Cast & Creative

Praised for his energy and integrity on the podium, the Chicago Tribune has said, “Milioto presided with Bernsteinesque bravura.” A rising star of his generation, he is forging a unique career as a versatile conductor and leader. Mr. Milioto is currently Music Director of OPERA San Antonio and Artistic Advisor to the Florentine Opera Company, while maintaining positions on the music staffs of both the Lyric Opera of Chicago and The Santa Fe Opera. Mr. Milioto is excited to return to The Atlanta Opera following his successful debut conducting The FRANCESCO MILIOTO Threepenny Opera in The Big Tent Series last spring. CONDUCTOR Immediately following that production Mr. Milioto returned to San Antonio for performances of Lucia di Lammermoor ATLANTA OPERA DEBUT before heading to The Santa Fe Opera for Tchaikovsky’s THE THREEPENNY Eugene Onegin. The 2021-22 season began with his longOPERA, 2021 anticipated debut with the Florentine Opera Company in their postponed production of Verdi’s Rigoletto. Mr. Milioto also made his debut in Charleston with Holy City Arts & Lyric Opera (HALO) conducting a new production of La traviata performed on the local baseball field. Following these performances in Atlanta, he will return to the Lyric Opera of Chicago to serve as cover conductor for a production of Fire Shut Up in My Bones. Mr. Milioto will round out his season returning to OPERA San Antonio for their production of Rigoletto.

Seán Curran’s career in the arts spans 35 years, beginning with traditional Irish step dancing as a child in Boston. A sought-after choreographer and director for opera and theatre, notable projects include Salome (Opera Theatre of St. Louis, San Francisco Opera, Opera Montreal, San Diego Opera); Much Ado About Nothing and A Midsummer Night’s Dream for The Shakespeare Theater; Fire Shut Up in My Bones, Shalimar the Clown, Ariadne on Naxos, Nixon in China, and Daughter of the Regiment at Opera Theatre of Saint Louis; NYC Opera SEÁN CURRAN productions of L’Etoile, Alcina, Turandot, Haroun and STAGE DIRECTOR the Sea of Stories, Capriccio, and Acis and Galetea; & CHOREOGRAPHER Shakespeare in the Park’s As You Like It; the Metropolitan ATLANTA OPERA DEBUT Opera’s Romeo and Juliette; and on Broadway in James THE FLYING DUTCHMAN, Joyce’s The Dead, Cymbeline, and The Rivals at Lincoln 2009 Center Theater. A graduate of New York University, Curran now serves as Arts Professor and Chair of the NYU Tisch School of the Arts Department of Dance. As a dancer, he is known for his early performance work with Bill T. Jones/Arnie Zane Dance Company, receiving a “Bessie” award for his role in Secret Pastures, and as an original New York City cast member of STOMP! His 30 choreographic works for his contemporary dance ensemble, Seán Curran Company, are characterized by collaborations across artistic genres and have toured to nearly 100 venues in the U.S., Europe and Asia with seasons in New York City at Brooklyn Academy of Music, Dance Theater Workshop, The Joyce Theater, The Guggenheim Museum, New Victory Theater, 92nd Street Y/Harkness Dance Project, Danspace Project, Symphony Space, Central Park Summerstage, and Celebrate Brooklyn. Seán Curran Company’s highly regarded service to the field includes donation of performances and classes to the American Civil Liberties Union NYC Chapter, Cyndi Lauper’s True Colors Residence (a safe house for LGBTQ youth), Dancers Responding to AIDS and the Hetrick-Martin Institute.

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James Schuette’s work includes set designs for Time to Burn, Space, Berlin Circle, The Royal Family (Jeff Award) and Homebody/Kabul, as well as costume designs for Mother Courage, After The Quake, Purple Heart, and Time of Your Life (Steppenwolf); Julius Caesar at the American Repertory Theatre; Of Thee I Sing directed by Tina Landau (Paper Mill Playhouse); Frank Galati’s Oedipus Complex (Oregon Shakespeare Festival); Un ballo in maschera (Opera Colorado; Minnesota Opera; Boston Lyric Opera); Nixon in China directed by James JAMES SCHUETTE Robinson (Opera Theatre of Saint Louis; Minnesota SCENIC Opera); Intimations for Saxophone directed by Anne & COSTUME DESIGNER Bogart (Arena Stage); and Doug Varone’s Deconstructing English. Other opera credits include Giulio Cesare at ATLANTA OPERA DEBUT Houston Grand Opera; La bohème, Drattell’s Lillith THE PIRATES OF and Weill’s Seven Deadly Sins at New York City Opera; PENZANCE, 2016 Rigoletto, The Marriage of Figaro, The Barber of Seville, Hansel and Gretel, and Sweeney Todd at Opera Colorado; Carmen at Santa Fe Opera; La bohème at Glimmerglass Opera; and Joseph Merrick dit Elephant Man (The Minnesota Opera). His work has been seen at the Goodman Theatre, Old Globe Theatre, Berkeley Rep, Seattle Rep, A.C.T., Long Wharf, Yale Rep, Prince Music Theatre, Actors Theatre of Louisville, New York Theatre Workshop, Manhattan Theatre Club, Playwrights Horizons, The Public Theatre, Glimmerglass Opera, Seattle Opera, Houston Grand Opera, Minnesota Opera, New York City Opera, and Santa Fe Opera.

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

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, Showboat, South DAVID ZIMMERMAN Pacific, and Evita. Some of his personal clients include WIG & MAKEUP DESIGNER Renee Fleming, Joyce DiDonato, Susan Graham, Patricia Racette, Martha Stewart, Olympia Dukakis, and Ricky ATLANTA OPERA DEBUT Martin. He has also worked with DIFFA Fashion Runway, Dallas Fashion and Art, and Yelp.com Fashion Magazine. 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)

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 CHORUS MASTER Family Opera, and the Permian Basin Opera. He keeps an active coaching and collaborative piano schedule in ATLANTA OPERA DEBUT Atlanta, preparing numerous singers for engagements LA TRAVIATA, 2013 with major orchestras and opera houses worldwide. A student of Michael Palmer, he is a graduate of Georgia State University with a Master of Music in orchestral conducting and an Artist Diploma in orchestra and opera. This production of The Pirates of Penzance marks his 25th production with The Atlanta Opera Chorus.

With an active career in both opera and musical theatre, baritone Curt Olds has been seen in productions ranging from Don Pasquale and Die Zauberflöte to musicals such as Sondheim’s A Little Night Music, The Threepenny Opera, Broadway’s Riverdance and Cats. Hailed by Opera News as “A wonderful singing actor, as adept in pointing dialogue as in phrasing song,” Curt is best known for his portrayal of the Pirate King in The Pirates of Penzance and his signature role as Ko-Ko in The Mikado, for which he has some 22 productions to his credit. In January of 2019 CURT OLDS he joined the International Tour of The Phantom of the MAJOR-GENERAL STANLEY Opera as Andre which continued to hold performances throughout Asia until the Spring of 2021. Olds is also in ATLANTA OPERA DEBUT demand and has garnered international acclaim for his THE PIRATES OF creative portrayals of an array of characters in the operetta PENZANCE, 2016 repertoire. Career highlights include such performances as: Captain Corcoran in H.M.S. Pinafore with Eugene Opera, Arizona Opera and Central City Opera; Ko-Ko in The Mikado with Hawaii Opera Theatre, Central City Opera, Opera New Jersey, Arizona Opera, and Anchorage Opera; The Pirate King in The Pirates of Penzance with Edmonton Opera, Lake George Opera, Hawaii Opera Theatre, and Arizona Opera; Pangloss/Voltaire in Candide with the New England Conservatory; Falke in Die Fledermaus at Lake George Opera; Dick McGann in Street Scene at Central City Opera; Pangloss/Voltaire/Martin/Cacambo/Candide in Candide with Arizona Opera, Anchorage Opera, and in concert with the South Dakota Symphony; Major General Stanley in The Pirates of Penzance with Intermountain Opera, Nashville Opera, The Atlanta Opera, Utah Festival Opera and Opera, among others; Papageno in Die Zauberflöte with Hawaii Opera Theatre; and Njegus in The Merry Widow for Utah Opera.

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Baritone Craig Irvin brings a vibrant sound and commitment to character to each role he portrays. Recent highlights include a concert appearance with the Utah Symphony for Mahler’s Songs of a Wayfarer; Orest in Elektra with Minnesota Opera; a reprise of his Lt. Horstmayer in Silent Night with Utah Opera; Dan Packard in Dinner at Eight with the Wexford Festival and Minnesota Opera; Lt. Horstmayer in Silent Night with Austin Opera; Valentin in Faust with Opera Omaha; Rachmaninoff’s The Bells with the Portland Symphony; CRAIG IRVIN singing Dominik and covering Mandryka in Arabella THE PIRATE KING with Canadian Opera Company; Handel’s Messiah with the Jacksonville Symphony; Britten’s War Requiem with ATLANTA OPERA DEBUT Music Worchester; Stubb in Moby Dick with Utah Opera; SILENT NIGHT, 2016 Dandini in La Cenerentola with Opera Orlando; and Frank in Die Fledermaus with Des Moines Metro Opera. Mr. Irvin originated the role of Lieutenant Horstmayer in the world premiere of Kevin Puts’ new opera Silent Night with Minnesota Opera which brought subsequent performances with Opera Philadelphia, Fort Worth Opera, Cincinnati Opera, Lyric Opera of Kansas City, and Atlanta Opera. He has sung Count Almaviva in Mozart’s Le nozze di Figaro and Zurga in Les pêcheurs de perles with Utah Opera, Bottom in Britten’s A Midsummer Night’s Dream with Des Moines Metro Opera, and while in residence with Lyric Opera of Chicago’s Ryan Opera Center, was seen as Angelotti in Tosca, Zuniga in Carmen, Theseus in A Midsummer Night’s Dream, Sam in A Masked Ball, Imperial Commissioner in Madama Butterfly, Doctor/ Professor in Lulu, and Ashby in La fanciulla del West.

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Argentinian tenor Santiago Ballerini is recognized as one of the leading tenors in the Bel Canto repertoire, having appeared at many of the major opera houses throughout North and South America. Following Ballerini’s debut as Frederic in The Pirates of Penzance with The Atlanta Opera, he will make two additional role debuts this season as Duke of Mantua in Rigoletto with Opera San Antonio and as Alzaga in The Magic Opal at the Teatro de la Zarzuela in Madrid. In the 2019-20 season, Ballerini made his Canadian Opera Company debut as Count Almaviva in SANTIAGO BALLERINI Il Barbiere di Siviglia. He began that season with his return STUDIO ARTIST ALUMNUS to the Teatro Colon in Buenos Aires as Ernesto in Don Pasquale, after which he returned to The Atlanta Opera as FREDERIC Count Almaviva. On the concert platform, the tenor sang ATLANTA OPERA DEBUT Carmina Burana with the National Symphony Orchestra in ROMEO AND JULIET, 2016 Washington D.C. under Gianandrea Noseda, and he began the 2020-21 season in concert with the Porto Symphony Orchestra in Portugal. Highlights from previous seasons include Opera Saratoga debut as Tonio in La fille du regiment, Gualtiero in Bellini’s Il pirata opposite Angela Meade, Il Tenor Italiano in Der Rosenkavalier at the Teatro Colon in Buenos Aires, Don Ramiro in La Cenerentola at the Teatro Argentino, and Ernesto in Don Pasquale at The Atlanta Opera. He also covered the roles of Don Ottavio in Don Giovanni and Count Almaviva in Il Barbiere di Siviglia at the Metropolitan Opera. Before starting his professional singing career, Ballerini was a pianist for nine years and studied Music Therapy at the Universidad de Buenos Aires, specializing in addiction treatment.

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Susanne Burgess, British-American soprano, has been described as “a unique combination of precision and wonder” ( ) with “lyric splendor, and a rich, even legato” (Parterre Box). This is Susanne’s second season with The Atlanta Opera Glynn Studio Artists where she kicks off the year performing the leading role of Mabel in Gilbert & Sullivan’s classic The Pirates of Penzance, also joining the company for Handel’s Julius Caesar, covering Cleopatra. In early 2022, Susanne travels to Bohéme Opera of NJ where she debuts the role of Gilda in a new production of SUSANNE BURGESS Verdi’s Rigoletto. Susanne advances to the Southeastern GLYNN STUDIO ARTIST Regional of the Metropolitan Opera National Council Auditions after being named Winner of the GA district in MABEL both 2021 and 2022. Later this spring, she travels to Opera ATLANTA OPERA DEBUT Mississippi where she performs in the Winners Concert of THE THREEPENNY the John Alexander Competition. Susanne will then spend OPERA, 2021 the summer at Des Moines Metro Opera singing Helena in Britten’s A Midsummer Night’s Dream. For the 2020-21 season, Susanne joined The Atlanta Opera for their Big Tent series singing Lucy Brown in The Threepenny Opera, covering Micaëla in The Threepenny Carmen and Nedda in Pagliacci. Earlier in 2020, she performed the role of Violetta Valéry in La traviata, starring in eight performances of the US Tour with Teatro Lirico d’Europa. Susanne was scheduled to make many role debuts with Opera North, The Atlanta Opera, and Opera Theatre of Saint Louis before the COVID-19 pandemic postponed these performances. In lieu of live theater during those difficult times, Susanne joined world-renowned artists with Opera Theatre of Saint Louis to present a virtual festival of arias, ensembles, and masterclasses. Other notable appearances include La bohéme and Dear Erich with New York City Opera; and Soprano Solos in the Fauré Requiem and John Trotta’s The Seven Last Words of Christ; as well as Jubilate Deo and Requiem for the Living by Dan Forrest New England Symphony at Carnegie Hall.

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Opera News calls her “a natural actress...with thrilling, laser-like focus” and “luminous tone.” Opera magazine praises her “stunningly rich mezzo.” With a career that takes her throughout the U.S. and Europe, mezzo-soprano Katharine Goeldner is recognized as one of today’s finest artists. Katharine returned to the stage of the Santa Fe Opera in their 2021 season, as Madame Larina in Eugene Onegin, and presented two recitals with pianist Carol Anderson for the Santa Fe Wagner Society. She makes her Atlanta Opera debut as Ruth in The Pirates of KATHARINE GOELDNER Penzance. Next on the calendar is the role of Iris in the RUTH world premiere of Tobias Picker’s Awakenings at Opera Theatre of Saint Louis, followed by a concert performance ATLANTA OPERA DEBUT of the new opera Arkhipov by Peter Knell and Stephanie Fleischmann. Katharine’s performances in recent seasons include Annina in Der Rosenkavalier at The Metropolitan Opera; Amneris in Aida with the Utah Opera and Boston Youth Symphony; Berio’s Folk Songs with the Mozarteum Orchestra of Salzburg; Mahler’s Das Lied von der Erde at the University of Iowa; Fricka in Die Walküre with Augsburg Staatstheater; and Brigitta in Die tote Stadt in Toulouse and Dublin. She created the roles of Jackie Onassis in JFK and Peggy Ophuls in Shalimar the Clown. For her performances as Ma Joad in The Grapes of Wrath, Katharine was nominated for Outstanding Achievement in Opera by the St Louis Circle Awards and was honored with Michigan’s David DiChiera Award for Best Performance in an Opera.

Now in the third decade of his career, bass-baritone Daniel Sumegi has sung over one hundred operatic roles on many of the world’s major stages, including the Metropolitan Opera, San Francisco Opera, Los Angeles Opera, Washington National Opera, and Seattle Opera, as well as at Opera Australia in his home country. He has also appeared in the opera houses of Bonn, Cologne, Frankfurt, and Hamburg, as well as Paris, Barcelona, Tokyo, Hong Kong, Los Angeles, and Houston, among many others. He has participated in performances of The Ring Cycle DANIEL SUMEGI in New York, Los Angeles, Strasbourg, San Francisco, SERGEANT OF POLICE Cologne, Tokyo, Buenos Aires, Seattle, Melbourne, and Adelaide, most notably as Hagen. He has performed ATLANTA OPERA DEBUT Hunding in concert for the Hong Kong, Atlanta, Stuttgart, and Melbourne Symphony Orchestras. Additionally, he has bowed as Baron Ochs in Der Rosenkavalier with Welsh National, Scottish, Melbourne Operas, San Francisco, and the Metropolitan Opera; Scarpia in Tosca in Washington, Wales, Adelaide, and Knoxville; Jochanaan in Salome in Washington, Hamburg, Tel Aviv, Hong Kong, Leeds, and Sydney; Boris in Lady Macbeth of Mtsensk in Nantes and Sydney; and Klingsor in Parsifal in Hamburg, Barcelona, and Adelaide. The 2021-22 season features two company and role debuts for Mr. Sumegi: Rocco in Beethoven’s Fidelio with Irish National Opera and Sergeant of Police in The Pirates of Penzance with Atlanta Opera. Further information can be found at www.danielsumegi.com.

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 premieres with The Atlanta Opera as a Glynn Studio Artist. In the summer of 2021, he portrayed the role of The Officer in Rossini’s The Barber of Seville with Cincinnati Opera where he SANKARA HAROUNA was slated to be a 2020 Young Artist, until the season GLYNN STUDIO ARTIST was cancelled due to the coronavirus pandemic. Sankara also portrayed the role of Derrick Wheatt in Cincinnati SAMUEL Opera’s 2019 World Premiere of Blind Injustice by Scott ATLANTA OPERA DEBUT Davenport Richards and David Cote. Sankara has also performed numerous 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 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 return to Cincinnati Opera to be a part of the World Premiere production of Fierce by William Menefield and Sheila Williams.

A Northern Virginia native, Gretchen Krupp, “a mezzo capable of searing delivery, powerful and ripe” (Opera Today) is gaining recognition in major competitions and festivals on the operatic scene. During the fall of 2021, she will appear as a featured soloist in concerts with Baltimore Concert Opera and The Dallas Opera. This past summer, she returned to Wolf Trap Opera as a Filene Artist, where she performed in Boulogne’s L’Amant Anonyme and Viardot’s Cendrillon, in addition to her first performance of Wagner’s Wesendonck Lieder. Her debut with The Dallas Opera in Don Carlo was GRETCHEN KRUPP unfortunately canceled due to the COVID-19 pandemic. GLYNN STUDIO ARTIST Gretchen was the mezzo soloist in Beethoven@250 with the Cathedral Choral Society in Washington, D.C. Prior to the EDITH pandemic, she made her European debut at the Château de ATLANTA OPERA DEBUT Versailles Spectacles as Samira in The Ghosts of Versailles, a role she earlier debuted at The Glimmerglass Festival. She was the recipient of the prestigious Georgina Joshi International Fellowship for vocal studies in Berlin. Other credits include the role of the Witch in Hansel and Gretel with Greensboro Opera, being a Grand Finalist in the Metropolitan Opera National Council auditions (newly renamed The Eric and Dominique Laffont Competition), and her Glimmerglass Festival debut singing Chocholka, Woodpecker, and Innkeeper’s Wife in Janácˇek’s The Cunning Little Vixen opposite renowned bass-baritone, Eric Owens. Gretchen was also a finalist in the Houston Grand Opera 29th Annual Eleanor McCollum Competition. She is an alumna of programs at The Glimmerglass Festival, Wolf Trap Opera, Des Moines Metro Opera, and Dolora Zajick’s Institute for Young Dramatic Voices. Gretchen holds degrees from the Indiana University Jacobs School of Music and the University of North Carolina at Greensboro and she is in her first year as a Glynn Studio Artist at The Atlanta Opera.

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Eva Lukkonen Sullivan was most recently engaged as the Prince Charmant cover in Cendrillon with Opera Birmingham’s 2020 production (canceled due to COVID). She was seen as Cherubino in Atlanta Concert Opera’s 2019 production of Le nozze di Figaro, a role she had previously performed under Maestro Harry Bicket with the Aspen Opera Theatre. She covered Béatrice in Berlioz’s Béatrice et Bénédict for the Aspen Opera Theatre that following summer, and she was set to return to ACO as Béatrice in Fall 2021 (postponed due to COVID). With EVA LUKKONEN SULLIVAN Capitol City Opera, she was in the 2018-19 season as KATE Zita in Gianni Schicchi/Buoso’s Ghost, and she covered Stephano in Roméo et Juliette in early 2020. In California, ATLANTA OPERA DEBUT she performed with regional companies such as Townsend Opera Players (Sally in Die Fledermaus) and West End Theatre (Edith in The Pirates of Penzance), and has sung with the Bakersfield Symphony in excerpts from Le nozze di Figaro (Cherubino) and Der Rosenkavalier (Octavian). Previous roles include Angelina in La Cenerentola, Dorabella in Così fan tutte, Paquette in Candide, and Elizabeth Proctor in The Crucible. Eva received her undergraduate degree in voice from the University of Southern California, masters degrees in voice and speech-language pathology from California State University Long Beach, and has been singing with The Atlanta Opera chorus since 2017.

American soprano Julia Metry made her European debut as Violetta Valery in her favorite opera La traviata with Mediterranean Opera Festival in Italy and returned to the role of Violetta Valery with Capitol City Opera in Atlanta. A versatile performer, Julia most recently performed the role of Emma Crew in Jekyll and Hyde the musical and her other roles include Leïla in Les pêcheurs de perles, Musetta in La bohème, Maddalena di Coigny in Andrea Chénier, Michaëla/Frasquita in Carmen, and Fantine/Éponine in Les misérables with Capitol City Opera. Julia made her NYC JULIA METRY debut in concert at Carnegie Hall and performed the role of Pamina in Die Zauberflöte with Manhattan Opera Studio. ISABEL Other recent performances include Estelle in the monologue opera The Stronger and Lucy in The Telephone with Marble ATLANTA OPERA DEBUT City Opera; Countess Almaviva in Le nozze di Figaro with Harrower Opera; Clorinda in La Cenerentola with Festival of International Opera of the Americas in Brazil; Julie Jordan in Carousel with Opera Breve Vocal Institute; and Suor Genoveffa in Suor Angelica with Mediterranean Opera Festival. Julia teaches voice and music privately in the Atlanta area and has been a member of The Atlanta Opera Chorus since 2015.

CORINNE SCOTT

QUEEN VICTORIA ATLANTA OPERA DEBUT THE PIRATES OF PENZANCE, 2016 Growing up in Sewanee Tennessee, her first experience on stage was with a local ballet company and the occasional scout skit. Fast forward many years, she discovered the stage again joining local community theaters, Pumphouse Players, StageWorks, and TheatreExtreme, in Cartersville, Georgia, serving in various capacities: acting, directing, costuming, lighting, and board member. At The Grand Theatre she served as a house manager. Additionally, she is an active choir member in the local Episcopal church. She is pleased to be back with The Atlanta Opera reprising her role of Queen Victoria.