Rigoletto at The Atlanta Opera by Encore Magazine

RIGOLETTO VERDI

FEB 28, MAR 3, 6, 8, 2015

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On February 3rd, we unveiled our lineup for the 2015-16 season. We invite you to Join the Adventure as we embark on both the imaginative journeys of the operas, as well as the new pathways that opera in Atlanta has taken in recent years. The operas we have planned will take you on adventures around the world and into an exotic realm of beauty and heartbreak. We open our mainstage season at the Cobb Energy Center with a fresh interpretation of Puccini’s La bohème, a celebrated journey of romance and camaraderie in the magical French Quarter in Paris. March takes us on a rollicking seafaring voyage to the shores of England with Gilbert and Sullivan’s adventurous The Pirates of Penzance, a first for The Atlanta Opera. The season draws to a close in the romantic town of Verona with Gounod’s grand interpretation of Shakespeare’s Romeo and Juliet, an adventure of love that ends in tragedy. 8

There is a major renaissance going on in the world of opera right now, and its epicenter is the United States. We plan to be a key player in that revolution, and in the evolution of the art form. While Atlanta audiences enthusiastically embrace the classical works that we present in a new, innovative way on the main stage, they have also shown an appetite for both new and experimental works, and new perspectives on less-frequently staged operas. We are proud to launch our Atlanta Opera Discoveries series this spring with our inaugural production of Three Decembers at the Alliance Theatre in May. Next season, Discoveries brings us Schubert’s song-cycle Winterreise (Winter’s Journey), presented in a striking new multimedia production. We will also present the Southeastern premiere of David T. Little’s Soldier Songs, a powerful musical event that combines elements of theater, opera, and rock-infused music to explore the perceptions and realities of a soldier’s journey from innocence to experience. Rather than write a lot about the shows, we hope you will come experience them yourself. As Lewis Carroll wrote in Alice in Wonderland: “No, no! The adventures first, explanations take such a dreadful time.” We’re off on a great adventure. Join us.

Tomer Zvulun General & Artistic Director The Atlanta Opera

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This co-production is made possible in part by generous gifts from Paul & Sandra Montrone, Richard D. Holland, Omaha Steaks, and Donald & Marilyn Keough, and the National Endowment for the Arts/ArtWorks. 10

Rigoletto CREDiTS MUSiC Giuseppe Verdi liBRETTO Francesco Maria Piave, based on the play Le roi s’amuse by Victor Hugo fiRST PERfORMANCE Teatro La Fenice, Venice, March 11, 1851

CONDUCTOR Joseph Rescigno PRODUCTiON Tomer Zvulun STAGE DiRECTOR Stephanie Havey SET DESiGNER John Conklin COSTUME DESiGNER Vita Tzykun liGhTiNG DESiGNER Robert Wierzel WiG & MAKEUP DESiGNER Richard Jarvie ChORUS MASTER Walter Huff SUPERTiTlES John Conklin CAST (iN ORDER Of vOCAl APPEARANCE) DUKE Of MANTUA Scott Quinn

SPARAfUCilE Morris Robinson

BORSA Adam Kirkpatrick

GilDA Nadine Sierra

COUNTESS CEPRANO Lacy Sauter

GiOvANNA Maria McDaniel Willathgamuwa

RiGOlETTO Todd Thomas

DUChESS Of MANTUA Allegra Whitney

COUNT CEPRANO Cory Neal Schantz

AN UShER Mitch Gindlesperger

MARUllO Adam Cannedy

MADDAlENA Krysty Swann

MONTERONE Nathan Stark

AERiAliST Lacy Rose Elian

MUSiCAl PREPARATiON Sean Kelly ASSiSTANT STAGE DiRECTOR Jordan Braun ASSiSTANT ChORUS MASTER Rolando Salazar ASSSiTANT liGhTiNG DESiGNER Jennifer Rieser fiGhT COORDiNATOR John Evanden STAGE MANAGER Jennifer Harber ASSiSTANT STAGE MANAGERS Greg Boyle & Julie Chin

This production of Rigoletto is a co-production between Boston Lyric Opera, Opera Omaha and The Atlanta Opera. Performed in Italian with English supertitles Approximate running time: 2 hours and 30 minutes with one intermission 11

SYNOPSIS The Atlanta Opera's 2000 production of Rigoletto performed at the Fox Theatre. photo: Jim Fitts

is mocked and humiliated by Rigoletto, the Duke's jester. Pondering revenge on Rigoletto, Count Ceprano is interested to learn from the nobleman Marullo that Rigoletto keeps a woman in his home. The elderly nobleman Count Monterone interrupts the party to defend the honor of his daughter, who has been ravished by the Duke. Rigoletto mocks Monterone's anger, and the enraged father responds by cursing the Duke and his jester. Outside the palace later that night, the assassin Sparafucile confronts Rigoletto. Rigoletto sends him away, but compares his own biting tongue to an assassin's sword. When he arrives home, he is greeted by his daughter, Gilda, whom he has kept secluded there since the death of her mother. Rigoletto leaves Gilda in the care of her maid, Giovanna. Soon afterward, the Duke, disguised as a student, sneaks into the house and tells Gilda that he loves her. Gilda, who has noticed the disguised Duke following her home from church, returns his affections, and they bid each other farewell.

Rigoletto GiUSEPPE vERDi ACT I THE DUKE'S PALACE, MANTUA, MID-16TH CENTURY While at a party at his palace, the Duke of Mantua expresses his desire for an assignation with a young woman he has recently seen at church, but soon afterward he sets his romantic sights on seducing the Countess Ceprano. As the Duke and the Countess leave together, her husband 12

Outside, Ceprano and a group of the Duke's courtiers are gathering to abduct Gilda â&#x20AC;&#x201C; whom they believe to be Rigoletto's mistress â&#x20AC;&#x201C; in order to gain revenge on the jester. The courtiers blindfold Rigoletto and fool him into letting them into his own house. They depart with Gilda. Rigoletto hears her cries and removes the blindfold, but he is too late to save her, and he is left alone to remember Monterone's curse.

ACT II THE DUKE'S PALACE Having discovered that Gilda is missing, the Duke laments losing her. However, he soon learns that she was abducted by

SYNOPSIS his own courtiers, and he excitedly leaves to see her. Rigoletto enters, searching for Gilda, but he is turned away by the unconcerned courtiers. Gilda enters and tearfully tells her father about her ďŹ&#x201A;irtation with the Duke and her abduction. As Rigoletto consoles his daughter, he watches as Monterone is led toward his prison cell. Rigoletto swears to Monterone that the Duke's crimes against both of their daughters will be avenged.

ACT III SPARAFUCILE'S HOUSE, BY THE MINCIO RIVER Rigoletto brings Gilda to the home of the assassin Sparafucile, whom he has hired to kill the Duke. Gilda is forced to watch from the outside as the Duke, no longer disguised as her lover, seduces Maddalena, the assassin's sister. After

sending Gilda away, Rigoletto finalizes his arrangements with Sparafucile; he will return at midnight to accept the body and dispose of it. Against her father's wishes, Gilda returns and listens as Maddalena begs her brother not to kill the Duke. Sparafucile initially refuses, but relents and tells his sister that he will kill whoever arrives at the inn before Rigoletto returns. Gilda decides to allow herself be killed in place of her lover, knocks on the door, and is stabbed by Sparafucile. Rigoletto returns at midnight, and is presented with a body in a sack. As he leaves, he hears the voice of the Duke singing in the distance. He opens the bag to find the dying body of his daughter. She dies in the arms of her father, who cries that Monterone's curse has been fulfilled. A publicity image from the Atlanta Opera's 1987 production of Rigoletto performed at the Alliance Theatre. photo: Charles Rafshoon

PRODuCTION NOTe

Aubrey Babcock as Maddalena and Morris Robinson as Sparafucile in the Boston Lyric Opera presentation of this co-prodution. photo: Marina Levitskaya

lA MAleDiZioNe

BY MAGDA ROMANSKA, PH.D., BOSTON LYRIC OPERA DRAMATURG This co-production of Rigoletto returns the opera to its original historical context. The dramatic structure of the story is framed by two necessary conditions: the world in which a ruler has absolute power over life and death, and a world in which the curse of a father is to be believed and feared. Verdi was convinced that for the plot to make sense the Duke must be a lecher with power and without conscience. “The Duke must absolutely be a libertine; without that there can be no justification for Rigoletto's fear of his daughter’s leaving,” Verdi wrote in a letter to a friend. Moving the production from Paris to a smaller city in Italy, Verdi reinforced the idea of a claustrophobic space where no one can escape the fickle will of its ruler. The Duke, although acting without concern or remorse, is never punished, and this lack of poetic justice illuminates the city’s distorted moral code. 14

Our production captures metaphorically that idea of the city of Mantua, a place enclosed by the dark brick wall that illustrates its hidden, unscrupulous, dark side. Chronologically, the plot moves back and forth between the open, public place of the Duke’s court to the secret spaces of the city's underworld: Rigoletto’s house, where he hides away his daughter and the tavern where he plots the Duke’s assassination. Likewise, our production uses a divided stage to represent the two opposing realms of Mantua’s society, the public world of the Duke’s omnipotent decadence and the private, hidden realm of intimate affairs, which nonetheless remains in his powerful, omnipresent grip. Above the dark brick wall, we see the model of a city made of white marble. The model is based on a painting by Piero della Francesca (1415–92) of an ideal city, a common theme of the Renaissance era. In the

PRODuCTION NOTe painting everything is spotless, open, and transparent. The model hovers over a dark pit in which the human passions of love, lust, and revenge fuel the workings of the real city. The divided stage also represents the two sides of Rigoletto: the ugly, vicious face he dons at court, and the gentle, loving side he shows to his daughter. The image of Rigoletto’s two faces, grotesque and tender, follows Verdi’s intention: “To me there is something really fine in representing on stage this character outwardly so ugly and ridiculous, inwardly so impassioned and full of love,” Verdi wrote about the jester. The second necessary component of the dramatic structure of Verdi’s opera is the impact and power of the father’s curse on the Duke and Rigoletto. The curse is thrown by a courtier whose daughter was abducted and seduced by the Duke, with Rigoletto goading him on. When defending his play to the censors, Victor Hugo wrote: This father whose daughter has been taken from him by the king is mocked and insulted by Triboulet. The father raises his arms and curses Triboulet. The whole play evolves from this. The true subject of the drama is the curse of Monsieur de St-Vallier. Now observe; we are in the second act. On whom has this curse fallen? On Triboulet the king’s buffoon? No, on Triboulet the man, who is a father, who has a heart, and a daughter. He has nothing else but his daughter in the whole world. Verdi follows Hugo’s concept, making the father’s curse on Rigoletto the central pillar of the story. The original title of Rigoletto was, in fact, The Curse (La Maledizione),

and Verdi believed that the curse is the axis around which the entire dramatic arc of the story revolves. “The whole subject lives in that curse,” he wrote in a letter to his librettist, Francesco Maria Piave, while the two were writing the opera. When under the threat of the censor, the text of the opera was reworked, a revision that undermined the power of the curse. Verdi penned an impassioned letter to C.D. Marzari, the president of the Teatro la Fenice, who had ordered the rewrites: “The old man’s curse, so awesome and sublime in the original, here becomes ridiculous because the motive that drives him to curse no longer has the same importance ... without this curse, what purpose, what meaning does the drama have?” Being himself a father, and remembering the time he spent with his daughter’s mother as the only happiness he has ever known, Rigoletto is horrified when another father on whom he has inﬂicted unsurpassed misery has cursed him with all his heart. The curse is a turning point for Rigoletto, a moment in which he begins to unravel. Thus, our set represents Rigoletto’s breakdown. The erotic Italian-style painting on the wall depicts Venus and Mars, one of the most sumptuous subjects of Western mythology. In our production, however, the painting is not straightforward; it is broken, fractured—like Rigoletto himself. In order for the curse to remain the turning point of the story, to assert its impact on poor Rigoletto, it has to live in the world in which it is believable and authentic, and such was the original world of Verdi’s powerful opera. REPRINTED COURTESY OF BOSTON LYRIC OPERA 15

MeeT The CAST STePhANIe hAVeY STAGE DiRECTOR ATlANTA OPERA DEBUT

Winner of the 2014 Adelaide Bishop award for artistic quality, Stephanie Havey makes directorial debuts this season with the Atlanta Opera, Opera Omaha, The Curtis Institute of Music, Tulsa Opera, Shreveport Opera, and Opera Fayetteville. This summer she will assist on a new production of Salome for the Santa Fe Opera. During the 2013-14 season, Ms. Havey directed Double Exposure for Opera Philadelphia, a new production of Don Giovanni for Opera in the Heights, and was named Winner of the Opera America DirectorDesigner Showcase for 2013. She also returned for her third season to the directing staff of Central City Opera for its Short Works Series and family matinee of Le nozze di Figaro. During her two seasons as the Resident Artist Stage Director with the Pittsburgh Opera, she received rave reviews for her new production of Il matrimonio segreto and directed numerous productions and a recital series in the Opera Studio. She has also worked on the Artistic or Production Staff at Glimmerglass Opera, Boston Lyric Opera, Sarasota Opera, Virginia Opera, Opera North, Nashville Opera, Orlando Opera, Opera New Jersey, and the Lyrique en Mer Festival in Belle Ile France.

JOSePh ReSCIGNO CONDUCTOR

ATlANTA OPERA DEBUT: La traviata, 2012 Joseph Rescigno has conducted for more than 50 companies on four continents. Since 1981, he has served as Artistic Advisor and Principal Conductor of the Florentine Opera Company of Milwaukee, where he conducted some of the company’s most challenging productions. He also has been Music Director of La Musica Lirica, a summer program for singers in Northern Italy, since 2005, and served as Artistic Director of Metropolitan Orchestra of Greater Montreal, Quebec, for four seasons. In his permanent and guest engagements, Maestro Rescigno traverses the repertoire from new works like Minoru Miki’s Jõruri and Don Davis’s Río de Sangre (both world premieres under his baton), to rarities like Rossini’s 1816 La Gazzetta. He also champions neglected contemporary works like Barber’s Vanessa while conducting a broad range of operas from the standard literature. This includes Mozart’s seminal pieces; works from Italian composers like Rossini, Donizetti, Bellini, Verdi, and Puccini; romantic French operas of Bizet, Gounod, and Saint-Saëns; and works from the German canon, particularly those of Wagner and Richard Strauss. In addition, Maestro Rescigno has conducted masterworks of the choral literature, symphonies, and concertos from baroque to contemporary. 16

MeeT The CAST WAlTeR huff ChORUS MASTER ATlANTA OPERA DEBUT: tosca 1988

This season Walter Huff celebrates 25 years as Chorus Master for The Atlanta Opera. Mr. Huff is an Associate Professor and Faculty Director of Opera Choruses at Indiana University’s Jacobs School of Music. In the past two seasons, he has led choruses in IU Opera Theater’s productions of Don Giovanni, The Merry Widow, Akhnaten, the world premiere of The Tale of Lady Thi Kinti, H.M.S. Pinafore, La traviata, The Last Savage, and South Pacific. Mr. Huff studied piano with Sarah Martin, Peter Takacs, and Lillian Freundlich. He has performed with singers throughout Europe and the United States and served as coach with the Peabody Opera Theatre and Washington National Opera. Mr. Huff also has performed in master classes given by renowned singers and pianists such as Sir Peter Pears, Licia Albanese, Eileen Farrell, Dalton Baldwin, Leon Fleisher, and Elly Ameling. He has been musical director for The Atlanta Opera Studio, Georgia State University Opera, and Actor’s Express, and served as chorus master for Faust and Der Rosenkavalier with San Diego Opera. In 1984, he received Tanglewood’s C.D. Jackson Master Award for Excellence, presented by Seiji Ozawa and the Boston Symphony Orchestra. Mr. Huff was one of four Atlanta artists chosen for the first Loridans Arts Awards, given to artists who have made exceptional contributions to the cultural life of Atlanta.

TODD ThOMAS RiGOlETTO ATlANTA OPERA DEBUT

Recognized by opera companies and critics alike as one of the true Verdi baritones gracing stages today, Todd Thomas continues his tenure as one of America’s most sought-after artists. Recently, in the title role of Macbeth, Opera News described his performance as “warm and centered in his tone with subtle phrasing that emphasized the introspective, almost poetic quality of the tormented king.” At Lyric Opera of Chicago’s season-opening performance of Verdi’s Otello, Mr. Thomas heroically stepped in for an indisposed colleague at the top of the second act, to great acclaim. This season, Mr. Thomas travels to Canada for a return to Opera Lyra Ottawa for Tosca and a company and role debut as Alberich in Das Rheingold with Pacific Opera Victoria. He will also perform a solo recital titled “If Music be the Food of Love” in Winnipeg, Manitoba. Mr. Thomas returns to Atlanta Opera in one of his signature roles, Rigoletto, to Florida Grand Opera as Sharpless in Madama Butterfly, and performs a reprisal of Scarpia in performances with the Orlando Philharmonic and Sarasota Opera. 18

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MeeT The CAST NADINe SIeRRA GilDA ATlANTA OPERA DEBUT

In the coming season, soprano Nadine Sierra makes her Atlanta Opera debut as Gilda in Rigoletto, her Valencia debut as Norina in Don Pasquale, and returns to the San Francisco Opera to sing Musetta in La bohème and the Countess in Le nozze di Figaro. In concert, she joins the Cleveland Orchestra and Oregon Symphony for Orff ’s Carmina Burana. She also gives a George London Foundation recital in New York City. In 2013-14, Ms. Sierra returned to the Boston Lyric Opera and made debuts at the Seattle Opera, Virginia Opera, Israeli Opera, and Teatro di San Carlo, the Glimmerglass Festival, and with the San Francisco Symphony under Michael Tilson Thomas. In recital, she has appeared at venues ranging from Carnegie Hall to the U.S. Supreme Court. Having made her professional debut as a teenager with the Palm Beach Opera, Ms. Sierra received her first national exposure at just 15 years old on NPR’s From the Top. After graduating from New York’s Mannes College of Music, she entered the Adler Fellowship Program at San Francisco Opera. The youngest winner to date of both the Metropolitan Opera National Council Auditions and the Marilyn Horne Foundation Vocal Competition, she is also a recipient of both the Richard Tucker Music Foundation’s Study and Career Grants.

SCOTT QuINN DUKE Of MANTUA ATlANTA OPERA DEBUT

Tenor Scott Quinn fills his 2014-15 season with role debuts. He joins the Lyric Opera of Kansas City for Alfredo in La traviata. He returns to Houston Grand Opera as Pirelli in Sweeney Todd and Tamino in outdoor performances of Die Zauberflöte, as well as Dallas Opera for Narraboth in Salome. This summer, he sings his first performances of Fernand in La favorite at the Caramoor International Music Festival. Previous performances include Ferrando in Così fan tutte at Fort Worth Opera, Pinkerton in Madama Butterfly for Chautauqua Opera, Anthony Hope in Sweeney Todd for Shreveport Opera. While a member of Houston Grand Opera’s studio program, Mr. Quinn performed in Die Fledermaus, Mr. Erlanson in A Little Night Music, Rodolfo in La bohème, and the Sailor in Tristan und Isolde. He is also a past member of the Merola Opera Program at San Francisco Opera and a former Artist in Residence of Dallas Opera, where his performances included Tybalt in Roméo et Juliette, Roderigo in Otello, Lord Cecil in Roberto Devereaux, and Normanno in Lucia di Lammermoor. 20

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MeeT The CAST MORRIS RObINSON SPARAfUCilE ATlANTA OPERA DEBUT: aida, 2012

This season Atlanta native Morris Robinson returns to the Houston Grand Opera in both Otello and Die Zauberflöte and to Opera Philadelphia as the Grand Inquisitor in Don Carlos. A graduate of the Metropolitan Opera Lindemann Young Artist Development, he has appeared frequently at the Metropolitan Opera, Dallas Opera, Washington National Opera, Pittsburgh Opera, Los Angeles Opera, and the Cincinnati Opera. He has also appeared at the Aix-en-Provence Festival and Opera Australia. His many roles include Sarastro in Die Zauberflöte, Ramfis in Aida, Zaccaria in Nabuco, Sparafucile in Rigoletto, Commendatore in Don Giovanni, The Bonze in Madama Butterfly, Ferrando in Il Trovatore, and Fasolt in Das Rheingold. Also a prolific concert singer, Mr. Robinson has performed with the Chicago Symphony Orchestra, Met Chamber Orchestra, Los Angeles Philharmonic, National Symphony Orchestra, Baltimore Symphony Orchestra, and the São Paulo Symphony Orchestra. In recital he has been presented by Spivey Hall, the Savannah Music Festival, the Philadelphia Chamber Music Society, and the Metropolitan Museum of Art in New York City. Mr. Robinson’s first album, Going Home, was released by Decca.

KRYSTY SWANN MADDAlENA ATlANTA OPERA DEBUT

Mezzo-soprano Krysty Swann makes her debut this season as Amneris in Aida with Bucharest National Opera. In recent seasons she has made several other important debuts, including Boston Symphony Orchestra and the Tanglewood Festival, her debut in Avery Fisher Hall with Verdi's Requiem, a concert debut in South Africa with the acclaimed KZN Philharmonic under the baton of Daniel Boico, and a debut in Milan in concert with Laverdi Orchestra. Ms. Swann has appeared at Carnegie Hall with Opera Orchestra of New York as Lola in Cavalleria Rusticana under the baton of Alberto Veronisi, and in Puccini's Edgar along with Marcello Giordani and conducted by Eve Queler. Her performances at the Metropolitan Opera include productions of Die Walküre and Francesca da Rimini; other recent roles include Suzuki in Madama Butterfly for New York City Opera and Emilia in The Firebrand of Florence by Kurt Weill and Ira Gershwin, conducted by Ted Sperling at Alice Tully Hall. Ms. Swann performed as a soloist in Handel’s Messiah with the Rochester Symphony Orchestra and Baltimore Symphony Orchestra, and appeared for two seasons with Austria's Bregenz Festival. 22

The Atlanta Opera premiered on stage at The Fox Theatre in 1980.

We welcomed Sherrill Mines 35 years ago as part of that ďŹ rst season.

We welcome him to Atlanta again.

Thank you, Atlanta, for 35 great years.

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MeeT The CAST ADAM CANNeDY MARUllO

ATlANTA OPERA DEBUT: carmen, 2012 Baritone Adam Cannedy recently appeared as Marullo in Rigoletto and Morales in Carmen for Opera Omaha. Future engagements include Masetto in Mozart’s Don Giovanni for Opera Omaha and First Coast Opera in St. Augustine, Fla. Prior season highlights include his European debut at Wexford Festival Opera in Wexford, Ireland, as The Ballad Singer in Richard Wargo’s Winners and as an Oompa Loompa in Peter Ash’s The Golden Ticket, El Dancairo in Carmen for The Atlanta Opera and Lyric Opera of Virginia, and Rooster Wild Thing in Oliver Knussen’s Where The Wild Things Are for Tanglewood Music Center’s Contemporary Music Festival and the New York City Opera. As an emerging artist, Mr. Cannedy has completed seasons with companies including Opera Theatre of Saint Louis, Central City Opera, Opera North, and Lyric Opera of Virginia. A champion of modern music, he has performed the music of composers Carlisle Floyd, William Bolcom, Stephen Paulus, Richard Wargo, Simon Sargon, Peter Ash, Oliver Knussen, Ned Rorem, and Philip Glass. Mr. Cannedy was a 2011 prizewinner at The Birmingham Opera Competition, a finalist in The Dallas Opera Guild Competition, and most recently won the People’s Choice Award at The American Traditions Competition in Savannah, Ga.

ADAM KIRKPATRICK BORSA ATlANTA OPERA DEBUT: the marriage of figaro, 2008

Adam Kirkpatrick returns to sing his seventh role on the stage of The Atlanta Opera, where he was most recently seen as Spoletta in Tosca. Other recent appearances include Marcellus in Hamlet with Opera Birmingham and as the headlining artist in two sold-out, Andrea Bocelli-inspired concerts at the Velvet Note Jazz Club. Additionally, he has performed with Cincinnati Opera, Atlanta Opera, Santa Fe Opera, Tri-Cities Opera (N.Y.), Dayton Opera, Knoxville Symphony, Newton Symphony (Mass.), Tallahassee Symphony, Georgia Symphony, Atlanta Ballet, and the Atlanta Pops Symphony. Kirkpatrick and his band recently released an EP of favorite tenor “popera” hits to iTunes and all other major online music vendors, titled Poperazzi. Kirkpatrick holds a B.M. and M.M. in voice performance from the Cincinnati CollegeConservatory of Music, and earned his Doctor of Music degree from Florida State University. Dr. Kirkpatrick is the inventor of the "Sing With The Best" iPhone app and has worked as a university professor of voice for the last 10 years. 24

MeeT The CAST CORY NeAl SChANTZ COUNT CEPRANO ATlANTA OPERA DEBUT: faust, 2014

Immediately following his Atlanta Opera debut as Wagner in Gounod’s Faust, Mr. Schantz returned to the Atlanta Opera in the role of Fiorello in Rossini’s Il Barbiere di Siviglia. In addition to his Atlanta Opera debut, he made his company debut with Rimrock Opera in Billings, Mont., as Giorgio Germont in Verdi’s La Traviata. Mr. Schantz appeared in Tulsa Opera’s production of Jake Heggie’s Dead Man Walking. He has also appeared in principal roles with Wichita Grand Opera, Springfield Regional Opera, Union Avenue Opera, and Winter Opera of St. Louis. A sought-after recitalist and interpreter of oratorio, he has appeared as a soloist in Handel’s Messiah with the Spartanburg Philharmonic Orchestra, Enid Symphony Orchestra, the Billings Messiah Festival, the Cross Timbers Civic Chorale, and Brazos Chamber Orchestra. Mr. Schantz is on the voice faculty at Reinhardt University in Waleska, Ga.

NAThAN STARK MONTERONE ATlANTA OPERA DEBUT

Nathan Stark’s 2014-15 season includes Mustafa in L’italiana in Algeri with Opera San José, Sparafucile in Rigoletto in a return to Opera in the Heights, and appearances as a soloist in Verdi’s Requiem with the Defiant Requiem Foundation and in Beethoven’s Symphony No. 9 and Choral Fantasy with Canton Symphony Orchestra, and singing in recital at El Camino College. Recent highlights include his debut with the Metropolitan Opera as One-Armed Man in Die Frau ohne Schatten, First Nazarene in Salome with Boston Symphony Orchestra, Sulpice in La fille du regiment with Madison Opera, Beethoven’s Symphony No. 9 with Dayton Philharmonic Orchestra, the Defiant Requiem at University of New Mexico. Mr. Stark has appeared with the Cincinnati Opera in several roles: Zuniga in Carmen, Sylvano in Cavalli’s La Calisto, Cardinal Barberini, Pope Urban VIII, Simplicio, and Father Merope in Philip Glass’ Galileo Galilei, and Sprecher in Die Zauberflöte under Bernard Labadie. Other appearances include Nourabad in Les Pêcheurs de perles with Virginia Opera, Leporello in Don Giovanni with Opera Grand Rapids, and Commendatore in Don Giovanni with Madison Opera, Haydn’s The Creation with Valdosta Symphony Orchestra, and Basilio in Il barbiere di Siviglia with Kentucky Opera. 26

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MeeT The CAST lACY SAuTeR COUNTESS CEPRANO ATlANTA OPERA DEBUT

Soprano Lacy Sauter recently received her master’s degree from Indiana University Jacobs School of Music, where she sang Mimi in La bohème, Violetta in La traviata, Rosalinde in Die Fledermaus and Juliette in Roméo et Juliette. Last summer she made her professional debut as Blanche DuBois in A Streetcar Named Desire with Union Avenue Opera. As a Young Artist at the Florida Grand Opera, Ms. Sauter sang First Lady in Die Zauberflöte, Flora in La traviata, and Bianca in La rondine and covered the roles of Pamina in Die Zauberflöte, Magda in La rondine, Gilda in Rigoletto and Juliette in Roméo et Juliette. Ms. Sauter also spent two summers as an Apprentice Singer with The Santa Fe Opera singing Albina in La donna del Lago and covering Wanda in the Grand Duchess of Gerolstein and Violetta in La traviata. Other company credits include Chautauqua Opera, Utah Festival Opera, The Glimmerglass Festival and Arizona Opera. Ms. Sauter was a district winner of the Metropolitan Opera National Council Auditions and second-place Winner in the Orpheus Vocal Competition.

MARIA MCDANIel WIllAThGAMuWA GiOvANNA

ATlANTA OPERA DEBUT: coLd sassy tree, 2008 Mezzo-soprano Maria McDaniel Willathgamuwa’s recent credits with The Atlanta Opera include solo quintet as Mrs. Sedley in an excerpt from Peter Grimes during Walter Huff ’s Silver Choral Celebration, Zulma in L’Italiana in Algeri, Flora in La Traviata, Second Lady in Die Zauberflöte and Myrtis in Cold Sassy Tree. Ms. Willathgamuwa has performed with a number of regional and distinguished orchestras including members of the Atlanta Symphony Orchestra. Most recent appearances this season include Mozart’s Requiem and Handel’s Messiah. She has performed frequently with Chautauqua Opera as Adalgisa in Norma, Charlotte in Werther, Mamma Lucia in Cavalleria Rusticana, La Voix in Les Contes d’Hoffmann, Laura in La Gioconda, Eunice in A Streetcar Named Desire and the Forrester's Wife in The Cunning Little Vixen. She has won several prizes in distinguished vocal competitions including the Met Competition, National Federation of Music Clubs Competition, American Traditions Competition and Irene Dalis Voice Competition. Ms. Willathgamuwa is also an established voice teacher, clinician, music director and life coach for singers through her studio, Atlanta Academy of Vocal Arts. 28

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MeeT The CAST TOMeR ZVuluN PRODUCTiON General & Artistic Director of The Atlanta Opera, Tomer Zvulun is also one of opera’s most exciting young stage directors, earning consistent praise for his creative vision, often described as cinematic and fresh. His work has been presented in prestigious opera houses around the world, including the Metropolitan Opera, the opera companies of Seattle, Atlanta, Cleveland, Dallas, Cincinnati, Buenos Aires, and Wolf Trap, and at leading educational institutions such as The Juilliard School, Indiana University, Boston University, and IVAI in Tel Aviv. In 2013 he directed a critically acclaimed new production of La bohème for Seattle Opera, Don Giovanni for Cincinnati Opera, and a new Lucrezia Borgia in Buenos Aires, Argentina. He then returned to the Metropolitan Opera to direct Carmen and to Wolf Trap Opera for a new Falstaff. In 2014 he directed a new co-production of Rigoletto, which premiered at Boston Lyric Opera and will be remounted in Omaha and Atlanta. In summer 2014, Zvulun created a new Madama Butterfly for Lorin Maazel’s Castleton Festival, a production that will open the season in his home company of Atlanta. In the 2014-2015 season he will make his European debut with a new production of Silent Night for the Wexford Festival in Ireland and will return to Seattle Opera for a new production of Semele. For the Atlanta Opera, Zvulun directed three productions before his appointment as General & Artistic Director: Der fliegende Holländer, The Magic Flute, and Lucia di Lammermoor. For the Metropolitan Opera, Zvulun directed revivals of Tosca and Carmen and worked on a number of new productions during his seven years on the directing staff.

JOhN CONKlIN SET DESiGNER John Conklin has designed sets on and off-Broadway, at the Kennedy Center, and for opera companies around the world, including the Metropolitan Opera, Lyric Opera of Chicago, Seattle Opera, San Francisco Opera, Houston Grand Opera, Bastille Opera in Paris, the Royal Opera and the opera houses of Munich, Amsterdam, and Bologna, among many others. Locally his work has been seen in Boston Lyric Opera’s I Puritani (1993), La bohème (1992), Beatrice and Benedict (1992), Lucia de Lammermoor (2005), and A Midsummer Night’s Dream (2011), as well as at the American Repertory Theatre and Boston Ballet. Additionally, Conklin works to develop new supplemental performances, lecture series, and community events for BLO that enrich audiences’ operatic experiences and strengthen the presence of opera in Boston’s arts community. He is also on the faculty at New York University’s Tisch School, where he teaches courses in design for stage and film. Conklin was a recipient of the 2011 NEA Opera Honors. 30

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MeeT The CAST VITA TZYuKuN SET DESiGNER Victoria “Vita” Tzykun has designed sets and costumes for companies such as Norwegian Opera, The Kennedy Center, Kristiansund Opera (Norway), Boston Lyric Opera, Lyric Opera of Kansas City, Utah Opera, Gotham Chamber Opera, Juilliard Opera, Wolf Trap Opera, Theatro Imeras (Athens), 3LD Art & Media Center, NY Classical Theatre, Cherry Lane Theatre, and 92nd Street Y among others. Her numerous film and TV credits include art direction for Lady Gaga’s ABC Thanksgiving Special, production design for several features and shorts, and commercials for leading companies such as PBS, DirectTV, Axe, Bulova, Qualcomm, and the U.S. Army. Her work has been featured in exhibitions at the Entertainment Industry Expo in NYC, Habima National Theater in Tel-Aviv, the World Stage Design Exhibition in Toronto, and in Entertainment Design magazine. A native of Odessa, Ukraine, and Tel Aviv, Israel, Tzykun holds an M.F.A. from NYU’s Tisch School of the Arts and a B.F.A. from Tel-Aviv University. She lives and works in NYC and is a member of IATSE Local 829.

RObeRT WIeRZel liGhTiNG DESiGNER Robert Wierzel is happy to be returning to The Atlanta Opera. Other credits include productions with the opera companies of Paris-Garnier, Tokyo, Toronto, New York City Opera, Glimmerglass, Seattle, Boston Lyric, Minnesota, San Francisco, Houston, Virginia, Chicago Lyric, Montreal, Vancouver, Portland, Wolf Trap, and San Diego. Dance work includes 27 years with choreographer Bill T. Jones (Bessie Awards) including productions at the Lyon Opera Ballet, Berlin Opera Ballet and Walking the Line at The Louvre Museum, Paris. Broadway credits include Lady Day at Emerson’s Bar & Grill starring Audra McDonald Fela! (Tony nomination, productions at the National Theatre, London, international and American tours), David Copperfield’s Broadway debut Dreams and Nightmares. Off-Broadway includes productions with the New York Shakespeare Festival/Public Theatre, the Signature Theatre, the Roundabout, Playwrights Horizons. Extensive regional theater work includes productions at Atlanta’s Alliance Theatre Company, A.C.T. San Francisco, Berkley Rep, Center Stage, Arena Stage, Hartford Stage, Long Wharf Theatre, Westport Country Playhouse, Goodman Theatre, The Guthrie, Mark Taper Forum, Actors Theatre of Louisville, The Old Globe. Wierzel holds a Master of Fine Arts degree from the Yale School of Drama and is an adjunct faculty member at NYU Tisch School of the Arts and the Yale School of Drama. 32

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The ATlANTA OPeRA ORCheSTRA VIOlINS Peter Ciaschini Concertmaster Shawn Pagliarini Acting Assistant Concertmaster Fia Durrett Principal Second Violin Edward Eanes Acting Assistant Principal Second Violin Amy Chang Felix Farrar Robert Givens Patti Gouvas Alison James Sally Wilson Martin Lisa Morrison Lee Nicholson Debra Schab Lee Sheehan Angele Sherwood-Lawless Mayu Sommovigo Jessica Stinson Mimi Tam Elonia Varfi Rafael Veytsblum VIOlA William Johnston Principal Elizabeth Derderian-Wood Assistant Principal Catherine Allain Allyson Fleck Julie Rosseter Karl Schab Joli Wu

CellO Charae Krueger Principal Erin Ellis Assistant Principal David Hancock Mary Kenney Cynthia Sulko bASS Lyn DeRamus Principal Christina Caterino Emory Clements fluTe/PICCOlO James Zellers Principal Kelly Bryant

TRuMPeT Yvonne Toll Principal Hollie Lifshey TROMbONe Mark McConnell Principal Edmon Nicholson Richard Brady TIMPANI John Lawless Principal PeRCuSSION Michael Cebulski Principal Jeff Kershner

ObOe Dane Philipsen Principal Ann Lilya ClARINeT David Odom Principal Jeanne Heinze bASSOON Michael Muszynski Principal Debra Grove

Musicians employed in this production are represented by the American Federation of Musicians of the United States and Canada. *String sections are listed in alphabetical order

hORN David Bradley Principal Anna Dodd Jason Eklund Edward Ferguson

behIND The CuRTAIN For a while, I wanted to become a fashion designer, but later I realized that I am drawn to storytelling as much as I am drawn to fabrics, colors, and patterns, and what better way to combine those two passions than design costumes for complex characters? Who is your favorite artist? There are so many amazing artists in so many different disciplines. ... I think it would be quite impossible for me to single one out. A theater and film designer needs to be very well-rounded in order to be able to design for different stories that take place in different time periods.

Q&A: COSTuMe DeSIGNeR, VITA TZYKuN Where did you grow up? I was born and raised in Odessa (former USSR) which is now Ukraine. A year before the USSR fell apart, my family immigrated to Israel, where I finished school and got a B.F.A. in design for theater at Tel Aviv University. Then I moved to the U.S. to complete my M.F.A. in costume design for stage, and production design for film. It's been a fascinating journey to live in three countries that are so extremely different. I constantly draw from those experiences in my design work. How did you get into costume design? My father is a stage and costume designer, a painter, and an art educator. When I was growing up, I spent long hours at his studio that was located at the theater where he worked and I was inspired and fascinated by that world from an early age. 40

Depending on the project, I often find myself drawing inspiration from a wide range of artists: Medieval composers, preRaphaelite painters, modern installation artists like Matthew Barney and Ryoji Ikeda, electronic musicians like Bjรถrk, The Knife, Grimes, DADA poets, symbolists, Russian constructivists, writers like Dostoyevsky, Kurt Vonnegut, and Haruki Murakami, and the list goes on... During a production, what is a typical day for you? My day never really consists of working on one production, as I (and designers in general) typically work on multiple projects that are in different phases at any given moment. A typical work day for me ranges from 10-16 hours. For example, today I spent the morning scouting locations for a film I'll be working on in NYC. This afternoon, I was in meetings for a dance piece that will premiere in Germany, for which I will design costumes. This evening, I will be 3D drafting scenic sketches for a rock opera starring Courtney Love.

behIND The CuRTAIN What kind of preparation went into creating the period costumes for Rigoletto?

turns from an agile and cynical jester to a helpless and crippled old man.

A lot of research went into this production because Elizabethan era costumes are some of the most technically complicated in the history of clothing. Most of the costumes were built in Hungary by a costume shop called JelmezArt that specializes in period clothing.

Do you prefer creating period costumes or doing more conceptual work?

Some additional builds were created by an American costume shop called CostumeWorks, located in Boston. Fabrics for the costumes were purchased in Berlin, Budapest, Boston, and New York, so you can say that it was truly an international effort to bring those designs to life.

The first question should always be: "What do you want to say with this show?" How you are going to say it is the next step.

How does Rigolettoâ&#x20AC;&#x2122;s physical transformation factor into the design of his costume? I always start with character analysis and derive the design from there. Rigoletto is described as a physically crippled man, but the curse cripples him morally, and that makes him deteriorate and deform progressively throughout the course of the night. Tomer and I employed visual metaphors through costume and movement to show that Rigoletto's inability to carry out his revenge progressively weighs on him physically to such a degree that by the end of the show he can hardly carry himself upright. His hump grows larger, eventually bursting through the lacing of his doublet, his jester coat no longer fits, forcing him to invent new ways to tie it around his torso, his shoe platform grows in height and weight making it more and more difficult for him to move, dragging his limp foot behind. During the course of the show he

The style of the design is always derived from the story. I prefer to design for interesting stories and work with inspiring collaborators.

When one looks at your designs up close, it is clear that you have incredible attention to detail. Is this an important quality to have in costume design? Attention to detail is extremely important, as there is simply no excuse for generic design in any discipline. God is in the details. What was the most interesting or challenging costume you created? What made it so? Costumes for the production of Falstaff that Tomer and I did at Wolf Trap Opera were probably among the most challenging because I fused Elizabethan and Victorian costume styles together to create a whimsical world that draws from both the time period in which the opera was written and the time period in which the story was set. What piece of advice would you give to an artist starting out in costume design? Serve the story first and make sure that every design choice you make propels the story forward. Acquire technical skills with passion so that you can have a more versatile and potent expressive range. 41

COMMuNITY eNGAGeMeNT

Backstage at Theatrical Outfit, Reina Powell prepares for her 24-Hour Opera Project® debut in the audience favorite: Tuesdays with Pictures. photo: Jeff Roffman

OPeRA IN OuR COMMuNITY Each season The Atlanta Opera happily steps beyond the mainstage to bring opera of the highest caliber to locations throughout the Atlanta metro area. We offer programming and experiences for a wide variety of ages, from the novice to the super fan and everyone in between. During the 2014-15 season we are honored to return as participants in the Molly Blank Jewish Concert series at the William Breman Jewish Heritage Museum. On Jan. 15 we performed the music of Gershwin and Bernstein for a sold-out audience; on March 12 we return for a concert of music by Kurt Weill as we share his fascinating life story, which takes him from Berlin to Broadway. Late January also brought us the fifth annual 24-Hour Opera Project, performed for a full house at Theatrical Outfit. Our brave group of four composers and four librettists met for the first time Friday 42

morning to compose 10-minute operas over the course of 12 hours. The following morning, singers, accompanists, and directors turned those materials into live performances held that night. We were especially honored to feature a hilarious collaboration between several of our singers and the improv masters at Dad’s Garage. Our offerings for students of all ages began this year with a special student matinee of Madama Butterfly at the Cobb Energy Centre on Nov. 13. This one-hour reduction of the opera was performed fully staged, with the set, costumes, cast, chorus and orchestra of the mainstage show. An audience of more than 2,200 students were spellbound by Butterﬂy’s story and leapt to their feet to applaud when the show came to its tragic conclusion. The Studio Tour is our longest–running education initiative, performed for thousands of school-age children every

COMMuNITY eNGAGeMeNT season. This year we prepared a special onehour reduction of Mozart’s glorious The Marriage of Figaro, which toured middle and high schools throughout January and February and was seen by more than 6,500 students. An encore presentation of the show will be presented in a free public performance at the High Museum of Art on Mother’s Day, Sunday, May 10. June will see a reinvention of the High School Opera Institute as a week long intensive workshop for talented high school singers to explore aspects of preparing for an audition. Sessions include music and diction coaching, as well as classes in acting, movement, improvisation, and professional development. The week culminates in a mock audition/recital for parents and friends.

For audience members desiring a closer look at the world of the composer, we continue our popular pre-show lecture series, held one hour before every performance. For older music students, we continue to partner throughout the season with our area colleges and universities for a series of master classes, featuring our talented mainstage singers and teaching artists. Our community and education partners are instrumental in helping The Atlanta Opera to bring the power and passion of opera to thousands of students and audience members across the metro area. We are grateful for their support and we encourage you to learn more about our community programs by visiting us at atlantaopera.org.

SCeNe ThE 24-hOUR OPERA PROJECT®

44 photos: Jeff Roffman

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1/30/15 12:03 PM

ANNuAl GIVING The following names represent gifts from individuals, The Atlanta Opera Board of Directors, Staff, Chorus, and Orchestra. We express our most sincere thanks and appreciation to each of our donors. Their ongoing support allows The Atlanta Opera to continue building on its tradition of excellence by introducing new works and reimagining classics. Listed are pledges and payments to The Annual Fund, The Society for Artistic Excellence, and The Overtures Campaign from July 1, 2013 through January 1, 2015. DiamonD $200,000+ Nancy & Jim Bland John & Rosemary Brown Mr. & Mrs. Donald R. Keough Jerry & Dulcy Rosenberg

DiamonD (continued) Mr. & Mrs. William J. Hayes Mr. & Mrs. Wayne James Mr. John O. King Mary Ruth McDonald C. Dave & Carla Moody Mr. & Mrs. Michael E. Paulhus $100,000+ The Laura & Montague Boyd Foundation Edward W. Phares Mr. & Mrs. J. Barry Schrenk Martha Thompson Dinos Mr. & Mrs. Carl W. Knobloch, Jr.

Platinum $10,000+ $50,000+ Anonymous Mr. & Mrs. John L. Connolly Mr. David W. Boatwright John L. Hammaker Mr. Edward A. Chernoff Candy & Greg Johnson Mr. Mario Concha Mr. & Mrs. Michael L. Keough Heike & Dieter Elsner Mr. & Mrs. William E. Tucker Mrs. Bernadette Faber Rhys T. & Carloyn Wilson & Mr. John Nadobny Bob & Cappa Woodward Mr. Arthur Fagen The Mary & Charlie Yates Family Fund Carl & Sally Gable $25,000+ James M. Kane & Andrea Braslavsky Kane Mr. & Mrs. Shepard B. Ansley Mr. Alfred D. Kennedy, Jr. & Dr. Bill Kenny Julie & Jim Balloun Mr. & Mrs. Jack C. McDowell Mr. & Mrs. Andy Berg Mr. James B. Miller, Jr. Dr. Frank A. Critz Ms. Franca G. Oreffice Mr. Howard W. Hunter Clara M. & John S. O'Shea - Gramma Fisher Foundation Mr. Charles Sharbaugh Dr. & Mrs. Alexander Gross Mr. & Mrs. Thomas H. Teepen Mrs. Dale Levert & Mr. George Levert Mr. & Mrs. Joseph F. Weber Mr. & Mrs. Harmon B. Miller III Thomas R. Williams Family Mr. William E. Pennington Jane S. Willson Mr. James D. Powell & Mr. Mitchell J. Czeh Mr. Tomer Zvulun & Mrs. Susanna Eiland Baker & Debby Smith Mr. William F. Snyder $5,000+ Triska Drake & G. Kimbrough Taylor Anonymous Judith & Mark Taylor Mr. & Mrs. Phillip E. Alvelda Charlie & Dorothy Yates Family Fund Dr. Asad Bashey Dr. R. Dwain Blackston $15,000+ Jean & Jerry Cooper Cathy & Mark Adams Mr. & Mrs. Robert G. Edge Bryan & Johanna Barnes Ms. Rebecca Y. Frazer & Jon Buttrey Mr. & Mrs. John Michael Hancock Nancy & Holcombe Green

Platinum (continued) Mr. & Mrs. William A. Parker, Jr. Drs. Aileen O'Neill & Richard Robinson Sachin Shailendra Mr. & Mrs. Timothy E. Sheehan Johannah Smith Yee-Wan & John Stevens Mrs. Wadleigh C. Winship $2,500+ Anonymous Mr. & Mrs. Ronald R. Antinori Dr. Florence C. Barnett Mrs. Elizabeth Tufts Bennett Dr. Harold J. Brody Dr. & Bruce A. Cassidy & Dr. Eda Hochgelerent Col. & Mrs. Edgar W. Duskin Dr. & Mrs. Donald J. Filip Caroline & *Harry Gilham Dr. Thomas N. Guffin, Jr. Mr. & Mrs. Douglas Hantula Mr. & Mrs. Edward J. Hardin Mr. & Mrs. Harry C. Howard Mrs. Joseph B. Hutchison Mrs. Theodora S. Johnson Ms. Salli LeVan Mr. & Mrs. Allen P. McDaniel Victoria & Howard Palefsky Mrs. Polly N. Pater John & Barbara Ross Milton J. Sams Morton & Angela Sherzer Mr. Peter James Stelling Mrs. Hugh M. Tarbutton Mr. & Mrs. George B. Taylor, Jr. Dr. Nicholas Valerio III Ms. Bunny Winter & Mr. Michael Doyle Mr. Allen W. Yee, Esq. GolD $1,000+ Anonymous

ANNuAl GIVING GolD (continued) Mr. Michael M. Arens & Mr. Jeffrey M. Daniel Mr. Steven Astriab Mr. & Mrs. C. Duncan Beard Mrs. Wallace F. Beard Michael L. & Valerie W. Benoit Mrs. Enrique E. Bledel Ms. Mary D. Bray Mr. & Mrs. John Calhoun Dr. John W. Cooledge Dr. & Mrs. F. Thomas Daly , Jr. Ms. Suzanne Mott Dansby Mr. Robert S. Devins Dr. Morgan Eiland & Dr. Susan Eiland Mr. & Mrs. John C. Ethridge, Jr. Dr. Mary M. Finn John Gam, Ph. D. Peg Simms Gary Ms. Lois M. Grant & Mr. Keith F. Weiland Mrs. Helen C. Griffith Sylvia Halleck, M.D. Harald Hansen Mr. L. D. Holland Mr. & Mrs. Howell Hollis III Ann P. Howington Mr. & Mrs. David C. Huffman Dr. & Mrs. Duke Jackson, Jr. Mrs. Joseph W. Jones Mr. & Mrs. Gert Kampfer Ronnie & Peter Kessenich Marsha & David King Mr. & Mrs. Michael A. Klump Mrs. Treville Lawrence Mr. & Mrs. J. David Lifsey Ms. Linda L. Lively & Mr. James E. Hugh III Jeanie & Albert Marx Dan D. Maslia Margaret McCamish Shelley McGehee Mr. & Mrs. Robert McKeeman Mr. & Mrs. John McMullan Ms. Mimi S. Monett Ms. Priscilla M. Moran Mr. & Mrs. Frank J. Muckler Dr. & Mrs. Lawrence S. Phillips Mrs. Betsy Pittman The Reverend Neal P. Ponder, Jr. Dr. Michael F. Pratt & Nancy Peterman Mr. & Mrs. Robert Ratonyi Lynne & Kent Regenstein Mr. Shawn Rieschl Johnson

GolD (continued) & Mr. Christian Kirby R.J. & D.G. Riffey, Jr. Mr. & Mrs. George P. Rodrigue Mr. & Mrs. Nicholas Shreiber Dr. & Mrs. Patton P. Smith Mr. Fred B. Smith The Estate of Ms. Barbara Stewart Ms. Melinda R. Stuk Mr. Paul Stuk Dr. Jane T. St. Clair & Mr. James E. Sustman Dr. & Mrs. Michael Szikman Rae & George W. Weimer Dr. & Mrs. James O. Wells, Jr. Ms. Linda D. Wickham Larry & Beverly Willson Mrs. Frank Wilson, Jr. Ms. Jerrie Woodward Mrs. Sarah Zabinski & Mr. Andrzej Zabinski

GolD (continued) Mr. George L. Hickman, III Donna & Richard Hiller Mr. Robert L. Karem, Jr. Mr. & Mrs. Fred R. Keith Ms. Eleanor Kinsey Mrs. Jo W. Koch Joan & Arnold Kurth Dr. Jason Liebzeit Dr. Jill Mabley Douglas W. & Sarah Mabry Mr. & Mrs. Peter J. Morelli II The Mortimer Family Mrs. Thespi P. Mortimer Barbara & Mark Murovitz Terri & Stephen Nagler Mr. & Mrs. Stephen L. Naman John & Agnes Nelson Mr. & Mrs. Richard P. Nicholas III Mr. David Paule & Mr. Gary Mann Mr. & Mrs. Daniel V. Pompilio III Mr. David Pylate $500+ Mr. James L. Rhoden Anonymous Ms. Heidi M. Rockwood Mr. Keith E. Adams Sidney & Phyllis Rodbell Mr. & Mrs. Walter Bailey Dr. & Mrs. Mark Rowles Mr. & Mrs. Kenny L. Blank Mr. Stuart Schleuse Ms. Martha S. Brewer Jane Stoddard Barbara S. Bruner, M.D. Steve & Christine Strong Ms. Lynnore Buersmeyer Dr. & Mrs. Kenneth G. Taylor Bob & Marion Bunker Dr. Richard Thio Dr. J. Bricker Burns Mr. Stephen H. Thompson & Mr. Drew Mote Mrs. Constance Calhoun Constance W.Treloar Mrs. Stella M. Carlson Mr. Mark O'Connell Mrs. Carol J. Clark Mr. & Mrs. Thomas W. Ventulett III Dr. Earle Clowney Mr. & Mrs. Leroy Walden Mr. & Mrs. Don S. Coatsworth Henry Waszkowski & Patty Thomas Mrs. Jan W. Collins Alan & Marcia Watt Mr. & Mrs. Newt Collinson Ms. Lillianette Cook & Ms. Carol C. Uhl Janice West William Wilkinson & Robert K. Bellinger Mr & Mrs. Michael J. Curry Ms. Venette M. Williams Maureen & Michael Dailey Mr. Robert P. Dean & Mr. Robert Epstein Jone Williams Mr. Russell Williamson Mr. Philip A. Delanty & Ms. Shawn Pagliarini Jim & Carol Dew Dr. & Ms. David W. Wingert Ms. Elsie Draper Sherrilyn & Donn Wright Ms. Ariana B. Fass Mrs. Arnoldo Fiedotin Mr. & Mrs. Lance Fortnow Dr. & Mrs. David J. Frolich Ms. Louise S. Gunn Mr. Noel F. Haeberle & Mr. Kenneth Jones Mr. Michael Hand

$350+ Anonymous Mr. & Mrs. Robert O. Banker Mr. & Mrs. Samuel Betor Mr. Gregory Carraway Mr. & Mrs. Raymond H. Chenault Dr. & Mrs. Sheldon B. Cohen

ANNuAl GIVING GolD (continued) Mr. Lawrence M. Cohen Mrs. June Crawford Mr. John Cullom Dr. & Mrs. Albert De Chicchis Mr. & Mrs. Arthur R. Dugger Mr. Mark duMas Mr. & Mrs. Charles M. Edwards III Ms. DeeAnn E. Evans Rita Evans Judge Adele P. Grubbs Jim & Virginia Hale Dean & Vivian Haulton James E. Honkisz & Catherine A. Binns Mr. & Mrs. James Horgan Mrs. Sally Horntvedt Mr. Scott Ingram Ms. Annette Janowitz Chris & Jill Le Livvy Kazer Lipson Mr. Albert C. Loebe Katherine B. Maxwell & Michael J. Maxwell Mr. Thomas L. McCook Mr. & Mrs. Norman Miller Ms. Sharon Mills Dr. Patricia S. Moulton Jane & Jim Murray Anne Lanier Mursch The Honorable & Mrs. George A. Novak Mr. & Mrs. J. Vernon O'Neal, Jr. Mr. John Owens Mr. & Mrs. Henry C. Parrish III Mr. & Mrs. Guy Paschal Edward & Marjorie Patterson Mr. Darryl C. Payne & Ms. Lisa Richardson Lucy S. Perry Stephen L. Rann Mr. Hervey S. Ross Ms. Lorraine Russell Weslyn A. Samson Mr. Robert Sidewater Helga Hazelrig Siegel Scott L. Snead Dr. Susan Y. Stevens Mrs. Eleanor H. Strain Ms. Michelle M. Thomas & Mr. Kevin Myers Mr. & Mrs. Charles D. Tuller Mrs. James B. Vaught Dr. & Mrs. James H. Venable Mary Jane & Jorge Vilanova

GolD (continued) Ms. Reba P. Welch Mrs. Johnnie Zahler & Jeanette Zahler Mr. & Mrs. John Zellner Silver $100+ Anonymous Rev. Joanna & Mr. Alfred B. Adams Hilda S. Adams Mr. Thomas A. Adams, Jr. Mrs. Judith Alembik Mr. & Mrs. Harold H. Alexander Dr. Catherine Allard Dr. & Mrs. Raymond Allen Mr. & Mrs. William A. Allison Dr. Robert J. & Mrs. Lynne S. Alpern Mr. James D. Altman Ms. Susan M. Alvarez Mr. & Mrs. William F. Amideo Mr. Scott & Ms. Sandra Anderson Ms. Oana Andreescu Dr. & Mrs. Dan J. Appelrouth Dr. & Mrs. Charles R. Arp, Jr. Atlanta Opera Guild Mrs. Elizabeth A. Bair Ms. Joselyn B. Baker Mr. & Mrs. David S. Baker Ms. Mary M. Ball Mr. & Mrs. Michael Barker Dr. & Mrs. John Barnes Ms. Beverly Bates Boris Bauer Mr. Brian D. Beem Dr. & Mrs. Frank C. Bell Mr. Albert E. Bender, Jr. Ms. Lauren A. Benevich Daniel & Bethann Berger Mr. I. Robert Beton Mr. Gary L. Bivins Albert K. Blackwelder Mr. & Mrs. Michael E. Blackwood Mr. & Mrs. Mike Boaz Mrs. Martha Bobo Mrs. Katherine Booth Mr. Marvin S. Brown Mrs. Karen Bunn Mr. Hans J. Burmeister Dr. & Mrs. W. Brantley Burns Drs. Brenda & Craig Caldwell Mr. & Mrs. Raymund Callaway Dr. & Mrs. W. Jerry Capps Thomas S. Caras, M.D. Dr. Emma Casanova

Silver (continued) Dr. Lynn Cathcart Mr. & Mrs. George W. Cemore Mr. & Mrs. Thomas Hal Clarke Mrs. Ruth Coan Mr. & Mrs. Alva C. Cobb Dr. Malcolm H. Cole Mrs. Claudia Colvin Ms. Sally Combs Ms. Celeste Condit Mr. & Mrs. Jimmy Connell Mr. & Mrs. F. Dean Copeland Mr. Bruce W. & Mrs. Kate Cotterman Mr. & Mrs. David Courtney Mr. Charles Dale Mr. & Mrs. Peter Dallo Dr. Jiyoung Daniel Mrs. Jeanne Daniels Ms. Carol Comstock & Mr. James L. Davis Jennifer Dempsey Joseph & Joanne DeSantis Mr. Kevin Dew & Mr. Hal Platt Ms. Rosemarie Distefano Mr. Jere Dodd Mr. & Mrs. Joseph Drummond Mr. & Mrs. Denis DuBois Mr. Kip Duchon Sara Duke Suzanne Durbin Mr. & Mrs. David R. Dye Lacey T. Dyer Mr. Gregory J. Earnest Arnold & Sylvia Eaves Dr. G. Eichholz Ms. Paula L. Ellis Ms. Elizabeth R. Etoll Ms. Barbara Faherty Mr. & Mrs. Kurt A. Fanstill Dr. Fariba Farhidvash Ms. Barbara M. Farr Joann Felder Dr. & Mrs. Edwin E. Flournoy Ms. Hope Caldwell-Foster Gray & Ruth Fountain Mr. & Mrs. Michael E. Friedman Ms. Mozelle Funderburk Mr. Glen Galbaugh Mr. James Gary Ms. Maryanne F. Gaunt Dan & Harriet Gill Mr. & Mrs. Sander L. Gilman Colonel & Mrs. Donald M. Gilner Mr. & Mrs. Donald Goldstein

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ANNuAl GIVING Silver (continued) Dr. & Mrs. Martin Goldstein Dr. Richard Goodjoin James C. Goodwyne & Christopher S. Connelly Ms. Katharine Grady Ms. Nelda Greene Mr. Kevin Greiner Mr. & Mrs. Richard P. Grodzicki Ms. Anne L. Grossman Dr. & Mrs. John B. Haberlen Ms. Mary Joe Hanes Dr. & Mrs. Eugene Harley Mr. Ronald L. Harris & Mrs. Jacqueline Pownall Mr. Michael D. Hastings Dr. Gary M. Henschen Marianne & Patrick Hickey Dr. & Mrs. William Hinson Ms. Elizabeth B. Hodges Mr. & Mrs. Douglas M. Holly, Jr. Ms. Tina A. Hooper Pearlann & Jerry Horowitz Dr. Karen Kuehn Howell Mrs. Margaret Talmadge Howell Mrs. Roberta L. Huebner Ms. Emma Hughes Mrs. H.F. Hunter Mr. John M. Hutchinson & Mr. Brian Bonin Ms. Irmgard S. Immel Mr. Rolf Ingenleuf Mr. & Mrs. Francis M. Jack Mr. & Mrs. Robert C. Jackson Mary O. Jensen Mr. & Mrs. Thomas Johnston Cliff Jolliff & Elaine Gerke Ms. Jo Elliott Jones Mr. & Mrs. Paul Jones Ms. Beth Jones Mr. & Mrs. Jerry Juchelka Mr. & Mrs. Bernd Kahn Mr. Stephen J. Kalista Mr. & Mrs. Edward Katze Dr. & Mrs. John L. Keller Mary Nell & Jim Kerr Jane & Bob Kibler Mrs. Donna J. Kilgore Mr. Allen D. King, Jr. Ms. Caroline B. Klopstock Mrs. Cynthia Kutka Judge & Mrs. John Langford Mrs. Emma Lankford

Silver (continued) Mr. Andrew & Mrs. Juliette Lebor Ms. Constance B. Lewis Mrs. Jeanine Lewis Sophie Li Mr. Sidney E. Linton Vanessa & Allan Little Mrs. Shirley Litwhiler Richard Lodise & Valerie Jagiella Drs. Jean V. & Lester A. Longley Charles & Katherine Lord Mr. Benjamin W. Lovvorn Mr. Trevor & Mrs. Donna Lumb Mr. Bruce Madden Dr. Robert & Judge Stephanie Manis Belinda & Gino Massafra Ms. John Massengale Ms. Gloria G. McCrory Patricia & Laughlin McDonald Mr. Kenneth A. Miller Cindy & Edward Miller Mr. Simon Miller Mr. Roger Moister, Jr. Mr. Anthony Montag Mr. Bill Moody Ms. Janine Musholt Ms. Pat Nash Mr. & Mrs. Richard Newton Mr. Carl W. Nichols Ms. Melissa Mahan Nicol Cindy Baumgardner Mrs. Amy Wynn Norman Ms. Marianela E. Noya Mr. Howard R. Osofsky Mr. Joseph M. Pabst Rev. Louisa T. Parsons Dr. & Mrs. John G. Paty, Jr. Mr. & Mrs. John Payan Peachtree Battle Garden Club Mr. Andreas Penninger Ms. Sandra Perkowitz Mr. & Mrs. Benjamin S. Persons, Sr. Mr. W. Ray Persons Ms. Sophia B. Peterman Ms. Maria M. Pflugbeil Mr. Lawrence F. Pinson Calvin Pleasants & Vasily Goncharov Ms. Catherine Pobst Donna & Robert Pollet Ms. Anne Pollock Ms. Ivetta V. Polyakova Catherine Popper & Noah Eckhouse Mrs. Catherine T. Porter

Silver (continued) Lavinia Pretz Mr. Donald W. Prichard Mr. Leonard B. Reed & Ms. Lisa N. Davis Mrs. David A. Reinach Mr. & Mrs. Thomas F. Remington Mr. Mark Rich Mr. Norman Robinson Mr. Don C. Robinson Mr. John B. Rofrano Mr. & Mrs. John Phillip Rogers Mr. James Rollins Mr. Daniel D. Ross Mr. Dwight Ross, Jr. Ms. Linda Rubin Wallace & Cindy Sagendorph Dr. & Mrs. David Satcher Dr. & Mrs. Joseph M. Scanlan Crista & Glenn Schaab Mr. & Mrs. James S. Schiwal Mr. Donald Schreiber & Ms. Barbara Seal Mr. & Mrs. John A. Schwartz Mr. & Mrs. David M. Scoular Harold Settle MD Mrs. Roberta Setzer Sharon Silvermintz Mr. & Mrs. Charles Slick Tom Slick Mrs. Carol E. Smart Dr. & Mrs. Stanley J. Smits Mr. & Mrs. James W. Spencer Ms. Joan Spofford Gail & Barry Spurlock Dr. David Stacy Mr. N. Jerold Cohen & Ms. Andrea Strickland Jay & Katie Sullivan Mr. & Mrs. James A. Summers Mrjorie H. & David N. Summers Sarah & David Sutherland Carolyn & Robert Swain Mr. & Mrs. Hugh K. Switzer David C. Talbert Mr. Eric J. Taylor Ms. Virginia S. Taylor Mr. & Mrs. Frederick C. Taylor Leigh & Jay Telotte Paul & Loretha Thiele Ms. Nancy A. Thomas Mrs. Janet P. Tiller Mr. James Todd Mr. Joseph M. Troncale Carol C. Uhl

emoryhealthcare.org/voicecenter 288

ANNuAl GIVING Silver (continued) Mrs. Linda P. Vinal Mr. & Mrs. Fritz Von Ammon Cameron & Scott Vowell Mr. & Mrs. Stephen G. Warner Mr. & Mrs. Lewis B. Watford Dr. Linda Webb Mrs. Constance Wehner Dr. Bernard Weiss Ms. Parsla A. Welch

Silver (continued) Mr. & Mrs. A. E. Westmoreland, Jr. Mr. & Mrs. Richard T. White Kay C. Wideman Ms. Teri Wikesjo Virginia S. Williams Mr. & Mrs. Alexander M. Williams Sue Williams Mr. Jason Williams Mr. Calvin Wingo

Silver (continued) Ms. Ann D. Winters Mrs. Loretta C. Wolf Dr. & Mrs. R. Craig Woodward Mrs. Mary S. Wright Mrs. Jeanne S. Wynne Drs. Martin & Holly York Dr. Edward Zaiko & Dr. Ivana Pelner-Zaiko Kurt-Alexander Zeller

CORPORATe PARTNeRS $500,000 The Coca-Cola Company $50,000+ Federal Home Loan Bank of Atlanta $10,000+ Affordable Equity Partners, Inc. The Atlantan Bloomingdales Tony Brewer & Co. Cartier Georgia Dermatology Center UBS Financial Services Inc. $5,000+ Anonymous

BNY Mellon David Yurman Ikebana International KPMG LLP Neiman Marcus $2,500+ Batdorf & Bronson Coffee Roasters Branch Banking & Trust Co. Dennis Dean Catering Gas South Hyde-Moran Group - UBS Private Wealth Management King & Spalding LLP PNC Financial Services Group PNC Wealth Management

The Ritz Carlton - Buckhead Soiree Catering & Events The St. Regis Atlanta Zurich North America $1000+ Joel Crowe - Wallace Graphics Double Cross Vodka Fast Signs Sandy Springs National Distributing Company, Inc. Windham Brannon Financial Group, LLC $500+ Fidelity Bank Homrich Berg, Inc. Panasonic

fOuNDATION & GOVeRNMeNT SuPPORT Listed below are organizations that contributed and/or pledged to The Atlanta Opera between July 1, 2013 and December 31, 2014. FounDationS $750,000+ The Goizueta Foundation $150,000+ Atlanta Music Festival Association $50,000+ The Jim Cox, Jr. Foundation Livingston Foundation The Sara Giles Moore Foundation J. Marshall & Lucile G. Powell Charitable Trust The Rich Foundation $20,000+ The Estate of Roy A. Dorsey The Kendeda Fund The Charles Loridans Foundation, Inc. Wells Fargo Foundation

$10,000+ Molly Blank Charitable Trust The George M. Brown Fund Camp-Younts Foundation Fraser-Parker Foundation Ann & Gordon Getty Foundation Price Gilbert, Jr. Charitable Fund JBS Foundation Abraham J. & Phyllis Katz Foundation Norfolk Southern Corporation Foundation SunTrust Trusteed Foundation

$1,000+ Bright Wings Foundation The Mary Brown Fund of Atlanta Hills Family Foundation Kiwanis Foundation of Atlanta, Inc Lois & Lucy Lampkin Foundation The Ray M. & Mary Elizabeth Lee Foundation Publix Super Markets Charities Government FunDinG $50,000+ Atlanta Office of Cultural Affairs

$5,000+ Frances Wood Wilson Foundation, Inc. The John & Mary Franklin Foundation, Inc. $20,000+ Georgia Council for the Arts Nordson Corporate Foundation National Endowment for the Arts Turner Broadcasting System

would like to thank

for their generous support.

p r o u d ly s u p p o r t s

t h e At l A n tA o p e r A

TRIbuTeS & MeMORIAlS in Honor of mr. & mrs. Shepard B. ansley Janice West

in memory of Betsy Hansen Harald Hansen

in Honor of Florence Barnett The Snead Family in Honor of Doug Holly Boris Bauer

in memory of mia Hecht owens Mrs. Enrique E. Bledel Ms. Janet R. Piercy Mrs. Catherine T. Porter Brooks, Leslie, & L.J. Yankosky

in memory of Jay Beadle Dan & Harriet Gill

in Honor of Joseph lattanzi The Reverend Neal P. Ponder, Jr.

in Honor of Jim & nancy Bland Mrs. Connie Treloar Mr. & Mrs. Ben J. Tarbutton Mrs. Treville Lawrence Mr. & Mrs. W. Tinsley Ellis

in memory of rachel lehmann Mrs. Eleanor H. Strain

in Honor of laura & Cosmo Boyd Mrs. Eleanor H. Strain

in Honor of Polly n. Pater Tom Slick Mr. & Mrs. Charles Slick Mr. & Mrs. Brian Beem

in memory of lavinia Cloud Pretz Lavinia Pretz in memory of John Cox Mr. Kevin Dew & Mr. Hal Platt in Honor of ashley Curling David & Carmen Mcclellan in Honor of Susanna eiland Dr. & Dr. Morgan Eiland in memory of arnoldo Fiedotin Mrs. Enrique E. Bledel in memory of alvin Goldstein The Women of Bryan Cave in memory of John W. Grant, iii Mrs. Carol E. Smart in Honor of Kevin Greiner Ms. Joselyn B. Baker

in memory of edward mortimer Mrs. Thespi P. Mortimer

in Honor of ms. Faye P. Popper Catherine Popper & Noah Eckhouse in memory of Jim Strain Mr. William E. Pennington in Honor of John tibbetts The Reverend Neal P. Ponder, Jr. in memory of marya Gabrielle Williams Jone Williams in Honor of mr. & mrs. Charles r. Yates, Jr. Mrs. Sarah Yates Sutherland in Honor of tomer Zvulun Dr. Richard S. Sarason & Anne S. Arenstein Cameron & Scott Vowell

SuPPORT The ATlANTA OPeRA

SUPPORT TOMORROW, TODAy! BUilD A lEGACy WiTh ThE ATlANTA OPERA The Atlanta Opera sincerely appreciates your generous support and belief in our mission of enriching lives through the power of opera. By building a legacy through the creation of a planned gift with The Atlanta Opera, you can help ensure that future generations of Atlantans are exposed to the highest quality opera for generations to come. Developing an estate plan requires advice from a professional, so we suggest you consult your personal adviser to make sure your gift will accomplish the intended goals for both The Atlanta Opera and you. A member of our development team will be happy to meet with and assist you in exploring the options that are most beneficial for everyone involved. Your planned gift can make a tremendous difference and help preserve the future of The Atlanta Opera!

eNCORe CIRCle The Atlanta Opera established the Encore Circle to recognize donors who have designated the Opera as a beneficiary in their estate plan. Gifts from these individuals ensure our progress for generations to come. Anonymous Mr. & Mrs. Shepard B. Ansley Mrs. Wallace F. Beard Mr. Montague L. Boyd, III Ms. Mary D. Bray Mr. Robert Colgin Martha Thompson Dinos Arnold & Sylvia Eaves Ms. Dorothy E. Edwards Heike & Dieter Elsner Carl & Sally Gable Peg Simms Gary Mr. & Mrs. Sidney W. Guberman Ms. Judy Hanenkrat

Mr. Hilson Hudson Mrs. Joseph B. Hutchison Mr. J. Carter Joseph Mr. Alfred D. Kennedy Ms. Corina M. LaFrossia Mr. & Mrs. John G. Malcolm Mr. Robert L. Mays Mr. & Mrs. Allen P. McDaniel Mr. & Mrs. Jack C. McDowell Mr. & Mrs. Craig N. Miller Miss Helen D. Moffitt Mr. J. Robert Morring Clara M. & John S. O'Shea Mrs. Polly N. Pater

Mr. William E. Pennington Mr. Bruce Roth Ms. Hazel Sanger Mr. D. Jack Sawyer, Jr. Elizabeth Morgan Spiegel Dr. Jane T. St. Clair & Mr. James E. Sustman Mr. & Mrs. Thomas H. Teepen Dr. & Mrs. Harold Whitney Rhys T. Wilson Ms. Bunny Winter & Mr. Michael Doyle, J.D. *Mr. & Mrs. Charles R. Yates Sr. Mr. Charles R. Yates, Jr. & Mrs. Mary Mitchell Yates * deceased

VOluNTeeRS Volunteers are a vital component of the continued success and growth of The Atlanta Opera. We would like to acknowledge the many contributions offered in the past year by the individuals listed below. We appreciate everything they do for the Opera and the greater Atlanta community by nurturing this important cultural asset. Are you interested in working behind the scenes? Our volunteers work in our offices, in the community, backstage and even on the stage as supernumeraries! We can use you wherever you feel your particular skill set can best benefit the company, whether as an artist ambassador, or stuffing envelopes, or marketing, or assisting with community events – there is a place for you in The Atlanta Opera family. Call Natasha King at 404-591-2928, email nking@atlantaopera.org or visit the “Support Us” section at atlantaopera.org to learn more about becoming a volunteer. Denise Andersen Kimberly Anderson Chantey Andrews Lora Lee Antill Alishia Austin K. Ilena Banks Joan Baskin Sanford Baskin Zachary Berman Stacy Berry Rosa Bland William Gary Ernie Braunschweig Allison Brown Bennett Brzycki Charley Burney Paul Burnore Jessica Callaham Eydie Castro Richard Cherry Erin Cohee Noreen Conort Beth Cooper Jean Cornn Kimberly Daniels Lorie Davis Chris Deutschler Kevin Dew Stacey Dietz Richard Dodder Brad Dorfman Janay Douglas Chandrea Dungy Rabiah A. Elisa Lance Elliott Katia Evans Anna Filardi

Olga Flores Brenda Flores Pete Fujimoto Peggy Fung Shawn Gardner Maxi George Aaron Gilliam Elliott Goldstein Elizabeth Goldstein Phoenixx Greywolf Sylvia Halleck Jumaanah Harris Anne Hayes Lauren Hayes Suzanne Hayes Jennifer Hendricks Frances Holland David Huffman Cardine R. Johnson Jocelyn Johnson Kathy Johnson Nicolas Johnson Corey Johnson Jamey Jones W. C. Jones Amanda Kautzer George Kazarian Rita Kennedy Paula Kocher Anie Kogutkiewict Sarah Kouba Patty Kramer-Lake Alison Kratzert Helen & Steve Kraus Esther Kudron Virginia J. Lam Charmaine Lawrence

Ryan Lee Vicky Legasei Peg & James Lowman Diana Lulushi Meigan Manis Rachael McDonald Mary Ruth McDonald Jenny McElligott Julie McGehee Denisha Miller Lorrain & Joseph Mills Marcus Mitchell Ciara Montalbo Kristin Moye Fatimah Mustafaa JC Name Natalie Lynch Robert Nemo Gwendolyn Nestlehutt Vernon Norris Ms. Marianela Noya Sonia Oxman Priya Patel Polly Pater Glenda Pearson Matthew Pinnow Tandi Reddick Nancy Reed Marie Reid Alex Rivera Blake Roberson Catherine Roberson Diana Robinson Suzanna Saiah Cherylene & John Sands Martha Schallern Catherine Schatz

Joyce Schechter Carol Schmied Gail Shattah Amanda Shearrow Tatiana Shiferson Dan Shumate Verna Slade Alisha Smith Courtney Smith Sheena Spencer Margaret A. Stephen Eleanor Strain Beth Suryan Sandy Taffel Linda Taylor Carol Thurman Donald Thurman Laura Tompkins Suzanne Touchstone Ruth Vaught Mark & Tricia Vogelgesang Alice Wade Darrell Gene Waits Alana C. Walker Dorman Wallace Hilary Wayne Harold Whitney Branalyn Williams Laura Chris Wright Yilan Xiang Barbara Zellner Sanaa Furqan Constance Mack Sevim Jumper Sherry von Klitzing Grace Shin James (Jim) Jackson

Sat. March 28th 2pm-11pm

parktavern.com

bOARD Of DIReCTORS OffICeRS ChAiR EMERiTUS Mrs. Boyce Ansley ChAiR Mr. William E. Tucker iMMEDiATE PAST ChAiR Mr. Gregory F. Johnson viCE ChAiR Mr. John L. Hammaker viCE ChAiR Mr. Charles “Charlie” R. Yates TREASURER Mr. Rhys T. Wilson SECRETARy Mr. Michael Keough

MeMbeRS

hONORARY MeMbeRS

Ms. Cathy Callaway Adams Mr. Bryan H. Barnes Mr. Andy Berg Mrs. Nancy Carter Bland Mr. Montague L. Boyd, III Mrs. Rosemary Kopel Brown Mrs. Mary Calhoun Mr. Mario Concha Ms. Martha Thompson Dinos Mr. Robert G. Edge Ms. Bernadette Faber Mr. Eli Flint Mrs. Joanne Chesler Gross Mr. John Michael Hancock Mr. Howard W. Hunter Ms. Mary B. James Mr. Alfred Kennedy, Jr. Mr. John King Mr. George Levert Ms. Kelly Lyemance Mr. James B. Miller Mr. Mike E. Paulhus Mr. William E. Pennington Mr. James D. Powell Mr. Herbert J. Rosenberg Mr. Charles Sharbaugh Mr. Timothy E. Sheehan Mr. G. Kimbrough Taylor, Jr. Mr. Thomas R. Williams Mrs. Jane S. Willson Mr. Robert G. Woodward Mr. Allen W. Yee

Mr. Opher Aviran Consul General Israel to the Southeastern United States Mr. Dieter Elsner Mr. Carl I. Gable, Jr. Mr. John “Jack” S. Gillfillan Mrs. Nancy Hall Green Mr. Carter Joseph Mrs. Peggy McDowell Mr. Harmon “Sandy” B. Miller, III Mr. Bruce A. Roth Mr. Mark K. Taylor Mrs. Bunny Winter

would like to thank

for their generous support.

SCeNe BREMAN MUSEUM CONCERT

photos: The Breman Museum / Ivani Photography

STAff The ATlANTA OPeRA Tomer Zvulun GENERAl & ARTiSTiC DiRECTOR Arthur Fagen CARl & SAlly GABlE MUSiC DiRECTOR

ARTISTIC Cory Lippiello DiRECTOR Of ARTiSTiC PlANNiNG & COMMUNiTy ENGAGEMENT Walter Huff ChORUS MASTER Wade Thomas EDUCATiON MANAGER Lidiya Selikhov ARTiSTiC ASSOCiATE

DeVelOPMeNT Sarah Zabinski DiRECTOR Of DEvElOPMENT Rae Weimer ASSOCiATE DiRECTOR Of DEvElOPMENT Greg Carraway fOUNDATiON & GRANTS MANAGER Caroline Clark ANNUAl fUND MANAGER Natasha King vOlUNTEER & EvENTS MANAGER Rachel Jorgensen DEvElOPMENT SERviCES & DATABASE MANAGER

MARKeTING & COMMuNICATIONS Dave Paule DiRECTOR Of MARKETiNG & COMMUNiCATiONS Scott Hazleton MARKETiNG MANAGER Matt Burkhalter CREATivE SERviCES MANAGER Renee Smiley PATRON SERviCES MANAGER Rebecca Danis PATRON SERviCES ASSOCiATE

fINANCe & ADMINISTRATION Paul Deckard DiRECTOR Of fiNANCE Inga V. Murro CONTROllER Stephanie Cantillo ADMiNiSTRATivE & hUMAN RESOURCES MANAGER Allie Beckett EXECUTivE ASSiSTANT 60

STAff PRODuCTION Shawn Rieschl Johnson DiRECTOR Of PRODUCTiON John Beaulieu TEChiNiCAl DiRECTOR/ MASTER CARPENTER Joanna Schmink COSTUMES COORDiNATOR Ken McNeil WARDROBE SUPERviSOR Bridgette K.L. Mont fiRST hAND Emoryann Childers STiTChER Mary Torres STiTChER Richard Jarvie WiG & MAKEUP DESiGNER Tiffany Davis WiG & MAKEUP DESiGN ASSiSTANT Richard Cherry WiG & MAKEUP DESiGN ASSiSTANT Christina Moore WiG & MAKEUP DESiGN ASSiSTANT Tracy Salazar WiG & MAKEUP DESiGN ASSiSTANT

CObb eNeRGY PeRfORMING ARTS CeNTRe Johannes Pikel TEChNiCAl DiRECTOR Jessica Coale PRODUCTiON MANAGER Michael Wolmer hEAD ElECTRiCiAN Mark Newman hEAD CARPENTER/RiGGER Jon Summers AUDiO ENGiNEER

1575 Northside Drive, N.W., Suite 350 Atlanta, GA 30080 404-881-8801 atlantaopera.org

photo: Erhard Rom - scenic designer

hOuSe POlICIeS CONCeSSIONS Concession stands are located in the center of the lobbies on all three levels. Food and beverage items are prohibited inside the theatre. Thank you for your cooperation. ReSTROOMS Restrooms are located on house right and house left of all three lobbies. Family restrooms are also located on house right of all three lobbies. Mobility-impaired patrons may use any of our restrooms. PARKING There are 1,000 parking spaces available at $6 per car. Valet service is available for $10. Please be sure to allow enough time for travel to the theatre 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 INfORMATION In the event of an emergency, please locate the nearest usher who will direct you to the appropriate exit. eleVATORS Elevators are located on each side of the lobbies on all levels. lOST 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. 62

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, first-served basis, or you may call the House Manager ahead of time to reserve one at 770-9162828. 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. • There is no late seating allowed. Closedcircuit monitors are provided in the lobby as a courtesy to latecomers. • Please turn off all cell phones prior to the beginning of each performance. • Please limit conversation during the performance. • Cameras (including use of cell phone 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.

CLAYTON STATE UNIVERSITY MORROW, GEORGIA

STEPHANIE BLYTHE

WARREN JONES

Stephanie Blythe mezzo-soprano

Warren Jones, piano Saturday, March 21, 2015 8:15PM | $54 Pre-concert Talk 7:15PM

Blythe’s “large, voluptuous tone, unerring pitch, and pinpoint articulation make her one in a million” (San Francisco Classical Voice).

Dorothea Röschmann soprano

DOROTHEA RÖSCHMANN

MITSUKO UCHIDA

IAN BOSTRIDGE

WENWEN DU

Mitsuko Uchida, piano Sunday, April 19, 2015 3PM | $62 Pre-concert Talk 2PM

Dorothea Röschmann is “a Schwarzkopf for our time,” “intelligent, elegant, versatile,” “immaculate and soulful;” “the beauty of her voice seems almost incidental” (The New Criterion).

Ian Bostridge, tenor Wenwen Du, piano Saturday, April 25, 2015 8:15PM | $62 Pre-concert Talk 7:15PM Pre-concert Dinner 6:30PM

A supremely expressive story-teller in song, British tenor Ian Bostridge creates performances of intensity, conjuring melody, words, and a nuanced range of tone qualities to extraordinary emotional effect.

TICKETS ON SALE NOW Spivey Hall Box Office:

(678) 466-4200 Get complete program information at:

www.SpiveyHall.org

This program is 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.

WO R LD -CL A S S C A R D I A C S E R V I C E S

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