit or call

| 1.800.982.2787 for tickets.

Groups of 10+, email Juliana Missano & Jonathan Philbert. Photo by Gene Schiavone.

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Mitch Gindlesperger, Bass-Baritone, recently covered the role of Klingsor in a new production of Parsifal with Indiana University’s Jacobs School of Music. Prior to that, he sang Figaro in Le Nozze di Figaro in the inaugural performance of the Atlanta Concert Opera. No stranger to The Atlanta Opera, he has been seen with the company as Antonio in Le Nozze di Figaro, Second Philistine in Samson et Dalilah, German Soldier in Silent Night, Prison Guard in Dead Man Walking, the Old Gypsy in Il Trovotore, and he is a regular member of MITCH GINDLESPERGER The Atlanta Opera chorus. He also has prior experience with The Atlanta Opera Studio performing master classes FIRST SOLDIER and opera workshops for high schools across the state ATLANTA OPERA DEBUT of Georgia. He received his vocal performance degree SILENT NIGHT, 2016 from Clayton College and State University. Other roles include Aeneas in Dido and Aeneas, Adonis in Venus and Adonis, Lancelot du Lac in Camelot, and the Mother in the Atlanta Symphony Orchestra’s performance of Kurt Weill’s The Seven Deadly Sins.

Isaac Kim has developed himself as a professional and performed with various opera houses. His recent operatic credits include Dottore Grenvil in La traviata, Don Pedro in Béatrice et Bénédict, Frére Laurent in Roméo et Juliette and Zuniga in Carmen with the Aspen Opera Center. During his tenure as a Resident Artist at the Opera Institute at Boston University, he performed as Arkel in Pelléas et Mélisande, Superintendent Budd in Albert Herring, Bartolo in Le nozze di Figaro, Pastor Avery in Emmeline, Don Alfonso in Così fan tutte and Theseus ISAAC KIM in A Midsummer Night’s Dream. He also performed as Don Profondo in Il viaggio a Reims with the University STUDIO ARTIST of Southern California’s Thornton School of Music. He SECOND SOLDIER has participated as a soloist at the The Yeoncheon DMZ International Music Festival. He was a winner of the South ATLANTA OPERA DEBUT Carolina District Metropolitan Opera National Council FRIDA, 2019 Audition and won the Ben DeBolt Memorial Award at The Henry and Maria Holt Memorial Scholarship Competition, and the recipient of the prestigious Phyllis Curtin Award at Boston University. He is a graduate of Kyung Hee University (Bachelor of Music), University of Southern California’s Thornton School of Music (Graduate Certificate), Boston University (Master of Music,) and Boston University Opera Institute. | @theatlantaoopera

26 | cast&creative Versatile tenor Julius Ahn delights audiences around the world with his unique interpretations. He has performed his signature role of Goro in Madama Butterfly at San Francisco Opera and returned there to reprise it, as well as with the Canadian Opera Company, Vancouver Opera, Michigan Opera Theatre, Nashville Opera, and at the Royal Albert Hall in London. This season, he reprised the role of Pang in Turandot with Canadian Opera Company, Kaspar in Amahl and the Night Visitors with On Site Opera, and performs as Goro in Madama Butterfly with Tulsa Opera JULIUS AHN and Opera Philadelphia. Last season, he performed Goro with Pittsburgh Opera, Lyric Opera of Kansas and FIRST JEW Virginia Opera. He also performed the role of Antenore ATLANTA OPERA DEBUT in a concert version of Zelmira with Washington Concert TURANDOT, 2017 Opera. In recent seasons, he grabbed the attention of operagoers as he joined the roster of the Metropolitan Opera for performances of The Nose, Turandot, Rigoletto, and Die Fledermaus and made his mainstage début as the Second Priest in Die Zauberflöte. He has now performed the role of Pang in Turandot in over 10 productions including San Francisco Opera, Vancouver Opera, Michigan Opera Theatre, Opera Philadelphia, The Atlanta Opera, Seattle Opera, and Cincinnati Opera. He also performed Monostatos in Die Zauberflöte with Opera Carolina, Michigan Opera Theatre, Opera Omaha, and Pacific Symphony; and Basilio and Curzio in Mozart’s Le nozze di Figaro with Lyric Opera Baltimore; and Bardolfo in Falstaff with Opera Omaha. For over 25 years, Brian Frutiger has appeared across the United States in over 100 roles in opera, operetta, music theater and theater. The 2019-20 season includes company debuts with The Dallas Opera as Monostatos in The Magic Flute and Fort Worth Opera as Frosch in Die Fledermaus, a role he performed last season to critical acclaim with Des Moines Metro Opera. Past appearances include Poisson in Adriana Lecouvreur and Scaramuccio in Ariadne auf Naxos at The Metropolitan Opera; El Remendado in Carmen at San Francisco Opera; Guillot BRIAN FRUTIGER de Morfontaine in the Emmy award winning Manon and Pang in Turandot at Des Moines Metro Opera; Second SECOND JEW Jew in Salome and Abolitionist Tappan in Amistad with ATLANTA OPERA DEBUT Spoleto Festival USA; Howard Boucher in Dead Man Walking at Lyric Opera of Kansas City; Tanzmeister in Ariadne auf Naxos and Goro in Madama Butterfly at Sarasota Opera; Bardolfo in Falstaff at Opera Omaha; and Major General Stanley in The Pirates of Penzance with Wichita Grand Opera. Equally at home on the concert stage, he has appeared as Tenor Soloist with San Francisco Symphony, Fresno Philharmonic, St. Olaf College, Wichita Choral Society, San Francisco’s Old First Concerts, and Oratorio Society of Minnesota. A classically trained actor, he regularly returns to the professional theater having appeared with Penumbra Theatre, TheatreWorks (Silicon Valley), Theatre Latté Da, Music Theatre Wichita, Paper Mill Playhouse, and Shakespeare’s Motley Crew. | @theatlantaopera


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The Tony Award -winning



DISCOVER THE SPIVEY DIFFERENCE 2019-2020 Concert Series Clayton State University


MILOŠ – THE VOICE OF THE GUITAR Miloš Karadaglić, guitar Saturday, February 29, 2020

MARY BEVAN, soprano JOSEPH MIDDLETON, piano Sunday, March 15, 2020

BENJAMIN GROSVENOR Saturday, April 4, 2020

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



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A native of Kalamazoo, Michigan, Nathan Munson has been praised for his vocal beauty, and has proven to be a versatile presence on the concert and operatic stage. Recent roles include Beppe in I pagliacci with both the Sarasota Opera and the Hawaii Opera Theatre. Also with Hawaii Opera Theatre, he debuted as the tenor soloist in Carmina Burana, as Tom Snout in Britten’s A Midsummer Night’s Dream, and in performances of the Steersman in Wagner’s Der fliegende Holländer. With The Atlanta Opera, he has performed the Camera Man in The Golden NATHAN MUNSON Ticket, Normanno in Lucia di Lammermoor, the Emperor in Turandot, the Father in Weill’s The Seven Deadly Sins, THIRD JEW and most recently Mourner and Mr. Ford in Frida. Other ATLANTA OPERA DEBUT recent performances include Rinuccio in Gianni Schicchi LUCIA DI LAMMERMOOR, and Buoso’s Ghost, Bastien in Bastien und Bastienne and 2011 Alberto in La Curandera with Opera Piccola San Antonio, Valére in Tartuffe with Capitol City Opera, El Dancaïre in Carmen with Opera North, and Dr. Baglioni in a world premiere revision of Daniel Catan’s La Hija di Rappaccini with the Illinois Opera Theater. He has appeared as Roméo in Roméo et Juliette, Ferrando in Così fan tutte, and Cassio in Verdi’s Otello. For dell’Arte Opera, he has sung Laurie in Adamo’s Little Women, and Pedrillo in Die Entführung aus dem Serail. As a Young Artist at Opera North, he was a featured artist in various venues in semi-staged performances as Brighella in Ariadne auf Naxos and Lippo Fiorentino in Street Scene. Praised for his “effortlessly powerful” voice (The Chronicle Journal), Canadian tenor Justin Stolz is quickly establishing himself as a exciting operatic performer. He returned to the Santa Fe Opera’s Apprentice Program for Singers this past summer, covering the role of Števa Buryja in Jenu˚fa. Last season he made role debuts with The Atlanta Opera as Howard Boucher in Heggie’s Dead Man Walking, Gastone in Verdi’s La traviata, and a last minute step-in as Lensky in Tchaikovsky’s Eugene Onegin. He sang Handel’s Messiah with the Thunder Bay JUSTIN STOLZ Symphony Orchestra and made his Okanagan Symphony Orchestra debut in Verdi’s Requiem. In the 2017-18 season, STUDIO ARTIST ALUMNUS he made a “rousing” (Opera News) professional debut as FOURTH JEW Der Steuermann in the The Atlanta Opera’s production of Wagner’s The Flying Dutchman. Other highlights with the ATLANTA OPERA DEBUT company include appearances as Tamino in Mozart’s The SEVEN DEADLY SINS, 2017 Magic Flute as well as Le Remendado in Bizet’s Carmen. In prior seasons, he has appeared as Don José in Bizet’s Carmen (Brott Music Festival, Indiana University Opera Theater), B.F. Pinkerton in Puccini’s Madama Butterfly (Indiana University Opera Theater), Mr. Owen in Postcard from Morocco (The Glenn Gould School), and Don Ottavio in Mozart’s Don Giovanni (The Glenn Gould School). A recent winner of The S. Livingston Mather Competitionof Cleveland, he is a graduate of Indiana University’s Jacobs School of Music and The Glenn Gould School (The Royal Conservatory of Music). | @theatlantaoopera

30 | cast&creative American bass-baritone Alan Higgs is a recent alumnus of the Patrick G. and Shirley W. Ryan Opera Center at the Lyric Opera of Chicago, where during his residency he performed The King in Cendrillon, the Second Trojan Man in Idomeneo, Count Ceprano in Rigoletto, and Gualtiero Valton in I puritani, along with other assignments. Most recently he returned to The Atlanta Opera as Dr. Grenvil in La traviata and Santa Fe Opera as the Mayor in Jenu˚fa. The 2019-20 season includes his debut with San Antonio Opera as Angelotti and Sciarrone in Tosca, ALAN HIGGS Handel’s Messiah with the Boise Philharmonic Orchestra, and a return to the Lyric Opera of Chicago in the fall STUDIO ARTIST ALUMNUS of 2020. He made his debut with Santa Fe Opera as an FIFTH JEW Apprentice Artist for their 60th anniversary season, where he performed the role of Jose Castro in La fanciulla del ATLANTA OPERA DEBUT West and covered roles in Vanessa and Capriccio. While at MADAMA BUTTERFLY, 2014 Santa Fe, he received the Katharine Mayer Award for his outstanding performance as a Santa Fe Opera Apprentice. Additional notable engagements include the British Major in Silent Night and Gregorio in Romeo and Juliette with The Atlanta Opera, Raphael in Haydn’s Creation with the Georgia State Symphony Orchestra, as well as the Pirate King in The Pirates of Penzance in The Atlanta Opera Studio Tour.

Hailing from Dallas, Texas, Jonathan Bryan returns to The Atlanta Opera for his second season as the company’s resident baritone. He holds a bachelors degree in vocal performance from Louisiana State University and received his master of music degree from the Indiana University Jacobs School of Music, where he studied with worldrenowned baritone, Wolfgang Brendel. He 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 JONATHAN BRYAN in Mozart’s Le nozze di Figaro. Other roles include Sharpless in Puccini’s Madama Butterfly, Owen Hart in STUDIO ARTIST Heggie’s Dead Man Walking, and Rambaldo in Puccini’s FIRST NAZARENE La rondine, among others. He has frequently appeared as a concert soloist in a number of master works, including ATLANTA OPERA DEBUT Handel’s Messiah, Haydn’s Missa in angustiis, Rossini’s DEAD MAN WALKING, 2019 Petite messe solennelle, 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 recently returned for his second season as a young artist at The Glimmerglass Festival. This season at The Atlanta Opera, he will perform the role of Yamadori as well as covering the role of Sharpless in Madama Butterfly. | @theatlantaopera

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32 | cast&creative Hailed by Opera News for his “comedic high jinks” and “first-rate singing,” Philip Cokorinos was winner of the Metropolitan Opera National Council Auditions in 1985 and went on to sing his début. Since then, he appeared in more than 400 performances of 40 operas at The Met, including “Live from The Met” telecasts. He appeared many times in their productions of the standard repertoire including Tosca, La bohème, La fanciulla del West, La traviata, Adriana Lecouvreur, Die Meistersinger von Nürnberg, Macbeth, Manon, Don Carlo, Tosca, Il barbiere PHILIP COKORINOS di Siviglia, Manon Lescaut, and Le nozze di Figaro. His recent appearances at this esteemed house include SECOND NAZARENE / several The Metropolitan Opera Live in HD broadcasts CAPPADOCIAN / SLAVE including Manon, La fanciulla del West, The Nose, Werther, ATLANTA OPERA DEBUT Manon Lescaut, Le nozze di Figaro, La bohème, and Lady COSÌ FAN TUTTE, 1987 Macbeth of Mtsensk. This season, he will perform the roles of Cappadocia, Slave, and second Nazarene in Salome with Spoleto Festival USA, Sacristan in Tosca with Opera San Antonio, returns to Los Angeles Opera as Antonio in Le nozze di Figaro, and joins The Metropolitan Opera for their productions of La bohéme, Tosca singing the Sacristan, and Werther singing Johann. Last season, he returned to The Metropolitan Opera for productions of La bohème and Adriana Lecouvreur, and performed Billy Jackrabbit in La fanciulla del West, Amantio in Gianni Schicchi, and Sacristan in Tosca. He also performed as Grandfather in the US premiere of Martinů’s Julietta with American Symphony Orchestra at Carnegie Hall. | @theatlantaopera

theatlantaoperaorchestra the atlanta opera orchestra

VIOLIN Peter Ciaschini The Loraine P. Williams Orchestra Concertmaster Chair

CELLO Charae Kreuger Principal

HORN David Bradley Principal

Hilary Glen Assistant Principal

Eric Hawkins† Assistant

Helen Kim Assistant Concertmaster

David Hancock Mary Kenney Cynthia Sulko* Harrison Cook† Sarah Kapps† Joyce Yang†

Jason Eklund Edward Ferguson† Andrew Sehmann†

BASS Lyn DeRamus Principal

Hollie Lifshey Aaron Norlund†

Fia Durrett Principal Second Adelaide Federici* Assistant Principal Second Lisa Morrison Acting Assistant Principal Second Edward Eanes Felix Farrar Robert Givens Patti Gouvas Shawn Pagliarini Anastasia Petrunina Virginia Respess-Fairchild Patrick Ryan Angèle Sherwood-Lawless Jessica Stinson Rafael Veytsblum Sally Gardner-Wilson† Alison James† Kathryn Koch† Serena Scibelli† Mayu Sommovigo† Elonia Varfi† Alice Hong† VIOLA William Johnston Principal Elizabeth Derderian-Wood* Assistant Principal Karl Schab Acting Assistant Principal Ryan Gregory Julie Rosseter Joli Wu* Josiah Coe† Catherine Price Allain† Patrick Shelc† Meghan Yost†

Emory Clements Christina Ottaviano Maurice Belle† FLUTE James Zellers Principal

TRUMPET Yvonne Toll Principal

TROMBONE Mark McConnell Principal Richard Brady Bass Trombone Ed Nicholson†

Kelly Bryant Erica Bass-Pirtle†

TUBA Donald Strand Principal

OBOE Diana Dunn Principal

TIMPANI John Lawless Principal

Christina Gavin Alexandra Shatalova Prior† CLARINET David Odom Principal John Warren Jeanne Heinze† Justin Stanley† BASSOON Ivy Ringel* Principal Stephanie Patterson† Acting Principal Debra Grove John† Grove

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PERCUSSION Mike Cebulski Principal Karen Hunt† Jeff Kershner† Courtney McDonald† Scott Pollard† HARP Susan Brady Principal CELESTA Valerie Pool† PERSONNEL MANAGER Mark McConnell *core musician on leave † non-core musician

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

34 | orchestraspotlight DIANA DUNN, OBOE

THE ATLANTA OPERA: How long have you been a member of The Atlanta Opera Orchestra? DIANA DUNN: I joined The Atlanta Opera Orchestra in 2009 as the Second Oboe/English Horn player. I was Acting Principal Oboe 2015-2017 and won the permanent principal job in 2017. TAO: Where did you grow up, and what or who influenced you to start playing oboe? DUNN: I grew up in Rhode Island. I started studying music on the violin but added the oboe in middle school so I could play in the band, which was very strong in my school district. I loved the sound of the oboe, I thought it was so exotic! TAO: Some people might mistake an oboe for a clarinet. What are the main differences between the instruments? DUNN: The oboe is a double-reed instrument. We make our own reeds by hand, something we need to work on every day since the reeds are quite fragile and only last one performance each, and no, we can’t just go online and buy them!. I spend about as much time making reeds as I do practicing. The clarinet looks very similar, but it only has one reed attached to a mouthpiece, making it a single-reed instrument. Plus, it’s a great instrument for playing jazz, something I’ve always envied. Also, they do get to buy their reeds, though we all obsess about our reeds pretty much all the time! TAO: What is your favorite opera to play, and what do you hope to tackle in the future? DUNN: I love playing anything by Puccini or Wagner. Boy, did those guys know how to write for oboe! The top of my bucket list is another opera by Strauss, Der Rosenkavalier, which I think is one of the most beautiful works ever written. TAO: What should audiences listen for in Salome? DUNN: I was so excited to hear that we’d be performing Salome because I’d get to play “The Dance of the | @theatlantaopera

Seven Veils,” one of the most famous oboe solos in the repertoire. It’s just the kind of snake-charmer, flirty-sexyfun music the oboe plays so well! TAO: This is a challenging piece. How is it challenging for you as an oboist and the orchestra as a whole? DUNN: Salome, like much of Strauss’ work, is extremely complex and complicated to put together. It requires virtuosic technique and rhythmic accuracy from all the musicians. “The Dance of the Seven Veils” lets me play more freely in the middle of all this swirling sound. TAO: You currently live in Birmingham, Alabama. What do you listen to when you’re on the road to Atlanta for a gig? DUNN: As a freelance musician, I spend a lot of time driving for work. I’ve lived in Birmingham, Alabama for the past decade but just recently moved to Nashville for the year. I like to listen to audiobooks and podcasts. TAO: What do you like to do when you’re not practicing, teaching, or playing? DUNN: When I’m not playing the oboe, I like to knit, run, and cook. I also like to take millions of pictures of my two cats, who I’m pretty sure are the best cats in the world. TAO: What advice would you give to young music students looking to start a career as a freelance musician? DUNN: I love playing with The Atlanta Opera because everyone onstage, in the pit, backstage, and behind the scenes is so passionate about what they do. Opera is one of the most epic, collaborative art forms and it requires the highest standard of excellence from everyone involved. All of us in the pit started playing our instruments at a young age, maybe 4 years old for the string players and 10 years old for the wind players. We’ve succeeded because we had excellent teachers, supportive parents, and a nurturing community. Every child needs access to the same high-quality music education! How do you get to the Cobb Energy Performing Arts Centre? Practice, practice, practice.

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36 | operainyourcommunity

Brenna Corner, director, works with students from Roswell North Elementary on their roles in Hansel and Gretel at the Roswell Cultural Arts Center. | @theatlantaopera

A core mission of The Atlanta Opera is to provide educational opportunities for students of all ages – we believe opera is for everyone. Each year, we serve approximately 25,000 students in MetroAtlanta and throughout the state of Georgia. Our programs seek to inspire creativity, stimulate critical conversations, promote an enduring appreciation of the arts, and create audiences for the future. We are committed to higher levels of learning and programming that foster crosscurricular connections. Our educational partners are instrumental in bringing the power and passion of opera to thousands of students across the state. STUDIO TOUR: HANSEL AND GRETEL Founded in 1980, The Atlanta Opera Studio Tour is the company’s longest running educational initiative. Over the past 40 years, more than one million students have been introduced to opera through the Studio Tour. Designed to travel, Studio Tour productions are presented in schools and community venues across the state of Georgia each season. Educators are provided with comprehensive Study Guides, which feature an indepth look at opera as well as cross-curricular activities corresponding to the Georgia Standards of Excellence. To celebrate its 40th year on the road, the 2019-20 season features a new adaptation of Humperdinck’s enchanting fairy tale Hansel and Gretel in which students are invited to take centerstage alongside Atlanta Opera artists. Suitable for all ages, Hansel and Gretel brings students on an adventure through a magical world filled with mystical forest animals, a captivating Sandman, and lots of sweets! Adapted and directed by Brenna Corner, an alumna of the Opera’s Studio Artist program, the 45-minute English version of Humperdinck’s classic opera, teaches valuable lessons about listening, kindness, and not judging a Witch by her wardrobe. Here is some of the feedback we’ve received from the Fall Studio Tour performances: “Thank you for the opera show. It was SO amazing. It was the greatest show I’ve seen in my life.” - Camron, Student at Britt Elementary “Dear Atlanta Opera, I loved everything. It was hard for me to choose what I liked best, but I finally decided that I

| 37

38 | operainyourcommunity loved the action the most. I loved when you were singing – you did not look bored! I also loved how you turned a boring childish play into fun exciting play. You people turned my day around! Thank you.” - Favour, Student at Britt Elementary


“We had a wonderful experience with The Atlanta Opera Studio Tour. I am so thankful for your Title 1 school program. Our students loved the performance and spoke very highly of it. It was a great opportunity for me to teach them that the genre of opera could be ultimately relevant and meaningful to them. They really connected with the story of Hansel and Gretel and even noticed differences from the version we watched in class to the version you did. This was an incredibly valuable experience for so many of our kids who may never have the chance to see an opera. It was amazing to see so many of them engaged in the story and caring about opera. Thank you so much for taking the time to visit Britt. We hope to see you again!” - Nicole Guimaraes, Music Teacher, Britt Elementary

Samuel Ferreira in a performance of Hansel and Gretel with students at the Roswell Cultural Arts Center.

“Overall, I would give the experience an A+. It was wonderful that the students got a chance to see a group of adults work together to produce a positive product. Teamwork is something that we teach every day and it was so great to see it placed in a context unrelated to a sport. I do not have one single word to describe the singers – the music talent was unreal. One of the singers even encouraged me to keep using my voice. As a classical singer who is teaching elementary music, I often overlook my own singing to develop the voices of others. Hearing the Studio Tour singers has encouraged me to sing more.” - Alonzo Taylor, Music Teacher, Heritage Academy | @theatlantaopera

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“One of my more opera minded kiddos has been walking around this week singing Gretel’s part! She memorized during our rehearsals. Incredible. Just one of the amazing takeaways from this experience. Opera for life! What a gift! The director and actors were great with the kids; kind, funny, patient, and knowledgeable. Roswell North is always in to support The Atlanta Opera as they seek to educate a rising generation of opera goers.” - Katrina Scoggins, Music Teacher, Roswell North Elementary LA CENERENTOLA FOR STUDENTS Continuing The Atlanta Opera’s partnership with the ArtsBridge foundation at Cobb Energy Centre and the Cultural Experience Project at the Mayor’s Office of Cultural Affairs, we welcomed over 1,500 students from across the state to our FREE field trip presentation of La Cenerentola for Middle and High School Students on Friday, November 1, 2019 at 10:30am.


Through The Atlanta Opera Studio Tour and our other educational programs, we hope to inspire the students of today to become opera lovers of tomorrow. Learn more about these education and community programs by visiting us at

Atlanta Public School Students arriving at Cobb Energy Centre for The Student performance of La Cenerentola.

40 | 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, 2018, through Oct. 31, 2019.


Mr. Robert P. Dean & Mr. Robert Epstein

Mr. James Flanagan

Carl & Sally Gable

Judge Adele P. Grubbs

Kevin & Michelle Kelly

Mr. L. D. Holland

Mr. & Mrs. Michael L. Keough

William & Debbie Hyde

Mrs. Beth W. Glynn

Mr. & Mrs. Michael A. Klump

Ms. Bunny Winter & Mr. Michael Doyle

Mr. & Mrs. Andrew Long

GOLD $10,000+

Mimi & Dan Maslia

Mr. Howard W. Hunter, Gramma Fisher Foundation

Elizabeth & Jeremy Adler

Mrs. Polly N. Pater

Anonymous (2)

Mr. & Mrs. Robert Ratonyi

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

Julia & Jim Balloun

Kevin Greiner & Robyn Roberts

Mr. James B. Miller, Jr.

Dr. Florence C. Barnett

Drs. Aileen & Richard Robinson


Dr. & Mrs. Asad Bashey

John & Barbara Ross

Jean & Jerry Cooper

Milton J. Sams

Mr. Mario Concha

Katherine Scott

*Heike & Dieter Elsner

Baker & Debby Smith

Mrs. Gail G. Johnson

Mr. Tarek Takieddini

James M. Kane & Andrea Braslavsky Kane

Mr. & Mrs. Bill Vance

Mr. Alfred D. Kennedy & Dr. Bill Kenny

Larry & Beverly Willson

John & Rosemary Brown Donald & Marilyn Keough Foundation

$200,000+ Anonymous Dr. Harold Brody & Mr. Donald Smith Ann & Frank Critz

The Karina Miller Trust Jerry & Dulcy Rosenberg

$50,000+ Mr. & Mrs. Ronald R. Antinori Nancy & *Jim Bland Laura & Montague Boyd Martha Thompson Dinos Triska Drake & G. Kimbrough Taylor

Sandra & Peter Morelli

Mr. & Mrs. Lance Fortnow

Dr. & Mrs. James Lowman Mr. Conrad Mora

Dr. & Mrs. Nicholas Valerio, III Mrs. Wadleigh C. Winship

Dr. & Mrs. Alexander Gross

Mr. & Mrs. Michael E. Paulhus

BRONZE $2,500+

John L. Hammaker

Mr. Charles Sharbaugh

Mr. & Mrs. Paul Blackney

Mary Ruth McDonald

Mr. & Mrs. Timothy E. Sheehan

Mrs. Enrique E. Bledel

Rhys T. & Carolyn Wilson

Christine & Mark St.Clare

Mr. & Mrs. Raymond H. Chenault

The Mary & Charlie Yates Family Fund

John & Yee-Wan Stevens

Dr. John W. Cooledge

Mr. & Mrs. William E. Tucker


Bob & Cappa Woodward Charitable Fund

Mr. Richard H. Delay & Dr. Francine D. Dykes

Cathy & Mark Adams

Clara M. & John S. O’Shea

Col. & Mrs. Edgar W. Duskin

Mr. Tomer Zvulun & Mrs. Susanna Eiland

Drs. Morgan & Susan Horton Eiland Dr. & Mrs. Donald J. Filip

Victoria & Howard Palefsky

SILVER $5,000+

Mr. William Pennington

Mrs. Phillip E. Alvelda

Dr. Thomas N. Guffin, Jr.

Mr. William F. Snyder

Mr. & *Mrs. Shepard B. Ansley

Mr. & Mrs. Edward J. Hardin

Judith & Mark Taylor

Bryan & Johanna Barnes

Brian & Marie Ward

Mr. & Mrs. Dante Bellizzi

Eda Hochgelerent, MD & Bruce Cassidy, MD

Ms. Janine Brown & Mr. Alex J. Simmons, Jr. Mr. & Mrs. John L. Connolly

PATRON’S CIRCLE $15,000+ Mr. & Mrs. C. Duncan Beard Mr. David Boatwright

Dr. R. Dwain Blackston

Ms. Rebecca Y. Frazer & Mr. Jon Buttrey

Ms. Suzanne Mott Dansby

Linda L. Lively & James E. Hugh, III

Mr. & Mrs. Robert G. Edge

Candy & Greg Johnson

Mr. Arthur Fagen

Mr. & Mrs. Gert Kampfer

Ms. Ariana B. Fass

Ms. Salli LeVan Belinda & Gino Massafra | @theatlantaopera

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.

© 2018 Homer TLC, Inc. All rights reserved.

42 | giving&support Mr. James D. Powell

Mr. & Mrs. Richard P. Nicholas, III

Dr. & Mrs. David J. Frolich

Lynn & Kent Regenstein

The Opera Guild for Atlanta

John Gam, Ph. D.

Mr. James L. Rhoden

George Paulik

Ms. Louise S. Gunn

Mr. & Mrs. J. Barry Schrenk

Lucy S. Perry

Mr. Joseph Gyengo

Morton & Angela Sherzer

Dr. & Mrs. Lawrence S. Phillips

Jim & Virginia Hale

Mr. & Mrs. Nicholas Shreiber

Mr. Lawrence F. Pinson

Mr. & Mrs. Douglas Hantula

Johannah Smith

Mrs. Betsy Pittman

Peter J. Stelling & Jody C. Weatherly

The Reverend Neal P. Ponder, Jr.

Mr. Ronald L. Harris & Mrs. Jacqueline Pownall

Dr. Michael F. Pratt & Nancy Peterman

Dean & Vivian Haulton

Mrs. Hugh Tarbutton Mr. & Mrs. George B. Taylor, Jr.

Richard Restagno


R.J. & D.G. Riffey, Jr.

James E. Honkisz & Catherine A. Binns

Mr. & Mrs. S. Albert Sherrod

Richard & Linda Hubert

Mr. & Mrs. Milton W. Shlapak

Mrs. & Mr. Dorothea Jeffrey

Mr. Fred B. Smith

Mr. Richard P. Johnson

Gail & Barry Spurlock

Cliff Jolliff & Elaine Gerke

Dr. Jane T. St. Clair & Mr. James E. Sustman

Mr. & Mrs. Richard P. Grodzicki

Lynne & Steven Steindel

Ms. Eleanor Kinsey

Mr. Paul Snyder

Joan & Arnold Kurth

Dr. & Mrs. Kenneth G. Taylor

Chris & Jill Le

Maureen & Michael Dailey

Mr. Stephen H. Thompson & Mr. Drew Mote

Juliette & Andrew Lebor

Dr. & Mrs. F. Thomas Daly Jr.

Ms. Betsy K. Wash

Amy & James Davis

Allan & Veneesa Little

Alan & Marcia Watt

Mr. Thomas Emch

Richard Lodise & Valerie Jagiella

Dr. & Mrs. James O. Wells, Jr.

Rita Evans

*Dr. & Mrs. R. Craig Woodward

Dr. Robert & Judge Stephanie Manis

Mr. & Mrs. Robert O. Banker Ms. Hope M. Barrett Stanford M. Brown Chris Casey & Douglas Weiss Carol Comstock & Jim Davis Mr. & Mrs. Edward S. Croft III Mrs. Overton A. Currie

Dr. Mary M. Finn Mr. Micah Fortson R. Derril Gay, Ph.D. Mr. Michael Golden & Dr. Juliet Asher

SUPPORTER $500+ Judith M. Alembik Anonymous

Donna & Richard Hiller

Mrs. Peter G. Kessenich

Livvy Kazer Lipson

Samantha & William Markle Mr. Thomas L. McCook Mr. & Mrs. M. Sean Molley Mrs. Thespi P. Mortimer Terri & Stephen Nagler

Mrs. John W. Grant, III

Col. & Mrs. John V. Barson, D.O.

Mrs. Helen C. Griffith

Natalie & Matthew Bernstein

Mr. George Hickman, III

Mrs. Marilee F. Betor

Mr. & Mrs. Thomas D. Hills

Cynthia & Albert Blackwelder

Mr. & Mrs. Harry C. Howard

Dr. & Mrs. Jerry Blumenthal

*Mr. & Mrs. W. Barrett Howell, Jr.

Ms. Martha S. Brewer

Mr. & Mrs. David C. Huffman

Cynthia Carns

Mrs. Cecile M. Jones

Mr. & Mrs. George Cemore

Lisa Kennedy

Mr. Lawrence M. Cohen

Mr. Stephen L. Rann & Ms. Dytre Fentress

Mr. & Mrs. Gedas Kutka

Mr. N. Jerold Cohen & Ms. Andrea Strickland

Sandra & Ronald Rousseau

Mr. & Mrs. Charles Cohn

Dr. & Mrs. William M. Scaljon

Mrs. Treville Lawrence Dr. Carlos E. Lopez Dr. & Mrs. Steven Marlowe Mr. & Mrs. Lee Mathis Mr. Stedman C. Mays , Jr. & Mr. Charles Bjorklund Mr. & Mrs. Allen P. McDaniel Shelley McGehee James & Kathleen Meucci Ms. Audrey Morgan Barbara & Mark Murovitz

Mrs. Jan W. Collins Ms Lillianette Cook & Ms. Carol Uhl John & Linda Cooke Mrs. Carol J. Clark Mr. & Mrs. Michael J. Curry Jim & Carol Dew Denis & Sandra DuBois Mr. Mark du Mas Mr. & Mrs. Robert F. Engeman, Sr. | @theatlantaopera

Ms. Mollie W. Neal John & Agnes Nelson Mr. Denis Ng The Honorable & Mrs. George A. Novak Mr. & Mrs. Steve Paro Mr. Darryl-Christopher Payne

Mr. Alan J. Savada Judge Mike & Mrs. Jane Stoddard Steve & Christine Strong Dr. & Mrs. William H. Stuart Kay & Alex Summers Dr. & Mrs. Michael Szikman Ms. Virginia S. Taylor Rae & George Weimer Kiki Wilson

| 43

Jerrie S. Woodward

Stanley & Elaine Mager

Sherrilyn & Donn Wright

Mr. & Mrs. David N. Minkin

Dr. Daniel S. Blumenthal & Dr. Marjorie Speers


Mr. Frank M. Monger

Ms. Martha Bobo

Ms. Carol Niemi

Ms. Mary D. Bray

Mr. John Owens

Mr. Richard Brownlee

Mr. Joseph M. Pabst

Ms. Anne Burnett

Mr. & Mrs. William A. Parker, Jr.

Drs. Brenda & Craig Caldwell

Mr. & Mrs. Henry C. Parrish III

Michael J. & Debra M. Caldwell

Mr. & Mrs. John Payan

William A. Campbell

Ms. Sandra Perkowitz

Dr. & Mrs. W. Jerry Capps

Mr. & Mrs. John H. Petrey

Mr. Rik Carlson

Dan Pompilio & Lark Ingram

Ms. Kathleen Casses

Mr. Robert Quish

Mr. & Mrs. Thomas E. Ciecorka

*Sharon & Jim Radford

Dr. Earle D. Clowney

Mrs. Karin Radosta

Ms. Sally Combs

Ward Reed

Dr. & Mrs. John R. Corbin

Weslyn A. Samson

Mr. Bruce W. & Mrs. Kate Cotterman

Dr. Raymond Allen Paula Stephan Amis Mr. & Mrs. David S. Baker Drs. Tatiana & Igor Bidikov Mr. Matt Blackburn Mr. Jonathan Blalock Mr. & Mrs. George Boulineau Ms. Dianne Brannen Paul Brenner James & Nancy Bross Dr. Christine Bruno Mark & Peg Bumgardner Lori & David Chastain Mr. & Mrs. Don S. Coatworth Mr. Michael Colbruno Mr. & Mrs. Newt Collinson

Ms. Regina Schuber Dr. & Mrs. Steve M. Shindell Mr. Robert Sidewater

Mrs. Eleanor Crosby Ms. Ann Cummings

Dr. & Mrs. Stanley J. Smits

Mr. Daniel Dammann & Dr. Michael Zinsmeister

Mr. & Mrs. Robert Stansfield

Leatrice Damus

Mr. John Stephenson

Su & Gordon Danniels

Dr. Susan Y. Stevens

Mr. Philip D. Dawson

Fred & Linda Stewart

Mr. & Mrs. David R. Dye

Mr. & Mrs. Frederick A. Stuart

Mr. & Mrs. Robert R. Eckardt

Sarah & David Sutherland

Janice & Charles M. Edwards III

Carolyn & Robert Swain

Mrs. Teresa Elbel

Mr. & Mrs. Charles D. Tuller

Ms. Paula L. Ellis

Dr. & Mrs. James H. Venable

Grazyna Eubanks

Mrs. Linda P. Vinal

Mrs. Arnoldo Fiedotin

Ms. Parsla A. Welch

Judy & Stan Fineman

Jone Williams

Ms. Lora Fitzgerald

Mr. & Mrs. Kennedy Williams , Jr.

Ms. Mozelle Funderburk

Mr. & Mrs. Sam Hagan

Mr. & Mrs. John Zellner

Mr. Glen Galbaugh

Ms. Marilyn M. Hall


Mr. James Gary

Pearlann & Jerry Horowitz

Dr. Catherine Allard

Dan & Harriet Gill

Ms. Jan W. Hughen

Mr. Mostafa Ammar

Mr. & Mrs. Sander L. Gilman

Mr. Scott Ingram

Anonymous (3)

Mr. Richard Goodjoin

Robert & Barbara Jackson

Ms. Janice Arsan

Marie Graham

Ms. Brenda D. Jennings

A. J. Earley & W. L. Green

Mr. & Mrs. Edward Katze

Atlanta Opera Orchestra Players Association

Mr. & Mrs. Larry C. Keister

Mrs. Elizabeth Bair

Ms. Anne L. Grossman & Dr. Leonard Berger

Mr. & Mrs. Fred R. Keith

Mr. Jordan Barkin

Ms. Donna Hall

John & JoAnn Keller

Mr. Brian D. Beem

Dr. & Mrs. Bannester L. Harbin

Dr. Rose Mary Kolpatzki

Carol J. Belay

Kent & Toni Harrington

Ms. Leslie Leland

Claire & Bryan Benedict

Ms. Freya Harris

Mrs. Dale Levert & Mr. George W. Levert

Daniel & Bethann Berger

Dr. Thomas High

Ms. Jane Beylouny

Cathy & Mark Hill

Mrs. Jeanine Lewis

Mr. & Mrs. Michael Blackwood

Ms. Sharon E. Hill

Sophie Li

Ms. Barbara Blankenbeker

Mr. Joseph Ho

Mr. & Mrs. Allen H. Lipis

Dr. & Mrs. Donald Block

Mrs. Sally Horntvedt

Mrs. Claudia Colvin Mr. T. Dennis Connally Mr. David D’Ambrosio Mr. & Mrs. Harold T. Daniel Jr. Dr. & Mrs. Albert De Chicchis Ms. Barbara B. Dowd Mr. Mark Edmundson Ms. Martha Fineman Dr. & Mrs. Richard D. Franco, MD Ms. Maryanne F. Gaunt Col. & Mrs. Donald M. Gilner Dr. & Mrs. Martin Goldstein James C. Goodwyne & Christopher S. Connelly

44 | giving&support Mrs. Margaret Talmadge Howell

Patricia & Laughlin McDonald

Harriet Ruskin

Mr. David Hubble

Ms. Robin McDonald

Dr. & Mrs. Joseph M. Scanlan

Guy & Joyce Hutchison

Peggy Weber McDowell & Jack McDowell

Crista & Glenn D. Schaab

Dr. Denise Jamieson & Dr. Tracee Treadwell

Dr. Rene McEldowney Mrs. Gwendolyn Michel

Mr. Donald Schreiber & Ms. Barbara Seal

Ms. Susan Johnston & Mrs. Shannon Motley

Cindy & Edward Miller

Ms. Gretchen Schulz

Mr. Simon Miller

Mr. Karin Schwerd

Mr. & Mrs. Thomas E. Johnston

Ms. Judith R. Millner

Mr. Andrew J. Sebor

Ms. Beth Jones

Berthe & Shapour Mobasser

Mr. & Mrs. Charles M. Shaffer, Jr.

Mr. John M. Jones

Ms. Silke Shilling

Ms. Lynne Elliott Jones

Ms. Sally B. Molloy & Mr. John Iacovelli

Mr. & Mrs. Jerry Juchelka

Mr. Albert M. Morrison

Mr. Joshua Shubin

Mr. Stephen J. Kalista

Ms. Camilia Mouton

Mr. Christopher Smirl

Jane & Bob Kibler

Mr. & Mrs. Michael J. Muszynski

Elizabeth Morgan Spiegel

Donna Jane Kilgore

David Turnage & Alice Nelson

Roberta H. Stevens

Helen & Steven Kraus

Mr. & Mrs. David Norris

Mr. Raymond A. Strikas

Ms. Sandra L. Kroll

Ms. Debra Nuyan

Ms. Jennifer C. Su

Mrs. Emma Lankford

Ms. & Mr. Sandra S. Owens

Mr. John Sumrall

Mr. & Mrs. Roy M. Lantz

Rev. Louisa T. Parsons

Ms. Katharine Suttell

Michelle M.S. Lee

Edward & Marjorie Patterson

Barbara & Jon Swann

Lucy R. & Gary Lee, Jr.

Ms. Mary Percy

Mr. & Mrs. John Tanzola

David & Kathy Linden

Mr. & Mrs. Frederick C. Taylor

Donna & Trevor Lumb

Mr. Robert & Mrs. Pam Peterman

Mr. & Mrs. William J. MacKenna

Ms. Sophia B. Peterman

Dr. Chalam Mahadevan

George & Libba Pickett

Mr. & Mrs. William J. Majoros

Calvin Pleasants & Vasily Goncharov

Mr. Rolf Ingenleuf

Ms. Deborah A. Marlowe Alfred M. Martin Ms. Nancy Martin Adair & Joe Massey Katherine B. Maxwell & Michael J. Maxwell

Mr. Redd Schoening

Mrs. Sara L. Shlesinger

Mr. & Ms. Wolfgang Tiedtke Ms. Nancy A. Thomas Ms. Laura P. Wagner Mr. & Mrs. A. E. Westmoreland, Jr.

Miss Phoebe Pomeroy

Mr. & Mrs. Robert P. White

Virginia Puckett

Ms. Beth Williamson

Ms. Jean Robertson

Dr. & Mrs. David Wingert

Catherine Rodrigue

Mrs. Mary S. Wright

George Rodrigue | @theatlantaopera


| 45

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 (3) 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 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 Ms. Anne Marie Gary Peg Simms Gary Mr. & Mrs. Sidney W. Guberman Ms. Judy Hanenkrat

The Hilbert Family Trust Mr. Hilson Hudson *Mrs. Joseph B. Hutchison Mr. J. Carter Joseph Mr. Alfred D. Kennedy Mrs. Alfred D. Kennedy, Sr Mrs. Isabelle W. 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. 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 Dr. Jane T. St. Clair & Mr. James E. Sustman Mr. Tarek Takieddini 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 memory of Dr. Joseph C. & Ruth P. Barnett Dr. Florence C. Barnett In honor of Mr. Jonathan Blalock Mr. Michael Colbruno In honor of Mr. John Brown Mr. & Mrs. David S. Baker In honor of Mr. Emory Clements *Mr. & Mrs. W. Barrett Howell, Jr. In honor of Mr. Robert P. Dean Cathy & Mark Adams In honor of Mr. Robert G. Edge Mrs. Eleanor Crosby Ms. Leslie Leland In honor of Mr. Lance Fortnow Annie Fortnow In memory of Mr. Thomas Gregory Ms. Virginia Puckett Ms. Patricia Stone In honor of John L. Hammaker Cathy & Mark Adams In memory of Harriet H. Harris Ms. Freya Harris In honor of Ms. Sydney Hembree Anonymous In memory of Mr. Kenneth Bryan Horton Dr. & Mrs. Morgan Eiland In honor of Mrs. Margaret Talmadge Howell Dr. John W. Cooledge

In honor of Mr. Gregory F. Johnson Cathy & Mark Adams In honor of Mr. Alfred D. Kennedy Cathy & Mark Adams In honor of Allan & Veneesa Little Mrs. Kristin D. Whatley In honor of Mr. William A. Markle Anonymous In honor of Mrs. Mary Ruth McDonald Anonymous In honor of Victoria & Howard Palefsky Elizabeth Morgan Spiegel Judith & Mark Taylor In honor of Mrs. Polly N. Pater Anonymous Mr. & Mrs. Brian Beem In honor of Mr. & Mrs. Michael E. Paulhus Cathy & Mark Adams In honor of Mr. Lawrence F. Pinson Anonymous In memory of Mr. George P. Rodrigue Dororthy McDaniel Mr. & Mrs. Thomas D. Hills Catherine Rodrigue In memory of Mrs. Mary C. Rodrigue Marcella Jimenez Dororthy McDaniel George Rodrigue Ms. Jennifer C. Su

In honor of Mr. G. Kimbrough Taylor, Jr. Laura & Cosmo Boyd Mr. & Mrs. Bill Vance In honor of Mr. & Mrs. William E. Tucker Cathy & Mark Adams In honor of Mrs. Rae Weimer Anonymous Mr. & Mrs. Montague L. Boyd, IV Mr. William A. Markle Mr. & Mrs. Allen P. McDaniel Mary Ruth McDonald Peggy Weber McDowell & Jack McDowell The Reverend Neal P. Ponder, Jr. John & Yee Wan Stevens Mr. Tomer Zvulun & Mrs. Susanna Eiland In honor of Rhys & Carolyn Wilson Cathy & Mark Adams In honor of Mr. Charles R. Yates, Jr. Cathy & Mark Adams Mr. & Mrs. Larry C. Keister Mr. Robert Quish Sarah Sutherland In honor of Mr. Tomer Zvulun & Mrs. Susanna Eiland Cathy & Mark Adams John Greer

46 | giving&support CORPORATE PARTNERS $100,000+ The Coca-Cola Company Ameris Bank The Home Depot Foundation

$50,000+ Federal Home Loan Bank of Atlanta


The Capital Group Companies Charitable Foundation CIBC Gas South PricewaterhouseCoopers SAP Success Factors TriMont Real Estate Advisors, Inc. The Hilbert Law Firm, LLC WarnerMedia

$2,500+ UBS Financial Services Inc. Wallace Graphics WhatBox Innovation Partners

$1,000+ National Distributing Co., Inc.

Batdorf & Bronson Coffee Roasters

FOUNDATIONS & GOVERNMENT SUPPORT FOUNDATIONS $225,000+ Livingston Foundation, Inc. Molly Blank Fund of The Arthur M. Blank Family Foundation

$50,000+ Atlanta Music Festival Fund of The Community Foundation for Greater Atlanta The Sara Giles Moore Foundation The Zeist Foundation, Inc.

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

$10,000+ George M. Brown Trust Fund JBS Foundation The Ray M. & Mary Elizabeth Lee Foundation, Inc. Norfolk Southern Foundation Wells Fargo Foundation David, Helen, & Marian Woodward Fund

$5,000+ Camp-Younts Foundation Nordson Corporation Foundation Frances Wood Wilson Foundation, Inc.

$1,000+ Mary Brown Fund of Atlanta, Georgia Hills Family Foundation Kiwanis Foundation of Atlanta Charles Loridans Foundation, Inc. | @theatlantaopera

GOVERNMENT $20,000+ City of Atlanta Mayor’s Office of Cultural Affairs National Endowment for the Arts

10,000+ Georgia Council for the Arts


| 47

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 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 Mr. Robert Dean Ms. Martha Thompson Dinos Mr. Dieter Elsner Dr. Donald J. Filip Mr. Kevin Greiner Mrs. Joanne Chesler Gross Mr. Howard W. Hunter Mr. Andrew R. Long Mr. James B. Miller, Jr. Mrs. Stephanie Morela Mrs. Sandra S. Morelli 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

Mrs. Marie Ward Mr. Tomer Zvulun, 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

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; Development Co-Chair; Nominating & Board Engagement Co-Chair Mr. Charles “Charlie” R. Yates, Jr. Secretary Mr. Michael E. Paulhus Treasurer Ms. Bunny Winter

Investment Chair & Development Co-Chair Mr. G. Kimbrough Taylor, Jr. Nominating & Board Engagement Co-Chair Ms. Cathy Callaway Adams

At-Large Member Mrs. Sandra S. Morelli Carl W. Knobloch, Jr. General & Artistic Director, ex-officio member Mr. Tomer Zvulun

ADVISORY COUNCIL Mr. Ronald R. Antinori Mr. Andrew J.M. Binns Mr. Kenny L. Blank

Mrs. Inge Bledel Ms. Sally Bland Fielding Mrs. Beth W. Glynn

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

48 | staff EXECUTIVE Carl W. Knobloch, Jr. General & Artistic Director Tomer Zvulun Managing Director Micah Fortson Executive Assistant Chamberlynn Shelton ARTISTIC Carl & Sally Gable Music Director Arthur Fagen Director of Artistic Administration Lauren Bailey Associate Conductor / Chorus Master Rolando Salazar Artistic Services & Studio Manager Wade Thomas Artistic Coordinator & Orchestra Librarian Katie Ude Orchestra Personnel Manager Mark McConnell PRODUCTION Director of Production Kevin G. Mynatt Production Manager Meggie Roseborough Associate Technical Director Joshua Jansen Assistant Stage Manager Marisa Brink Assistant Stage Manager Renée Varnas Lighting Supervisor Marcella Barbeau Properties Artisan Christopher Moneymaker AUDIENCE DEVELOPMENT & EDUCATION Audience Development & Education Manager Jessica Kiger Education Coordinator Alexandria Sweatt COSTUME Costume Director Joanna Schmink Assistant Costume Shop Manager / Wardrobe Supervisor Lauren Allmeyer Work Room Manager Kelly Isaac First Hand L. Elizabeth Payne | @theatlantaopera

Stitcher Brandon T. Thompson Stitcher Brianna Wiegand Wig & Makeup Manager Frandresha “Brie” Hall Dressmaker Heather Bair Dressmaker Abigail Polston Milliner Hallie Dufresne Tailor Jill DiGuiseppe Ager / Distresser Amy MacDonald FINANCE & ADMINISTRATION Director of Finance Kathy J. White Controller Inga V. Murro Human Resources & Office Manager Kenneth R. Timmons Bookkeeper Ruth Strickland DEVELOPMENT Chief Advancement Officer Paul Harkins Associate Director of Development Amy Davis Individual Giving Officer Jonathan Blalock Institutional Giving Officer Camille Cordak Database & I.T. Manager Steven Bras Development Coordinator Elizabeth Root Events & Volunteer Manager Sandy Feliciano MARKETING & COMMUNICATIONS Associate Director of Marketing Rebecca Danis Marketing Manager Laura Lucas Senior Manager, Ticketing Services Renee Smiley Creative Services Manager Matt Burkhalter 288

50 | housepolicies 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. Mobilityimpaired 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. ATM There is one Bank of North Georgia ATM located in the grand lobby. COAT CHECK Coat check is available at the concierge desk. EMERGENCY INFO 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 AND 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. SPECIAL ASSISTANCE 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, firstserved 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. | @theatlantaopera

COBB ENERGY CENTRE RULES AND REQUESTS • 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. • Infants will not be admitted to adult programs. Parents will be asked to remove children who create a disturbance. • There is no late seating allowed. Closed-circuit 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.

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ALMA COCINA introduces Atlanta to a refreshing new approach to modern Mexican cuisine. Bright, fresh ingredients and traditional regional influences come together with other Latin American flavors in a variety of vibrant fresh dishes. Alma Cocina also features the most unique tequila selections and a host of innovative Latin-influenced cocktails beyond a superior margarita. | One Ninety One Peachtree Tower, 191 Peachtree St. NE, Atlanta, Ga. (404) 968-9662

The goal at HERBAN FIX is to share authentic plant based fusion cuisines with vegans, vegetarians, and meat-lovers. Ingredients are premium select, fresh and aimed at good health as well as great tasting. Traditional and authentic dishes have been updated into bold and delightful vegan delicacies. | 565 Peachtree St. NE, Atlanta, Ga. (404) 815-8787.



Located in the heart of Midtown, midway between The Fox Theatre and Atlantic Station, CITY TAP HOUSE is an elevated American pub, specializing in large group dining, corporate and milestone events. City Tap is ideal for game watching sporting events and pre and post show meals & meetups. With free parking and covered outdoor dining, City Tap offers brick oven pizzas, over 40 beers on draught and a full bar. Serving lunch and dinner daily and brunch on the weekends, reservations are appreciated. For questions, details, or reservations, email Info.Atlanta@

THE MELTING POT – Atlanta’s exclusive fondue restaurant – where dining becomes a memorable four-course experience. Dip into something different and discover delectable entrées served with our unique dipping sauces. You’ll also enjoy creamy cheese fondues, lively salads, fine wines and mouthwatering chocolate fondue desserts. Four Atlanta locations: 754 Peachtree St. NE, 404-389-0099, 3610 Satellite Blvd., Duluth,770-623-1290, 2500 Cobb Place Ln., NW, Kennesaw 770-4251411 and 1055 Mansell Rd., Roswell 770-518-4100.


ENCORE’S DINING GUIDE | 848 Peachtree Street, NE. 470-990-7114

Inspired by classic coastal traditions both American and global, LURE presents Atlanta’s freshest fish and the drinks to match in a converted 1920’s bungalow. Anchored in the heart of Midtown on Crescent Avenue, Lure has a sophisticated but casual vibe, fluidly bridging the gap between a weathered seaside fish house and a fine-dining seafood restaurant. | 1106 Crescent Ave. NE, Atlanta, Ga. (404) 817-3650. THE ORIGINAL EL TACO is inspired by bold Tex-Mex flavors and by the sunny street markets of Mexico. The menu is simple cuisine with interesting garnishes and fresh ingredients. Some items are snacks designed to be enjoyed with a cocktail, others are generously portioned and perfect for sharing and | @theatlantaoopera

some are downright decadent and require several margaritas or beers to chase down. | 1186 North Highland Ave. NE, Atlanta, Ga. (404) 8734656. SOUTH CITY KITCHEN specializes in contemporary Southern cuisine with a sophisticated twist. Dine on local specialties such as shrimp and grits, buttermilk fried chicken, shecrab soup, fried green tomatoes and banana pudding while enjoying the view of the exhibition kitchen. | Buckhead, 3350 Peachtree Rd. NE, Suite 140, Atlanta, Ga. (404) 8156677; Midtown, 1144 Crescent Ave. NE, Atlanta, Ga. (404) 873-7358; Vinings, 1675 Cumberland Pkwy. SE, Smyrna, Ga. (770) 435-0700.


LA TAVOLA is a classic, cozy Italian trattoria located in Atlanta’s famous Virginia Highland neighborhood featuring an extensive wine list, classic dishes made from the finest traditional ingredients and approachable, friendly service. Perfect for family gatherings, romantic dinners or just a quick, yet satisfying, bite at the bar, here you will always feel at home around the table at La Tavola. | 992 Virginia Ave. NE, Atlanta, Ga. (404) 873-5430.




52 | encore



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