The Barber Of Seville: March, 2022

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2021-22 SEASON

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“It is better to light a candle than curse the darkness.” – Eleanor Roosevelt. At The Atlanta Opera, it’s something we have tried to do since those early dark days in March of 2020. Now, halfway through our 2021-22 season once again in our home theater, we’re eager for sunny days when candles aren’t necessary anymore. We know you probably feel the same way. Enter The Barber of Seville. Just like last month’s The Pirates of Penzance, this vibrant opera is a comic masterpiece. This production, directed by Michael Shell, had successful runs in many opera houses in America because it is brimming with humor, levity and color in ways that only Rossini can inspire. In late April, we hope you will join us for a very important East Coast premiere. The (R)evolution of Steve Jobs is a labor of love that we have created in partnership with our colleague opera companies in five North American cities from Texas to Canada and all the way back to Georgia. This Grammy-winning opera has been nothing short of a sensation since its premiere in Santa Fe in 2017. I am delighted to share it with you, in a brand-new production that will travel the world in future seasons. Finally, there aren’t enough words to express our anticipation and excitement for next season. It’s the kind of grand season we have all been craving. We are presenting the greatest composers at their finest: Madama Butterfly, Don Giovanni, Candide and the epic Das Rheingold are the main courses of the season. Many of these productions have been in the works for years. Now is the time. Plus, our Discoveries Series continues to bring innovative works to new locations and in new ways. Whether it’s a performance of Bluebeard’s Castle that grapples with issues around dementia or the sheer delight of a beloved children’s story (The Snowy Day) in a new interpretation by Jamaican-American composer Joel Thompson, we are emerging from pandemic days with energy and commitment to bringing you the best. Thank you for being here. Enjoy the performance.

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MUSIC Gioachino Rossini LIBRETTO Cesare Sterbini FIRST PERFORMANCE February 20, 1816, Teatro Argentina, Rome CONDUCTOR (MARCH 5, 8, & 11) Arthur Fagen, Carl & Sally Gable Music Director CONDUCTOR (MARCH 13) Rolando Salazar, Assistant Conductor PRODUCTION DIRECTOR Michael Shell SCENIC DESIGNER Shoko Kambara COSTUME DESIGNER Amanda Seymour LIGHTING DESIGNER Driscoll Otto WIG & MAKEUP DESIGNER David Zimmerman FILMED MEDIA Felipe Barral & Amanda Sachtleben CAST ROSINA Stephanie Lauricella COUNT ALMAVIVA Taylor Stayton FIGARO Joseph Lattanzi DOCTOR BARTOLO Giovanni Romeo DON BASILIO David Crawford BERTA Cadie J. Bryan FIORELLO Sankara Harouna* AMBROGIO David Silverstein AN OFFICER Mitch Gindlesperger STILT WALKER KB Kristen Bailey SUPERNUMERARIES Anya Brante, Tierney Breedlove, Jose Caballero, Prince Conner, Khadijah Davis, Mitch Gindlesperger, Jarrett Heatherly, Renee Holliman, J. Lee Hunter, Hannah Myers, Cherie Restler, David Silverstein, David van Mersbergen, Angelo Villardi, Spiro Winsett MUSICAL PREPARATION Elena Kholodova CHORUS MASTER Rolando Salazar ASSISTANT DIRECTOR Rory Willats PRODUCTION STAGE MANAGER Megan Bennett ASSISTANT STAGE MANAGERS Kristin Kelley & Beth Goodill PROJECTED TITLES BY Kelley Rourke PROJECTED TITLES OPERATED BY Meredith Morse Performed in Italian with English supertitles. Approximate running time: two hours and 45 minutes, plus one intermission. Original Production by Michael Shell | Scenery designed by Shoko Kambara | Costumes designed by Amanda Seymour | Scenery and Costumes produced by Opera Philadelphia and Opera Theatre of St. Louis and Provided by Utah Symphony & Opera. *Member of The Atlanta Opera Glynn Studio. The Glynn Studio Artists are supported by gifts from Beth & Gary Glynn and the Donald & Marilyn Keough Foundation.

10 | productionnote

Notes on the Production WRITTEN BY

Julia Brown Simmons PHOTOS BY

Kelly & Massa

Figaro (Jonathan Beyer) makes his entrance with the famous aria “Largo al factotum” in the 2014 Opera Philadelphia production.

“I don’t want to imitate life in movies; I want to represent it. And in that representation, you use the colors you feel, and sometimes they are fake colors.” — Pedro Almodóvar Film director and screenwriter Almodóvar may raise more questions than he answers: how does one “feel” colors, and what distinguishes a “fake” color from a real one? Yet, his idea—that imitating life is somehow different from representing life, and representing life sometimes requires the unreal or “fake”—is the essence of Rossini’s comic operas. Rossini’s The Barber of Seville represents the realities of life—love, desire, materialism— through a story that uses elements of the unreal— absurdity, farce, randomness. Rossini’s “fake colors” are crucial in this particular Atlanta Opera production, which draws heavily on Almodóvar’s aesthetic. Gioachino Rossini, born in Pesaro, Italy and raised by a singer and a trumpeter, premiered his first opera in 1810 at age 18. He saw immediate success with this one-act | @theatlantaopera

12 | productionnote comedy and within five years moved to Naples to become music director for the royal theaters. In Naples, he continued to write both comic and serious operas, composing eighteen works between 1815 and 1822 alone. At the height of his success and popularity in his thirties, Rossini essentially retired—he withdrew from operas for the last 40 years of his life for reasons that continue to be debated, ranging from illness to complacency. He lived in Paris for the last thirteen years of his life, where he composed songs and chamber music, but no operas.

Rosina (Jennifer Holloway) works for and is the ward to Dr. Bartolo, an ophthalmologist.

Among those eighteen operas composed between 1815 and 1822 is his best-known work, The Barber of Seville, written in 1816 when Rossini was 24 years old. The narrative arc of The Barber of Seville is not Rossini’s own—it is based on a play by French playwright Pierre Beaumarchais. In fact, multiple operas before Rossini’s were written based on the story, including Giovanni Paisiello’s The Barber of Seville, which was premiered in 1782. Because Paisiello’s The Barber of Seville was still in the mainstream, Rossini premiered his opera under the title Almaviva. Rossini’s opera had a challenging start to its run—the impresario died just weeks before the first performance, and opening night was filled with booing audience members and stage accidents. Nonetheless, the opera saw growing | @theatlantaopera

success after its earliest performances. Upon its first revival, it took on its current title and quickly surpassed Paisiello’s version in popularity. At the core of The Barber of Seville are absurd and farcical situations. They are so extreme as to border on the “unreal,” making them in many ways the equivalent of the “fake colors” Almodóvar uses in his films to represent life. There are schemes, random interruptions, and plenty of disguises. This absurdity is paired with underlying realities: the desire and love of Count Almaviva and Rosina as well as the materialism of Figaro, Don Basilio, and Bartolo. Taking a cue from Almodóvar’s exploration of gender and sexuality, Rosina is granted realistic sexual desire instead of being played as an innocent without agency. Count Almaviva and Rosina fall in love with one another, concluding the opera with an anthem to love: “May love and faith eternally be seen to reign in us.” But, it is money that makes the world go round, as Figaro helps Almaviva in exchange for gold, Don Basilio accepts bribes, and Bartolo is as happy with Rosina’s dowry as with Rosina herself. Rossini’s music heightens the sense of randomness and absurdity of the story. The randomness is highlighted by the opera’s overture: Rossini recycled the now-famous

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Almaviva (Taylor Stayton) infiltrates the home of Dr. Bartolo (Kevin Burdette), this time disguised as a music teacher.

14 | productionnote overture from two of his earlier operas (a fact that perhaps makes believable the legend that Rossini wrote the music to the opera in thirteen days). None of the thematic material in The Barber of Seville, therefore, appears in its overture, creating a rather random opening instead of an introduction to the opera that includes themes and motifs from later in the score. The absurdity, furthermore, is emphasized by the arias: the pauses and interruptions from emotionally-heightened arias, sometimes at inopportune moments for the characters, add to the farce of the opera. The plot of Rossini’s Barber is so far-fetched and his characters too exaggerated to ever be taken as an imitation of life—follow, if you dare, a plot synopsis on page 14—but perhaps in all of its colorful absurdity you will find the representation of life Rossini desired to convey.

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15 | synopsis


Boston Lyric Opera PHOTOS


The Atlanta Opera Archives

Rosina (Irene Roberts)


and Figaro (Sidney

Aided by his servant Fiorello and a troupe of musicians, Count Almaviva (under the assumed name of Lindoro) arrives early on the morning of Seville’s April Festival to serenade a young girl he has recently seen. His song receives no response. Almaviva is about to depart when he unexpectedly encounters his former servant Figaro, the town barber. Figaro identifies the girl as Rosina, the ward of Dr. Bartolo: An eccentric eye doctor who collects chicken paraphernalia. Rosina appears on the balcony with a letter for her unknown admirer. She is interrupted by Bartolo but manages to drop the letter off the balcony before he can snatch it from her. The letter requests that her suitor identify himself. Almaviva is frantic about meeting Rosina. Figaro, in his capacity as Bartolo’s barber, offers to help the lovesick Count (for a promise of gold, of course). A regiment is due in town and Figaro suggests that Almaviva disguise himself as a drunken soldier and demand lodging in Bartolo’s house. Inside Bartolo’s home office, Rosina takes delight in her admirer’s voice and resolves that Lindoro will be hers. Figaro manages to enter the house and visit Rosina, but their attempts to talk are frustrated by the appearance of Bartolo and Don Basilio, Rosina’s music teacher, who brings news that Count Almaviva is in town incognito. Don Basilio suggests

Outlaw) from the Atlanta Opera’s 2014 production. | @theatlantaopera

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17 | synopsis

In 2007 The Atlanta Opera presented The Barber of Seville at the Boisfeuillet Jones Atlanta Civic Center. Pictured are Figaro (Hugh Russell) and Rosina (Leah Partridge).

that slander would be the best way to ruin Count Almaviva, but the nervous Bartolo instead decides to have a marriage contract drawn up between himself and Rosina as soon as possible. The two men leave to organize the contract, and Figaro, who has heard their conversation from a hiding place, immediately informs Rosina of the danger.

As Rosina gives Figaro a note for her lover, Bartolo returns and accuses her of writing to an admirer. He threatens to lock her in, but she defies him. Almaviva, now disguised as a drunken army officer, arrives at the house demanding lodging. Bartolo indignantly claims that he has a certificate of exemption from housing the military, and, as he searches for it, Almaviva slips Rosina a note. Catching sight of this trickery, Bartolo orders Rosina to surrender the note, but she cunningly substitutes a laundry list. Almaviva becomes belligerent, threatening to fight Bartolo, and the whole house is in turmoil. Figaro enters, attempting to calm them down. Soon the local militia arrives at the house to restore order, and Almaviva narrowly avoids arrest by secretly identifying himself to the officer in charge. Bartolo is left standing amidst all the activity, amazed and confused. ACT II Bartolo is sitting alone in his study when Almaviva enters in a new disguise. He is now Don Alonso, a music teacher sent to replace the ailing Don Basilio. Bartolo is suspicious, but to allay his fears, “Alonso” shows Bartolo a letter from Rosina to Count Almaviva, claiming that he found it in Almaviva’s lodgings. Fooled again, Bartolo fetches Rosina for her lesson and listens as she performs an air proclaiming that love will surmount all obstacles. Figaro arrives to shave Bartolo. Bartolo sends him to fetch a towel and Figaro takes this opportunity to steal the key to the balcony, smashing a prized ceramic chicken in the process. This “accident” lures Bartolo | @theatlantaopera

19 | synopsis away, allowing Figaro to slip the key to the disguised Almaviva. All is going according to plan when suddenly Don Basilio appears. It takes only a small bribe to persuade him to go home and take care of his “fever.” As Figaro covers Bartolo with lather, the Count whispers the escape plans to Rosina during the singing lesson. Almaviva tells her that he and Figaro will come for her at midnight. Bartolo overhears them and accuses Almaviva, Figaro, and Rosina of scheming against him. Once everyone has withdrawn, the maid, Berta, is left to reflect on the foolishness of lovers of all ages.

Rosina (Constance Hauman) and Figaro (Darren Nimnicht) from The Atlanta Opera’s production of The Barber of Seville in 1984 at The Alliance

Bartolo’s sleep is interrupted by a peculiar nightmare; haunted by the very chickens he loves. After Bartolo wakes up, Figaro and Almaviva appear on the balcony, ready to escape with Rosina. Rosina is at first furious, but her anger quickly turns to delight when she finds out that Almaviva and Lindoro are one and the same. Figaro urges the lovers to make their escape quickly, but upon returning to the balcony, they find that their ladder is gone. At that moment, Don Basilio enters with the notary that Bartolo has hastily engaged. Don Basilio is bribed to act as a witness as the notary marries Almaviva and Rosina. Bartolo arrives with the civil guard but it is too late: the lovers have been wed. Almaviva placates Bartolo by allowing him to keep Rosina’s dowry, and all express relief and joy at the happy outcome. CHIP SIMONE


Don Basilio arrives and Bartolo soon discovers that Don Alonso was an imposter. Bartolo realizes that it is more urgent than ever to marry Rosina immediately, and Basilio hurries off in search of a notary to draw up the contract. Meanwhile, Bartolo attempts to make Rosina doubt her lover by producing the letter that she wrote to Lindoro, saying that it was found in Count Almaviva’s lodgings. Clearly, he argues, Lindoro and Figaro are just hirelings for Count Almaviva. In distress, Rosina agrees to give up Lindoro and marry her guardian that very night. | @theatlantaopera

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21 | director’snote

Director’s Note WRITTEN BY


Michael Shell

Director Michael Shell working on Silent Night at Arizona Opera.

The Barber of Seville is a love story. It is a story of two people, Rosina and Almaviva, a Count in disguise, overcoming obstacles and being together. And with the help of an ingenious Barber, they outwit Bartolo, Rosina’s guardian, and are united. The story is funny, passionate, and quite frankly, totally absurd. Rossini was a master at this type of storytelling. His music, always fresh and vibrant, makes all of these elements come alive and makes the absurd plausible. For this production, I wanted to create an environment that not only allowed for Rossini’s brilliant blending of reality and borderline farce, but also was grounded firmly in Spain. For inspiration, the design team and I turned to the films of Pedro Almodóvar — which have all of the elements of a Rossini opera. Almodóvar is brilliant at walking the line between dramatic comedy and melodramatic absurdity. His films, rich with a vintage feel, are also deeply embedded in Spain and Spanish | @theatlantaopera

culture. But his films also embrace the surreal and random. Sometimes these things are very theatrical and sometimes they are just depicting the randomness of life. Part of the fun of Rossini’s music is that kind of random interruption. At times, the action stops completely just so characters can sing about how crazy the situation is. At others, in the middle of an urgent getaway, someone stops to sing at length about how urgent it is to leave right now — long enough that he can’t escape in time. I wanted this production to embrace the random at a level that keeps the surprises fresh and is always entertaining. We also bring Almodóvar’s sensibility towards his characters in terms of gender and sexuality. Rosina, the opera’s heroine, is usually depicted as an innocent, without sexual desire. This production gives her a little more teeth. Here, she is an assistant to Dr. Bartolo (an optometrist) looking for a life beyond the office walls (think Women on the Verge of a Nervous Breakdown). She has desires, and it seems like this young man serenading her at the start of the opera might be able to fulfil them. She and that young man, Count Almaviva, never formally meet before falling in love. They rarely even speak to each other. It’s a physical spark between them. She has passionate feelings for the guy. If there’s no desire for them to get together, it’s not going work out for them. And we want it to work out. To further root the production in Spain, we set it during the time of the Feria de Abril de Seville (the Seville April Fair), which began as a livestock fair in the late 1800’s and eventually became one of the largest to take place in Seville. At many Fair events, including the opening bullfight, many women wear Flamenco dress and do a very specific type of Flamenco dance — the Sevillanes. The fair still shows its origins with many horse-drawn carriages carrying people wearing traditional costumes that span centuries. The festival is represented by these random people that come in and out of the scenes. Figaro, in a sense, is their gang leader. They show us, in their costuming, the history of the festival and give an unconventional quality to many moments including various change of scenes. Using Almodóvar as our muse, in combination with characters who create the festival atmosphere that happens during the Feria de Abril, we are able to fully inhabit the zany world Rossini has created and to tell its story in the kind of fresh and interesting way that his masterpiece deserves.

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23 | cast&creative Music Director of the Atlanta Opera since 2010, Arthur Fagen is in great demand as a conductor of symphony and opera in Europe, Asia, South America, and the United States. He is a regular guest at the most prestigious opera houses, concert halls, and music festivals at home and abroad where he has an opera repertory of more than 90 works. Fagen conducted a new production of Turandot at The Atlanta Opera opening the 2007-08 season with enormous success and inaugurating the new opera house, the Cobb Energy Performing Arts Centre. He has ARTHUR FAGEN served as Principal Conductor in Kassel and Brunswick, CARL & SALLY GABLE as Chief Conductor of the Flanders Opera of Antwerp MUSIC DIRECTOR and Ghent, as Music Director of the Queens Symphony Orchestra and a member of the conducting staff of CONDUCTOR the Chicago Lyric Opera. Mr. Fagen is also Professor of (MARCH 5, 8, & 11) Orchestral Conducting at the Jacobs School of Music ATLANTA OPERA DEBUT at Indiana University. He was born in New York where LA TRAVIATA, 2005 he began his conducting studies with Laszlo Halasz. Further studies continued at the Curtis Institute under the guidance of Max Rudolf, and both at the Salzburg Mozarteum and with Hans Swarowsky. A former assistant of both Christoph von Dohnanyi (Frankfurt Opera) and James Levine (Metropolitan Opera), Fagen’s career has been marked by a string of notable appearances: from 1998 to 2001, he appeared regularly as Guest Conductor at the Vienna State Opera; he has conducted opera productions at the Lyric Opera of Chicago, Metropolitan Opera, Munich State Opera, Deutsche Oper Berlin, Staatsoper Berlin, New York City Opera, Theatre Capitole de Toulouse, Bordeaux Opera, Frankfurt Opera, Staatstheater Stuttgart, New Israeli Opera, Baltimore Opera. On the concert podium, he has appeared with internationally known orchestras including the Baltimore Symphony Orchestra, Deutsche Kammerphilharmonie, the Czech Philharmonic, Munich Radio Orchestra, Tokyo Philharmonic, to name but a few. | @theatlantaopera

25 | cast&creative Rolando Salazar was the Associate Conductor and Chorus Master for The Atlanta Opera from 2017 through 2020. He has served as assistant conductor and pianist at the Bellingham Festival of Music, as assistant conductor at La Musica Lirica, and as coach/ conductor for the Harrower Opera Workshop. Rolando was seen most recently in performances with The Atlanta Opera, Madison Opera, Atlanta Concert Opera, the Rome Symphony Orchestra, The Atlanta Ballet, the Atlanta Symphony Orchestra, Georgia State University ROLANDO SALAZAR Orchestra, Johns Creek Symphony Orchestra, the Ozark Family Opera, and the Permian Basin Opera. He keeps ASSISTANT CONDUCTOR an active coaching and collaborative piano schedule in & CHORUS MASTER Atlanta, preparing numerous singers for engagements CONDUCTOR with major orchestras and opera houses worldwide. A (MARCH 13) student of Michael Palmer, he is a graduate of Georgia State University with a Master of Music in orchestral ATLANTA OPERA DEBUT conducting and an Artist Diploma in orchestra and LA TRAVIATA, 2013 opera. This season’s production of The Pirates of Penzance marked his 25th production with The Atlanta Opera Chorus.


Michael’s productions have been praised by critics across the nation. Broadway World said of his most recent new production of Leonard Bernstein’s Candide, “This production was one I could watch over and over again. The final picture of the we see on stage, is a beautiful reminder of what our world can be.” Michael has directed productions for The Atlanta Opera, Pittsburgh Opera, Michigan Opera Theater, Opera Omaha, Opera San Jose, Opera Tampa, Opera North, Virginia Opera, Santa Fe Opera, Wexford Festival Opera, Opera Theatre of St. Louis, and Houston Grand Opera. He made his international directing debut at the Wexford Festival Opera in 2010 with a production of Winners by American composer Richard Wargo and returned the next fall to direct Double Trouble–Trouble in Tahiti & The Telephone. Michael was recently appointed Associate Professor at Indiana University’s Jacobs School of Music, and Resident Stage Director for the IU Opera and Ballet Theater. | @theatlantaopera

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Recent work: Animals Out of Paper (Hudson Stage Company), The Prince of Players (World Premiere, Houston Grand Opera), The Little Mermaid (Arkansas Repertory Theatre), The Barber of Seville (Opera Philadelphia, Opera Theatre of St. Louis - St Louis Theater Circle Award for Outstanding Set Design, Opera Omaha), Nice Work If You Can Get It (National Tour, Worklight Productions), Don Pasquale (Juilliard School), 7th Monarch (Off-Broadway, Acorn Theater), The Turn of the Screw (Syracuse Stage), 1-888 Dial India (Various Theaters, SHOKO KAMBARA Mumbai), The Bombitty of Errors (Syracuse Stage), Shining City (Nevada Conservatory Theatre, Las Vegas) SCENIC DESIGNER Broadway associate design work: Macbeth, Nice Work If ATLANTA OPERA DEBUT You Can Get It, Man and Boy, How to Succeed in Business Without Really Trying, Million Dollar Quartet, The Miracle Worker, Ragtime, 33 Variations. Other broadway assistant work: Beautiful, Follies, Grease, Lestat, The Threepenny Opera, The Pajama Game, Little Women, I Am My Own Wife, The Look of Love. Master of fine arts in Scenic Design at NYU Tisch School of the Arts, Bachelor of arts at Dartmouth College

Amanda Seymour is a New York-based costume designer for theatre, opera, tv, film and dance. She has been lucky enough to continue in this career providing clothes appropriate for the character to tell their story, and comfortable for the artist to have confidence in their performance.


27 | cast&creative Driscoll is a lighting and projection designer in New York City. Originally from Texas, Driscoll has been in New York for a decade and a half working with some of the best theatre and opera artists in the world. Driscoll recently designed the projections for The Golden Cockerel at Santa Fe Opera. In 2015 Driscoll had his Metropolitan Opera debut with La Donna del Lago. Other venues in NYC include Ars Nova; The Mint; The Ohio; La Mamma; Lincoln Center Jazz; and Gotham Chamber Opera. Driscoll’s work is seen frequently in regional opera & theatre. In 2015 DRISCOLL OTTO Driscoll designed the lighting for The Colored Museum at The Huntington Theater Company; projections for LIGHTING DESIGNER Next to Normal at Baltimore’s Center Stage; and lighting ATLANTA OPERA DEBUT for The Barber of Seville at Philadelphia Opera. Other companies that Driscoll has worked with include NC Opera; Virginia Opera; Dallas Theatre Center; Dallas Opera; Houston Shakespeare Festival; Trinity Repertory Theatre; The Hangar Theater; Flatrock Playhouse; Utah Festival Opera and productions of Legally Blonde and Rock of Ages for Norwegian Cruise Lines. Driscoll received a Master of Fine Arts from NYU Tisch School of the Arts.

Mr. Zimmerman has worked with opera companies around the world. These Include The Metropolitan Opera (NYC), Opera Theatre of Saint Louis, Santa Fe Opera, Paris National Opera (France), Opera Philadelphia, Chicago Opera Theater, Minnesota Opera, The Dallas Opera, Opera Santa Barbara, International Music Festival (Macau, China), Holy City Lyric Opera (Charleston, SC), and Dutch National Opera (Amsterdam). Mr. Zimmerman’s career extends to Broadway, as well, where he has worked with such shows as Wicked, Rocky Horror, Show Boat, South DAVID ZIMMERMAN Pacific, and Evita. Some of his personal clients include Renee Fleming, Joyce DiDonato, Susan Graham, Patricia WIG & MAKEUP DESIGNER Racette, Martha Stewart, Olympia Dukakis, and Ricky ATLANTA OPERA DEBUT Martin. He has also worked with DIFFA Fashion Runway, THE PIRATES OF Dallas Fashion and Art, and Fashion Magazine. PENZANCE, 2022 Credits include spreads in Opera News, Vanity Fair, and The New Yorker. TV and Film credits are “Glamour Magazine’s Women of the Year,” Margaret (starring Anna Paquin), and Hostiles (starring Christian Bale and Rosemund Pike) | @theatlantaopera

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Lauded by the Opera News for her “ringing upper register and immaculate passagework,” last season, Ms. Lauricella was engaged by the Metropolitan Opera as Mercedes in Carmen, by San Francisco Opera for Rosina in Il barbiere di Siviglia, and by Glyndebourne Opera for Dorabella in Così fan tutte, all of which were canceled due to the COVID-19 pandemic. Her recent credits include: Stephano in Roméo et Juliette (San Francisco Opera); Dorabella in Così fan tutte (Staatoper Hamburg, Paris Opera, Staatsoper Hamburg, Deutsche Oper Berlin and Oper Stuttgart); Idamante in STEPHANIE LAURICELLA Idomeneo (Israeli Opera); Rosina in Il barbiere di Siviglia (Oper Stuttgart, Deutsche Oper Berlin, Opera Hong Kong, ROSINA Arizona Opera); Hansel in Hänsel und Gretel (Bochumer ATLANTA OPERA DEBUT Symphoniker); Beethoven’s Symphony No. 9 (Atlanta Symphony); Annina in Der Rosenkavalier (Glyndebourne Opera); the title role in La cenerentola (El Paso Opera); Stephano in Roméo et Juliette with Madison Opera; Hermia in A Midsummer Night’s Dream (Grand Théâtre de Genève); Isolier in Le comte Ory (Seattle Opera); Komponist in Ariadne auf Naxos (Virginia Opera); and Hänsel in Hänsel und Gretel, and Siébel in Faust, Smeraldina in L’amour des trois oranges, and Mercédès in Carmen (Deutsche Oper Berlin). On the concert stage, Ms. Lauricella has recently sung Beethoven’s Missa solemnis with Donald Runnicles conducting both the BBC Scottish Symphony and the Atlanta Symphony Orchestra, and Suzy in La rondine with the Bayerische Rundfunkorchester in a performance that will be recorded for commercial release. Ms. Lauricella holds a Bachelor of Music degree in vocal performance from Ithaca College and a Master of Music degree in vocal performance from Manhattan School of Music.

Tenor Taylor Stayton’s “laser-bright timbre” and “exceptional fluidity above the staff” (Opera News) continue to distinguish him as one of the most soughtafter tenors in his repertoire. Described as “deserving to be numbered on the short list of Rossini allstars” by Opera Today, Stayton premiered the role of Almaviva in Il barbiere di Siviglia with Opéra de Lille in 2012 and has reprised the role at the Deutsche Oper Berlin, Nashville Opera, and Opera Philadelphia, as well as on a tour throughout France. Additional roles in the bel canto TAYLOR STAYTON repertoire include his debut as the title character in Le Comte Ory with Des Moines Metro Opera, Don Ramiro in COUNT ALMAVIVA La Cenerentola at the Glyndebourne Festival and Tonio in ATLANTA OPERA DEBUT La fille du regiment in his debut with Palm Beach Opera. Stayton made his critically acclaimed Metropolitan Opera debut in a last-minute performance as Percy in Anna Bolena, and returned as Elvino in La Sonnambula opposite Diana Damrau.

29 | cast&creative


A 2017 recipient of a top prize from the Sullivan Foundation, Joseph Lattanzi returns home to Atlanta to bring to life his debut in the illustrious title role of Rossini’s Il barbiere di Siviglia with The Atlanta Opera. Previously with The Atlanta Opera, he was heard in productions of Pagliacci, Sweeney Todd, and Carmen, and he made his Atlanta Symphony debut in 2019 in a concert featuring the music of Leonard Bernstein. Lattanzi established himself as a singer to watch with his portrayal of Hawkins Fuller in the world premiere of Greg Spears’ Fellow Travelers JOSEPH LATTANZI with Cincinnati Opera in 2016. Since the premiere, Lattanzi has been heard in the role with Lyric Opera of Chicago, FIGARO at the Prototype Festival in New York City, and with ATLANTA OPERA DEBUT Arizona Opera. Praise for his performances included The MADAMA BUTTERFLY, 2014 New York Times saying “Joseph Lattanzi was splendid as Hawk, his buttery baritone luxuriant and robust.” and Opera News described him as a “confident, handsome presence, and a resonant baritone suggesting wells of feeling that the character might prefer to leave untapped.” Other recent engagements include Dandini in La Cenerentola for Virginia Opera, the title role in Don Giovanni with Jacksonville Symphony, and Count Almaviva in Le nozze di Figaro for Cincinnati Opera. Lattanzi has been a regular at The Metropolitan Opera since the 201819 season including productions Eurydice, Der Rosenkavalier, Madama Butterfly, Marnie, and Kat’a Kabanova. A regular with Arizona Opera, Lattanzi was a member of the Marion Roose Pullin Studio, and has been heard as Lt. Audebert in Silent Night, the title role in Don Giovanni, and Riolobo in Florencia en el Amazonas.

Taylor Stayton is Count Almaviva, who arrives in Seville in pursuit of the beautiful Rosina. From Opera Philadelphia’s 2014 production. | @theatlantaopera

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Milanese bass-baritone Giovanni Romeo is one of the youngest Italian talents who have establishing themselves on the most important opera stages worldwide, such as Teatro alla Scala in Milan, Auditorium Rai in Turin, Teatro Massimo in Palermo, Carlo Felice in Genoa, Malibran (Gran Teatro La Fenice) in Venice, Filarmonico in Verona, Teatro Verdi in Salerno, Bolshoi Theatre in Moscow, Deutsche Oper Berlin, NCPA in Beijing, ABAO in Bilbao, Opera de Oviedo, Opéra de Monte-Carlo and many others. After starting his career with the “Laboratorio lirico del 700” at GIOVANNI ROMEO the Bibiena Theatre in Mantua as Uberto in Paisiello’s La Serva Padrona and as Geronimo in Cimarosa’s Il Matrimonio DOCTOR BARTOLO Segreto, he debuted many Mozart and Donizetti roles, ATLANTA OPERA & both as bass and as baritone buffo, thanks to his vocal U.S. DEBUT extension and flexibility. Among his signature funny roles, Dr. Bartolo in Il barbiere di Siviglia, Don Magnifico in La Cenerentola and Barone Trombonok in Il Viaggio a Reims by Rossini; the title role in Don Pasquale, Dr. Dulcamara in L’Elisir d’Amore and Sulpice in La fille du regiment by Donizetti; Don Alfonso in Così fan tutte and Papageno in Die Zauberflöte by Mozart. His vocal and dramatic versatility ranges as far as the Sancho Panza in Massenet’s Don Quichotte. Future engagements include Il turco in Italia at Opéra de Monte-Carlo and at Wiener Staatsoper, and a revival of Il Barbiere di Siviglia at the Bolshoi Theatre in Moscow. This production marks Giovanni’s United States debut.

Rosina (Jennifer Holloway), Figaro (Jonathan Beyer), and Almaviva (Taylor Stayton). From Opera Philadelphia’s 2014 production.

31 | cast&creative Since making his debut with the Metropolitan Opera in 2007 as The Warrior Apparition in Macbeth, American bass-baritone David Crawford has taken part in over three hundred performances and covered roles in over two hundred performances with the company. Highlights include performances of Les contes d’Hoffmann, Roméo et Juliette, Manon Lescaut, I puritani, Eugene Onegin, Anna Bolena, Turandot, Madama Butterfly, Un ballo in maschera, Andrea Chénier, Les Troyens, Nabucco, La fanciulla del West, Armida, Ariadne auf Naxos, and Angelotti and DAVID CRAWFORD the Jailer in Tosca among others. Mr. Crawford recently appeared in concert with the Knoxville Symphony DON BASILIO Orchestra, sang Don Basilio in Il barbiere di Siviglia with ATLANTA OPERA DEBUT Boston Lyric Opera, Raimondo in Lucia di Lammermoor ROMEO AND JULIET, 2016 with Knoxville Opera, and a returned to the Metropolitan Opera to cover Masetto in Don Giovanni and Angelotti in Tosca. Additional career highlights include previous appearances with The Atlanta Opera as Zuniga in Carmen and the Duke in Roméo et Juliette, Betto in Gianni Schicchi with the Seiji Ozawa Music Academy Opera in Japan, Banquo in Macbeth, William Jennings Bryan in The Ballad of Baby Doe with Chautauqua Opera, Caspar in Der Freischütz with Des Moines Metro Opera, the King in Transformations with Wexford Festival Opera, and Monterone in Rigoletto with Florida Grand Opera.

Almaviva (Taylor Stayton), Don Basilio (Wayne Tigges), Figaro (Jonathan Beyer), Rosina (Jennifer Holloway), Berta (Katrina Thurman), and Dr. Bartolo (Kevin Burdette). From Opera Philadelphia’s 2014 production. | @theatlantaopera

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Praised as “sparkling” and “pertly pealing” by Opera News, Louisiana-born soprano Cadie J. Bryan is quickly emerging as a captivating and versatile performer in a variety of repertoire. Her 2021-22 season features house debuts with The Dallas Opera in concert for the Hart Institute for Women Conductors and Opera Las Vegas as Addie Mills in the west coast premiere of Ricky Ian Gordon’s The House Without a Christmas Tree, as well as a return to Arizona Opera to reprise the role of Despina. She recently came out of the Marion Roose Pullin Arizona Opera Studio CADIE J. BRYAN where she performed mainstage leading and supporting roles including Musetta in La bohème, Susanna in Le nozze BERTA di Figaro, Bess in Craig Bohmler’s Riders of the Purple ATLANTA OPERA DEBUT Sage, Maid in the Taliesin West Premier of Daron Hagen’s Shining Brow, and Annina in La traviata. She spent three seasons as an Apprentice Artist with Des Moines Metro Opera during which she debuted roles including Clarine in Rameau’s Platée, Prilepa in The Queen of Spades, and Second Wood Sprite, in an Emmy award-winning production of Rusalka. Dedicated to promoting new works, Cadie’s other career highlights include Chan Parker in Daniel Schnyder’s and Bridgette Wimberly’s Charlie Parker’s Yardbird and Lucy in Fellow Travelers (Arizona Opera) as well as Clara in Jake Heggie’s and Gene Scheer’s It’s A Wonderful Life (Indiana University). Cadie is an alumnus of Ravinia’s Steans Institute for singers where she studied and performed in a variety of art song and Lieder recitals with world-renowned pianists and coaches. She received a Master of Music and a Performance Diploma from the Indiana University Jacobs School of Music and her Bachelor of Music from Louisiana State University.

33 | cast&creative Baritone Sankara Harouna hails from the South Side of Chicago, and studied music at Kentucky State University. He began his musical journey in the traditional arts of West African culture, music and drumming, and has had the opportunity to perform across the country singing different styles of music from jazz to gospel to classical. For the 2021-22 season, Sankara premiered with The Atlanta Opera as a Glynn Studio Artist where he made his debut with in Gilbert and Sullivan’s The Pirates of Penzance as Samuel. In the summer of 2021, he portrayed the role of The Officer in SANKARA HAROUNA Rossini’s The Barber of Seville with Cincinnati Opera where GLYNN STUDIO ARTIST he was slated to be a 2020 Young Artist, until the season was cancelled due to the COVID-19 pandemic. Sankara also FIORELLO portrayed the role of Derrick Wheatt in Cincinnati Opera’s ATLANTA OPERA DEBUT 2019 World Premiere of Blind Injustice by Scott Davenport THE PIRATES OF Richards and David Cote. He has also performed numerous PENZANCE, 2022 times with the Kentucky Opera, including performing the role of The Page in Gian Carlo Menotti’s Amahl and the Night Visitors in 2018, and the role of First Prison Guard in Jake Heggie’s Dead Man Walking in 2017. He also was a featured soloist in Kentucky Opera’s Holiday Celebration in December 2021. He was part of the 2018 inaugural class of Canto Vocal Programs singing the role of Antonio in The Marriage of Figaro, a lead jazz vocalist with the Avant-Garde Hip HOpera by David Boykin, and was a featured artist in the Six Degrees Women Composers Concert where he sang compositions by Regina Harris Baiocchi and Ann E. Ward. In the summer of 2022, he will be an Apprentice Artist with Des Moines Metro Opera where he will make his debut as Nelson in the Gershwin’s Porgy and Bess.

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David is thrilled to be back with The Atlanta Opera. Past work included supernumerary in Mozart’s The Magic Flute and Don Giovanni, Puccini’s La bohème, the Gershwins’ Porgy and Bess, Donizetti’s Lucia di Lammermoor, and Rossini’s The Italian Girl in Algiers, and The Barber of Seville. Originally from New Jersey, David has been an Atlanta resident since 2003.


Mitch Gindlesperger, bass-baritone, is a regular member of The Atlanta Opera Chorus, and has performed roles with The Atlanta Opera including Antonio in Le Nozze di Figaro, Second Philistine in Samson et Dalilah, German Soldier in Silent Night, Prison Guard in Dead Man Walking, First Soldier and Second Soldier in Salome, and the Old Gypsy in Il trovotore. Mr. Gindlesperger also has prior experience with The Atlanta Opera Studio performing Master Classes and Opera Workshops for high schools across MITCH GINDLESPERGER the state of Georgia. Mr. Gindlesperger received his vocal performance degree from Clayton College and AN OFFICER State University. He has also performned many other ATLANTA OPERA DEBUT: roles including Figaro in the Atlanta Concert Opera’s SAMSON ET DELIILAH, 1999 production of Le Nozze di Figaro, 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.

35 | theatlantaoperachorus CHORUS MASTER Rolando Salazar

BASS John Alston Christopher S. Connelly Mitch Gindlesperger Gus Godbee Samy Itskov Rick Latterell Timothy Marshall Michael O’Hearn Randall Perkins Van-Arc Wright

Dr. Bartolo (Kevin Burdette) and his maid, Berta (Katrina Thurman) | @theatlantaopera


CHORUS MEMBERS TENOR Robert P. Banks Matthew Boatwright Jose Caballero Travis Hall M. Grant Jones Eric Mask Cody Russell Billy Valentine Michael Vavases Daniel Weisman


VIOLIN Peter Ciaschini The Loraine P. Williams Orchestra Concertmaster Chair Helen Kim Assistant Concertmaster Fia Durrett Principal Second Adelaide Federici* Assistant Principal Second Jessica Stinson Acting Assistant Principal Second Edward Eanes* Felix Farrar* Robert Givens Patti Gouvas Kim Hain Lisa Morrison Shawn Pagliarini

VIOLA William Johnston Principal

CLARINET David Odom Principal

Ryan Gregory Acting Assistant Principal

John Warren

Julie Rosseter

BASSOON Stephanie Patterson† Acting Principal

Joli Wu*

Debra Clark Grove

Karl Schab

Catherine Allain† Meghan Yost†

HORN David Bradley* Principal

CELLO Charae Krueger Principal

Jason Eklund Acting Principal

Hilary Glen Assisant Principal Mary Kenney

TRUMPET Yvonne Toll Principal

David Hancock*

Alexander Freund†

Cynthia Sulko*

TIMPANI John Lawless Principal

Harrison Cook† Alexis Lee†

Virginia Respess-Fairchild

Angèle Sherwood-Lawless*

BASS Lyn DeRamus Principal

Rafael Veytsblum

Emory Clements

Kevin Chaney†

Maurice Belle†

Patrick Ryan

Sally Gardner-Wilson†

Kathryn Koch†

FLUTE/PICCOLO James Zellers Principal

Serena Scibelli†

Kelly Smith-Bryant

Alison James†

Elonia Varfi†

OBOE Diana Dunn* Principal

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PERCUSSION Michael Cebulski Principal Jeff Kershner† GUITAR John Huston† HARPSICHORD Elena Kholodova PERSONNEL MANAGER James Zellers *core musician on leave †non-core musician

Christina Gavin Acting Principal Lara Saville-Dahl†

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

37 | communityengagement

Students Give Rave Reviews After A Return To Attending Final Dress Rehearsals WRITTEN BY


Jessica Kiger

Craig Irvin (far left) as The Pirate King, and The Atlanta Opera Chorus men in the January 20th final dress rehearsal of The Pirates of Penzance attended by Palmer Middle School 7th graders.

A core mission of The Atlanta Opera is to provide opportunities for students of all ages — we believe opera is for everyone and we are committed to ensuring that the art form is available to the widest possible crosssection of our community. Each year, our education programs serve more than 37,000 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 were thrilled to have students join us for the first time since March 2020 for our Final Dress Rehearsal of The Pirates of Penzance. There’s nothing quite like their enthusiasm for the performers — during bows it almost feels like a rock concert! Through our educational programs, we hope to inspire the next generation of artists and audiences. | @theatlantaopera

Here are some words of encouragement and feedback from 7th grade students at Palmer Middle School: I didn’t have a favorite part because I found the complete performance hilarious and astonishing. There was no one moment that stood out for me since the extravaganza performance as a whole was such a life changing experience. I would like to thank the cast and crew for all of their work and dedication. While watching, all I could think about was how tough and strong the cast and crew were. The choreography was hysterical and yet remained elegant. I feel so lucky and special knowing that my school was given tickets. – Max I genuinely appreciate what you do, and I’m still reeling from the pure beauty of everyone’s effort. Every single song, word, and movement was perfectly orchestrated. Props to Mabel for all those soprano notes perfectly hit! – Alex This opera was beautiful and I appreciate how much work you’ve put into it. The costumes and scenes were so magnificent and there was a perfect balance of comedy, singing, and dialogue. – Alaina You did amazing! Frederic was super funny so was the Pirate King. The choreography was super cool. I loved seeing the flips the Pirates did when they were on their way to attack! – Chloe I would like to say that I really loved it and I think they did an amazing job. I also appreciate the crew members for all the work and effort they put it to really make the opera come to life. You all did a good job and we love you! – Giselle Thank you for putting in all your hard work to make this show a blast! You all are amazing, talented, pleasurable, and incredible human beings! I would LOVE to see you all perform another time! I hope you have a delightful and beautiful day! – Jaydin My favorite part about the opera was the part where the major general started to singing really fast — it was really delightful. I love the fact that everyone came along together. It was a great cast overall and they all can really sing! I really love all the characters — they make an amazing team! The acting was on point and I loved every part of it. – Briana Learn more about the Opera’s education and community programs by visiting us at

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39 | donorprofile Originally from Lyons, Georgia, The Atlanta Opera board member Cathy Callaway Adams is well known in Atlanta as a remarkable leader and passionate advocate for arts and education. Cathy studied piano performance and business administration at Tift College. She went on to earn an MBA from Georgia State University and then established an extraordinary threedecade career with Federal Home Loan Bank of Atlanta, where she recently retired as Executive Vice President and Chief Operations Officer.

Cathy and Mark Adams, proud members of the Barbara D. Stewart Legacy Society.

Alongside her full-time job focused on finance, Cathy has always made time to pursue her love of music. Cathy is active as a collaborative pianist throughout the Atlanta region, accompanying singers, instrumentalists, choral groups, churches, and musical theatre. In addition to The Atlanta Opera, she serves on the boards of South Arts, Mercer University, and Atlanta Baroque Orchestra. Cathy and her husband Mark are proud members of the Barbara D. Stewart Legacy Society, having included the Opera in their estate plans. “Establishing our legacy gift to The Atlanta Opera is one of the most joy-filled financial arrangements we have made, as our confidence in this Opera leadership team — for its artistic courage and innovation and its fiscal stewardship and discipline — has never been stronger. Our vision is that The Atlanta Opera will outlast Mark and me by generations and centuries, so we joyfully do our part to make it so.” We are grateful to receive support from our faithful legacy donors like Cathy and Mark Adams. To find out how to become a member of the Barbara D. Stewart Legacy Society, contact Jonathan Blalock at | @theatlantaopera


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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 Jan. 1, 2021 and Dec. 31, 2021.

DIRECTOR’S CIRCLE $1,000,000+ John & Rosemary Brown

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

$100,000+ Anonymous Laura & Cosmo Boyd Beth & Gary Glynn Rhys & Carolyn Wilson†

$50,000+ The Antinori Foundation Triska Drake & G. Kimbrough Taylor† The Gable Foundation, Inc.† Dr. & Mrs. Alexander Gross† Mr. William E. Pennington† Mary & EP Rogers Foundation, Inc. Katherine Scott Mr. William F. Snyder† Ms. Bunny Winter & Mr. Michael Doyle

$25,000+ Bryan & Johanna Barnes† Mr. & Mrs. Paul Blackney† Mr. Robert P. Dean & Mr. Robert Epstein† Mary Ruth McDonald Victoria & Howard Palefsky† Christine & Mark St.Clare† Judith & Mark Taylor

PATRON’S CIRCLE $15,000+ Cathy & Mark Adams Mrs. Phillip E. Alvelda† Anonymous John & Wendy Anzalone† Mr. David Boatwright

Mr. John Haupert & Mr. Bryan Brooks† Sandra & Peter Morelli Mr. & Mrs. Michael E. Paulhus† Mr. Milton J. Sams† Larry & Beverly Willson The Mary & Charlie Yates Family Fund

GOLD $10,000+ Elizabeth & Jeremy Adler† Julia & Jim Balloun Dr. & Mrs. Asad Bashey Mr. & Mrs. C. Duncan Beard Ms. Janine Brown & Mr. Alex J. Simmons, Jr. Mr. Frank Butterfield† Mr. Mario Concha† Mr. Richard H. Delay & Dr. Francine D. Dykes† Dieter Elsner† Dr. Donald J. & Janet Filip Mr. L. D. Holland† Mrs. Roya Irvani Dr. & Mrs. David Kavtaradze Stephanie & Gregor Morela† Talia & John Murphy† Clara M. & John S. O’Shea† Charles T. & Donna Sharbaugh Slumgullion Charitable Fund† John & Yee-Wan Stevens Mr. & Mrs. William E. Tucker Dr. & Mrs. Nicholas Valerio III Mrs. Wadleigh C. Winship Mr. Tomer Zvulun & Mrs. Susanna Eiland

SILVER $5,000+ Anonymous Mr. & Mrs. Dante Bellizzi Dr. R. Dwain Blackston Dr. John W. Cooledge Jean & Jerry Cooper Mr. & Mrs. Robert G. Edge† Ms. Ariana B. Fass Ms. Rebecca Y. Frazer & Mr. Jon Buttrey† Mr. Ethan Garonzik Kevin Greiner & Robyn Roberts Mr. & Mrs. Edward J. Hardin Mr. & Mrs. Paul Harkins Donna & Richard Hiller Eda L. Hochgelerent, M.D. & Bruce A. Cassidy, M.D.† Mary & Wayne James Candy & Greg Johnson

41 | giving&support Gail Johnson Mr. Alfred D. Kennedy & Dr. Bill Kenny Ms. Salli LeVan Mr. Creel McCormack Mr. & Mrs. Richard P. Nicholas III† Mr. & Mrs. Steve Paro Baker & Debby Smith† Mr. & Mrs. Richard Sproul George & Amy Taylor Bob & Cappa Woodward Charitable Fund

BRONZE $2,500+ Mr. James Flanagan Judge Adele P. Grubbs Mr. Robert Grubert Jim & Virginia Hale Linda L. Lively & James E. Hugh III Mimi & Dan Maslia Belinda & Gino Massafra Peggy Weber McDowell & Jack McDowell John & Agnes Nelson The Pamer Family Foundation Lynn & Kent Regenstein Mr. & Mrs. J. Barry Schrenk Morton & Angela Sherzer Mr. & Mrs. Nicholas Shreiber Johannah Smith Gail & Barry Spurlock Lynne & Steven Steindel Kiki Wilson

FRIEND’S CIRCLE INVESTOR $1,000+ Mr. George A. Adriaenssens Mr. & *Mrs. Shepard B. Ansley Ms. Hope M. Barrett Jonathan E. Blalock Ms. Mary D. Bray Ms. Martha S. Brewer Stanford M. Brown John & Linda Cooke Mr. & Mrs. Edward S. Croft III Mrs. Lavona Currie Mr. & Mrs. Michael J. Curry Dr. & Mrs. F. Thomas Daly Jr. Jim & Carol Dew *Col. & Mrs. Edgar W. Duskin Mr. & Mrs. Robert R. Eckardt Mr. Thomas Emch Cliff Jolliff & Elaine Gerke Mr. Michael D. Golden James C. Goodwyne & Christopher S. Connelly Dr. Thomas N. Guffin, Jr. Ms. Louise S. Gunn The Hills Family Foundation, Mr. & Mrs. Thomas D. Hills, Trustees | @theatlantaopera

Douglas Hooker & Patrise Perkins Hooker Mr. & Mrs. Harry C. Howard Ann P. Howington Richard & Linda Hubert Mr. & Mrs. David C. Huffman Ms. Brenda D. Jennings Mr. & Mrs. Gert Kampfer Mrs. Peter G. Kessenich Mr. & Mrs. Larry Kurlander Mrs. Treville Lawrence Allan & Vaneesa Little Dr. Carlos E. Lopez Dr. & Mrs. James Lowman Ross & Kristin Maiwand Samantha & William Markle Mr. Stedman C. Mays , Jr. & Mr. Charles Bjorklund Sally & Alllen McDaniel The Opera Guild for Atlanta Dr. & Mrs. Donald A. Paul George Paulik Lucy S. Perry Mrs. Betsy Pittman Dr. & Mrs. Donald Reitzes Richard Restagno Mr. Fred B. Smith Mr. Paul Snyder Adhishesh Sood Dr. Jane T. St. Clair & Mr. James E. Sustman Mr. & Mrs. Robert Stansfield Sharon Daniels Sullivan Mr. Tarek Takieddini Ms. Virginia S. Taylor Mr. Johnny Thigpen & Mr. James Martin Ms. Betsy K. Wash Rae & George Weimer Dr. & Mrs. James O. Wells, Jr. Adair & Dick White Ms. Kathy J. White Dr. & Mrs. Hamilton Williams Thurman Williams *Dr. & Mrs. R. Craig Woodward

SUPPORTER $500+ Paula Stephan Amis Ms. Teresa Bailey Mr. & Mrs. Robert O. Banker Colonel & Mrs. John V. Barson Natalie & Matthew Bernstein Mr. & Mrs. George Cemore Dr. Lawrence Cohen T. Dennis Connally Ms Lillianette Cook & Ms. Carol Uhl Mrs. Anne J. Ederington Mr. & Mrs. Lance Fortnow Mr. & *Mrs. Leon C. Goldstein Mr. & Mrs. Sam Hagan George L. Hickman III James E. Honkisz & Catherine A. Binns

Mr. J. Carter Joseph Jeannie Kiger Dr. Jo Marie Lyons & Mrs. Betty C. Lyons Mr. & Mrs. M. Sean Molley Mrs. Thespi P. Mortimer Barbara & Mark Murovitz Christine & Jim Pack Mrs. Polly N. Pater Mr. Darryl-Christopher Payne Dr. & Mrs. Lawrence S. Phillips Mr. Lawrence F. Pinson The Reverend Neal P. Ponder, Jr. Mr. James D. Powell Mr. Thomas Ramsay R.J. & D.G. Riffey, Jr. Mr. Forrest Roberston Sidney & Phyllis Rodbell Dr. & Mrs. William M. Scaljon Daniel Shea Mr. Kurt A. Shreiner Dr. & Mrs. William E. Silver Steve & Christine Strong Dr. & Mrs. Joel D. Todino Alan & Marcia Watt *Peter Stelling & Jody C. Weatherly Dr. & Mrs. David Wingert Sherrilyn & *Donn Wright Barbara Zellner Dr. & Mrs. Ben Zinn

CONTRIBUTOR $250+ Judith M. Alembik Atlanta Neurology Drs. Tatiana & Igor Bidikov Mr. Matt Blackburn Paul Brenner Anne D. Burnett Mr. Angelo A. Carusi & Ms. Janet Romanic Dr. & Mrs. Harold L. Chapman, Jr. Mr. & Mrs. Raymond H. Chenault Mrs. Jan W. Collins Carol Comstock & Jim Davis

Mr. & Mrs. John Costello Mr. & Mrs. Harold T. Daniel Jr. Mr. James M. Datka & Ms. Nora P. DePalma Ashley Derrick Mrs. Arnoldo Fiedotin Micah Fortson & Georgia Jarman Dr. & Mrs. David J. Frolich Ms. Tabitha Gibbs Col. & Mrs. Donald M. Gilner Dr. & Mrs. Martin Goldstein John Greer Mr. & Mrs. Richard P. Grodzicki Tom Grose Dr. & Mrs. Bannester L. Harbin Mr. & Mrs. Douglas M. Holly, Jr. Mr. Jordan Howard Mr. Rolf Ingenleuf Mr. & Mrs. Thomas E. Johnston David & Kathy Linden Richard Lodise & Valerie Jagiella Katherine B. Maxwell Mr. M. Reynolds McClatchey Jr. *Mr. Frank M. Monger Sheryl A Myers Carol S. Niemi Mr. John Owens Mr. & Mrs. John H. Petrey *Sharon & Jim Radford Keith Romich Weslyn A. Samson Mr. Karin Schwerd Mr. John W. Stephenson Sarah & David Sutherland Carolyn & Robert Swain Ms. Nancy A. Thomas Mr. & Ms. Wolfgang Tiedtke Mr. & Mrs. Charles D. Tuller Mr. & Mrs. T. A. Wessels Ms. Jone Williams & Ms. Barbara Robb Dorothy Yates Kirkley

† Indicates our extraordinary donors who have committed to continue their annual giving for three years or more *deceased

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43 | giving&support BARBARA D. STEWART LEGACY SOCIETY The Atlanta Opera established the Barbara D. Stewart Legacy Society to recognize donors who have designated The Opera as a beneficiary in their estate plan. In honor of Barbara D. Stewart’s many contributions to The Atlanta Opera, our planned giving division, the Encore Society, has been renamed the Barbara D. Stewart Legacy Society. Cathy Callaway Adams & Mark Adams Anonymous (5) Mr. & *Mrs. Shepard B. Ansley Mrs. Wallace F. Beard The Bickers Charitable Trust Mr. Jonathan Blalock Mr. Montague L. Boyd, IV Mr. Robert Colgin *Martha Thompson Dinos The Roy & Janet Dorsey Foundation Arnold & Sylvia Eaves *Ms. Dorothy E. Edwards *Heike & Dieter Elsner Ms. Melodi Ford Carl & Sally Gable Ms. Anne Marie Gary Mr. & Mrs. Sidney W. Guberman Ms. Judy Hanenkrat Richard & Fern Hartnig The Hilbert Family Trust Eda L. Hochgelerent, M.D. & Bruce A. Cassidy, M.D.

Mr. L. Don Holland Mr. Hilson Hudson *Mrs. Joseph B. Hutchison Gail Johnson Mr. J. Carter Joseph *Mrs. Alfred D. Kennedy, Sr. *Mrs. Isabelle W. Kennedy Mr. & Mrs. Michael L. Keough Ms. Corina M. LaFrossia 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 Katherine Scott Elizabeth N. Shapiro Elizabeth Morgan Spiegel Dr. Jane T. St. Clair & Mr. James E. Sustman Christine & Mark St.Clare *Ms. Barbara D. Stewart Mr. Tarek Takieddini Sandra & *Tom Teepen Dr. & Mrs. Harold Whitney *Mrs. Jane S. Willson Rhys T. Wilson Ms. Bunny Winter & Mr. Michael Doyle Mr. Charles R. Yates, Jr. & Mrs. Mary Mitchell Yates *Mr. & *Mrs. Charles R. Yates, Sr. Mr. Tomer Zvulun & Mrs. Susanna Eiland *deceased

TRIBUTES & MEMORIALS In Honor of Cathy & Mark Adams Mr. J. Carter Joseph In Memory of Dr. Joseph C. & Ruth P. Barnett Dr. Florence C. Barnett In Honor of Mr. Jonathan Blalock Mr. Michael Colbruno Mr. Darryl-Christopher Payne In Memory of Mrs. Nancy Bland Kathryn Dennis In Honor of Dr. Hal Brody & Mr. Don Smith Jonathan Blalock In Honor of Mr. John Brown Cathy & Mark Adams Mr. Barry F. Ross & Mrs. Jane M. Rooks Ross In Memory of Mrs. Mot Dinos Anonymous

In Honor of Anne Ederington George & Gaby Adriaenssens In Honor of Mr. Robert G. Edge Mrs. Eleanor Crosby In Honor of Don & Janet Filip Daniel Shea In Honor of Jeff & Jeanette Hoopes Larry & Beverly Willson In Memory of Mr. Chip Johnston & Mr. Frank Monger Mr. Johnny Thigpen & Mr. James Martin In memory of Craig V. Lewis Judge Adele P. Grubbs In Honor of Howard & Victoria Palefsky Mr. & Mrs. John Costello Mr. & Mrs. Larry Kurlander In Honor of Betsy Pittman Ann P. Howington | @theatlantaopera

In Memory of Dr. Kingsley Weatherly Mr. & Mrs. Charles D. Tuller In Memory of Margaret Williams Thurman Williams In Honor of Charlie & Mary Yates Mr. Robert Grubert Josh Stevens Sarah & David Sutherland Dorothy Yates Kirkley In Honor of Mr. Tomer Zvulun & Ms. Susanna Eiland Mr. Michael D. Golden John Greer

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The Coca-Cola Company The Home Depot Foundation

The Capital Group Companies Charitable Foundation Gas South WarnerMedia

Anonymous The Hilbert Law Firm National Distributing Co., Inc. Wallace Graphics

$50,000+ Federal Home Loan Bank of Atlanta UPS

FOUNDATIONS & GOVERNMENT SUPPORT FOUNDATIONS $225,000+ The Gable Foundation Donald & Marilyn Keough Foundation Lettie Pate Evans Foundation Livingston Foundation, Inc. The Molly Blank Fund of The Arthur M. Blank Family Foundation

$50,000+ Atlanta Music Festival Fund of The Community Foundation for Greater Atlanta The Halle Foundation Charles Loridans Foundation, Inc. J. Marshall & Lucile G. Powell Charitable Trust Rich Foundation, Inc. Mary & EP Rogers Foundation, Inc. The Sara Giles Moore Foundation The Zeist Foundation, Inc.



Roy & Janet Dorsey Foundation The Ray M. & Mary Elizabeth Lee Foundation, Inc. Kurt Weill Foundation for Music, Inc. New York, NY


$10,000+ George M. Brown Trust Fund The Jim Cox, Jr. Foundation JBS Foundation

$5,000+ Camp-Younts Foundation Nordson Corporation Foundation

$1,000+ Mary Brown Fund of Atlanta, Georgia Cobb EMC Community Foundation The Hills Family Foundation, Mr. & Mrs. Thomas D. Hills, Trustees Kiwanis Foundation of Atlanta

National Endowment for the Arts Small Business Adminstration

10,000+ City of Atlanta Mayor’s Office of Cultural Affairs Fulton County Arts & Culture Georgia Council for the Arts

45 | leadership BOARD OF DIRECTORS OFFICERS Chair Mr. Rhys T. Wilson Immediate Past Chair Ms. Cathy Callaway Adams Vice Chair Mr. John L. Hammaker Vice Chair Mr. Charles “Charlie” R. Yates Treasurer Ms. Bunny Winter Secretary Mr. Michael E. Paulhus MEMBERS Mrs. Elizabeth Adler Mrs. Wendy Anzalone Mr. Bryan H. Barnes Mr. Dante Bellizzi Mr. Montague L. Boyd, IV Dr. Harold J. Brody Mrs. Rosemary Kopel Brown Mr. Frank H. Butterfield Mr. Mario Concha Dr. Frank A. Critz Mr. Robert Dean Mr. Dieter Elsner Dr. Donald J. Filip Mr. Kevin Greiner Mrs. Joanne Chesler Gross Mr. John Haupert Mr. Howard W. Hunter Mr. Andrew R. Long Mr. James B. Miller, Jr. Mrs. Stephanie Morela Mrs. Sandra S. Morelli Mrs. Talia Murphy Mr. Howard Palefsky Mr. William E. Pennington Mr. Herbert J. Rosenberg Mr. Charles Sharbaugh Mr. Alex Simmons, Jr. Mr. William F. Snyder Mrs. Christine St.Clare Mr. G. Kimbrough Taylor, Jr. Mr. William E. Tucker Mr. Tomer Zvulun, ex officio

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

*deceased | @theatlantaopera

EXECUTIVE COMMITTEE Board Chair Mr. Rhys T. Wilson

Development Chair Mr. Howard Palefsky

Immediate Past Chair Ms. Cathy Callaway Adams

Equity, Diversity & Inclusion Chair Mrs. Stephanie Morela

Vice-Chair Mr. John L. Hammaker Vice-Chair Mr. Charles “Charlie” R. Yates, Jr. Nominating & Board Engagement Chair Mrs. Talia Murphy

Investment Chair Mr. Frank H. Butterfield Artists Events Committee Chair Mr. Howard W. Hunter

Secretary Mr. Michael E. Paulhus

Strategic Planning Committee Chair Mrs. Christine St.Clare

Treasurer Ms. Bunny Winter

At-Large Member Mrs. Sandra S. Morelli

Audit Chair Mr. Bryan H. Barnes

Carl W. Knobloch, Jr. General & Artistic Director, ex-officio member Mr. Tomer Zvulun

Community Engagement Chair Mr. Alex Simmons, Jr.

ADVISORY COUNCIL Mr. Andrew J.M. Binns Mr. Kenny L. Blank Mrs. Inge Bledel Ms. Sally Bland Fielding Ms. Mary Calhoun Mrs. Beth W. Glynn Dr. Thomas N. Guffin, Jr. Mrs. Erin Quinn Martin Mr. Paul Snyder

ARTISTIC ADVISORY COUNCIL Ms. Jamie Barton Mr. Kevin Burdette Mr. Michael Mayes Mr. Morris Robinson

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47 | staff EXECUTIVE Carl W. Knobloch, Jr. General & Artistic Director Tomer Zvulun Managing Director Micah Fortson Executive Assistant Misty Reid ARTISTIC/MUSIC Carl & Sally Gable Music Director Arthur Fagen Artistic Administrator Meredith Wallace Artistic Operations Manager Meredith Morse Artistic & Studio Manager Madalyn Mentor Pianist/Coach Elena Kholodova

COMMUNITY ENGAGEMENT & EDUCATION Director of Community Engagement & Education Jessica Kiger Education Manager Cantrell Williams COSTUME Costume Director Joanna Schmink First Hand Fiona Leonard Stitchers Jordan Carrier Hauzia Conyers Lauren Dunlop Matt Mallard Megan Maude

PRODUCTION Wardrobe Head/Steward Director of Production Cindy Roberts † Robert Reynolds Wardrobe Crew/Dressers Associate Director of Production Nicole Kennedy-Cook† Meggie Roseborough Walter Dean Technical Director Jennifer Desai† Joshua Jansen Marianna Martin Production Stage Manager Tonia McCall† Megan Bennett Brett Parker Assistant Stage Manager Jen Rodgers Beth Goodill Gibron Shepperd† Assistant Stage Manager Wig & Makeup Manager Kristin Kelley David Zimmerman Lighting Supervisor/Assistant Lighting Designer Wig & Makeup Crew Marissa Michaels Rob Navarre Properties Artisan Oran Wongpandid Wanda Amanda Creech Head Carpenter Andrew Pharr* Head Electrician Matthew Peddie* Head Flyman Mo Guiberteau Head Properties Cory Robertson* Head Sound Teddy Murray* Head Video Jay Holloway* Union Steward * denotes members of the † denotes members of the Peter Cocchiere* International Alliance International Alliance of Theatrical Stage of Theatrical Stage Employees - Local 927 Employees - Local 859 | @theatlantaopera


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Chief Advancement Officer Paul Harkins

Chief of Marketing & Audience Development Ashley Mirakian

Associate Director of Development – Leadership Giving Jessica Langlois

Director of Sales & Marketing Rebecca Brown

Associate Director of Development – Major and Planned Gifts Jonathan Blalock

Senior Manager, Ticketing Services Renee Smiley Guest Services Concierge Emily Crisp

Senior Institutional Giving Officer Elana Grossman

Creative Services Manager Matt Burkhalter

Development Operations & Annual Giving Coordinator Elizabeth Root


Campaign Manager Sandy Feliciano FINANCE & ADMINISTRATION Director of Finance Kathy J. White Controller Inga V. Murro Human Resources & Facilities Manager Kenneth R. Timmons Bookkeeper Ruth Strickland

Director of TAO Film Studio Felipe Barral Film Associate Amanda Sachtleben GLYNN STUDIO ARTISTS Bruno Baker Susanne Burgess Sankara Harouna Gretchen Krupp William Meinert

49 | 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.

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.

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.

SMOKING Smoking is prohibited inside the building.

ATM There is one Synovus ATM located in the grand lobby.

Audio-clarification devices are available to our hearingimpaired guests at no charge. This is on a firstcome, first-served basis, or you may call the House Manager ahead of time to reserve one at 770-9162828.

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.

SPECIAL ASSISTANCE Persons requiring access assistance are asked to contact the box office at 770-916-2850 for advance arrangements.

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 • 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. •P lease turn off all cell phones prior to the beginning of each performance. •P lease limit conversation during the performance. •C ameras, 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. •P lease unwrap all candies and cough drops before the performance.

YOUR SAFETY IS OUR TOP PRIORITY. Our safety policy was designed in consultation with leading experts in the fields of epidemiology, public health, workplace/industrial hygiene, and infectious diseases. For the 2021-22 mainstage performances at the Cobb Energy Performing Arts Centre: •M asks will be required upon entry to the lobby and must remain on at all times for the duration of time inside. Masks must be worn over the mouth and nose. •T he Atlanta Opera will also require that all audience members show a negative test taken within 48 hours of arriving at Cobb Energy Centre or proof of vaccination. Booster shots are highly encouraged. Proof of vaccine applies to audience members 12 and up. This information will be checked before individuals can enter the venue. •T he Atlanta Opera will continue to monitor government policy changes, Center for Disease Control (CDC) guidelines, government mandates, and public health notices and make changes as necessary or appropriate to ensure the safety of staff, artists, and the public. | @theatlantaopera