Aria: La Traviata

Giuseppe Verdi’s

March 2, 5, 8 & 10, 2013 1

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APRIL 27, 30, MAY 3, 5, 2013

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8 Message from Bill Tucker, Chairman of The Atlanta Opera Board of Directors 10 Season Sponsors 11 Cast & Crew 12 Synopsis SYNOPSIS 12

14 Program Notes 22 Meet the Cast 40 Community ENgagement: The 24-Hour Opera Project 42 The Atlanta Opera Chorus 43 The Atlanta Opera Orchestra

Program Notes 14

44 Volunteers 46 The Atlanta Opera Celebrates:

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Meet The Cast 22

54 Community Partners & Gifts in Kind 55 Tributes & Memorials 56 Encore Circle 58 The Atlanta Opera Board of Directors 60 The Atlanta Opera Staff

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Message From the Chairman Also, as we are looking to the future, we are extremely pleased to provide an update on our search for a new general director. We are nearing the end of the search process, and shortly after this production we will be interviewing final candidates. We have attracted a talented pool of candidates and are confident that we will find a dynamic, visionary leader for our beloved opera company. We look forward to announcing our choice to you in the very near future. photo: Tim Wilkerson

Dear Fellow Opera Lovers, Thank you for joining us for our 2013 production of Verdi’s beloved classic La traviata. Whether this is your first or fiftyfirst time seeing La traviata, we hope you will be touched by the exquisite music and poignant drama of this romantic tragedy. Our production coincides with the celebration of the bicentennial year of Giuseppe Verdi’s birth. As always, The Atlanta Opera seeks to include many of the opera industry’s finest singers, the outstanding Atlanta Opera Orchestra and the unparalleled Atlanta Opera Chorus.

We are happy to announce our 2013-2014 season as it promises to enthrall you with the power of opera. We’ll open the season with Puccini’s Tosca, followed by Gounod’s Faust (not produced by The Atlanta Opera for almost 20 years!), and close with the Rossini favorite, The Barber of Seville (Il barbiere di Siviglia). We ask that you consider renewing or becoming a season ticket holder of The Atlanta Opera. Our staff is available in the lobby to answer any questions you may have.

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As always, I’d like to express my personal gratitude for your heartfelt support of The Atlanta Opera. You are the reason we exist. We are deeply appreciative of the commitment of our longtime contributors and are overwhelmed by the generosity of the many newcomers to this passionate art form. Through all Opera activities, we strive to transform lives by the power of opera. We hope we have done that in some way in your life.

On behalf of the entire Atlanta Opera family, we hope you enjoy La traviata! If you do, please do us the favor of sharing your experience with friends, family and colleagues. Our last production of the season, Rossini’s romantic comedy The Italian Girl in Algiers, is a wonderfully lyrical, captivating work that is perfect for either an introduction to opera or for the seasoned opera veteran. We’d love your help in creating more opera lovers!

Best regards,

William E. Tucker Chairman The Atlanta Opera Board of Directors

Experience the

Lies, lust and corruption turn a tale of love into a struggle for survival in Puccini’s Tosca. Amid the bloodshed of revolutionary Rome, the diva Tosca battles the treacherous police chief Scarpia for the life of her lover, Cavaradossi. Set to Puccini’s intensely passionate music, this gripping melodrama is quintessential opera!

Sung in Italian with Projected English Translations

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In Gounod’s operatic retelling of the famous legend, an elderly scholar sells his soul to the devil Méphistophélès for a chance to seduce the beautiful Marguerite. Faust’s diabolical struggle between good and evil must surely end in tragedy. Or does it?

Sung in French with Projected English Translations

March 8, 11, 14, 16, 2014

The wily barber Figaro aids Count Almaviva in wooing the radiant maiden, Rosina. With hilarious antics, romance unfurls right under the nose of Dr. Bartolo, intent on marrying Rosina himself. Rossini’s delightful comedy The Barber of Seville has elicited peals of laughter from opera lovers for generations!

Sung in Italian with Projected English Translations

April 26, 29, May 2, 4, 2014

October 5, 8, 11, 13, 2013

2013-2014 SEASON | Cobb Energy Centre

2012-2013 Season SPonsors Opening Night Performance Sponsor The Coca-Cola Company Production Sponsors Martha Thompson Dinos Norfolk Southern Foundation Joseph Rescigno Conductor Candy & Greg Johnson David Gately Stage Director Mr. & Mrs. Carl W. Knobloch, Jr. Artist Sponsors Mary Dunleavy Violetta Valéry Jerry & Dulcy Rosenberg Boris Rudak Alfredo Germont Bob & Cappa Woodward Weston Hurt Giorgio Germont The Laura & Montague Boyd Foundation Maria McDaniel Flora Bervoix Shepard & Boyce Ansley Ashley Curling Annina John L. Hammaker Wesley Morgan Gastone Mr. & Mrs. William E. Tucker Brent Davis Baron Douphol Cathy & Mark Adams

Kitt Reuter Foss as Flora having her fortune told by a gypsy in the Atlanta Opera’s 1998 production of La traviata. (photo: J.D. Scott)

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La Traviata The atlanta opera MUSIC Giuseppe Verdi LIBRETTO Francesco Maria Piave Based on the novel and play La Dame aux Camélias by Alexandre Dumas Conductor Joseph Rescigno STAGE DIRECTOR David Gately

First Performance Venice, Teatro la Fenice, March 6, 1853 Previous Atlanta Opera Performances 1980, 1989, 1998, 2005 Sung in Italian with English supertitles Approximate Running Time: 2 hours, 45 minutes, including two intermissions

CAST Violetta Valéry Mary Dunleavy

Marquis d’Obigny Jason Hardy

Alfredo Germont Boris Rudak

Doctor Grenvil Adrian Smith

Giorgio Germont Weston Hurt

Giuseppe William Green

Flora Bervoix Maria McDaniel

Messenger C. Augustus Godbee

Annina Ashley Curling

Servant to Flora Joshua Bartolotti

Gastone Wesley Morgan

Dancer Tamara Merritt Irving

Baron Douphol Brent Davis

original production by Opéra de Montréal Scenery designed by Claude Girard & Bernard Uzan

Choreographer & Assistant director Seth Hoff Lighting designer Chad R. Jung Costumes provided by A.T. Jones and Sons Inc. Costume Coordinator Joanna Schmink Wig & Makeup Designer Richard Jarvie Chorus prepared by Walter Huff Assistant conductor & Musical Preparation by Rolando Salazar Supertitles Designer David Gately Supertitles operator Ellen Chamberlain Pianos provided by England Pianos 11

La Traviata Synopsis

photo: Tim Wilkerson

ACT I SETTING: Paris, 1850 At a party in Violetta’s salon, Flora, the Marquis and the Baron arrive late, followed by Gastone and Alfredo.

Gastone introduces Alfredo to Violetta and tells her that he visited her every day that she was ill. Gastone asks the Baron to propose a toast, but he refuses, while Alfredo accepts. Music is heard from another room and all are invited to dance. As the guests leave the room Violetta has a coughing attack.

Alfredo remains behind and expresses his concern for Violetta’s health, proclaiming that only he truly loves her.

Violetta can offer only friendship and suggests that he won’t find it difficult to forget her. As he starts to leave, Violetta stops him and offers him a camellia inviting him to come back when the flower has faded. The guests re-enter and bid good night. Confronted with the power of his affection and commitment, Violetta considers if it is possible for someone like her to find true love. She dismisses the idea as ludicrous and proclaims she was meant for freedom and enjoyment.

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ACT II Alfredo and Violetta have lived together for three months in a country house outside Paris. Alfredo’s satisfaction comes from Violetta’s abandonment of her former life to devote herself to him.

Violetta’s maid, Annina, greets Alfredo, and he asks where she has been. Though she has been sworn to silence, she tells him she has been to Paris selling Violetta’s possessions. Alfredo resolves to fix the situation. He leaves, ordering Annina not to reveal his departure to her mistress. Violetta returns and receives an invitation from Flora to a party. Giuseppe then announces there is a gentleman to see her. The visitor reveals himself as Germont, Alfredo’s father. He is concerned that his daughter cannot marry into the family she has chosen unless Alfredo gives up this current life. Germont wants her to give up Alfredo completely. She refuses, explaining that she has no friends and no relatives. She doesn’t have a lot of time left. Eventually she gives in and asks Germont not to allow Alfredo to curse her memory and to tell him of her sufferings.

La Traviata Synopsis continued Violetta is writing a note as Alfredo enters.

She hides the letter and Alfredo reveals that he is concerned that his father will visit them. Violetta confirms Alfredo’s love for her and runs out. Alfredo’s contentment is later disturbed when it is announced that Violetta has left for Paris and a letter is given to him that Violetta wrote earlier. He reads the letter and learns of Violetta’s abandonment. As he turns to leave he runs into his father. Germont tries to comfort his son who is now full of vengeance. He sees Flora’s invitation and realizes where Violetta has gone.

Later, at a party in Flora’s salon, the Marquis informs the Doctor and Flora that Alfredo and Violetta have split and that Violetta will be coming to the party with the Baron. A group of party ladies enter disguised as gypsies, singing about telling the future. A group of men enter, led by Gastone, disguised as matadors and picadors. They sing of a brave matador who faced five bulls in a single day to win the heart of a young lady. All are surprised as Alfredo enters. He starts to gamble at cards. Violetta enters with the Baron. The Baron sees Alfredo, points him out to Violetta and warns her not to talk to him. Violetta agrees. Alfredo keeps winning at cards and recklessly announces that with his winnings he will go back to the country but not alone. The Baron challenges Alfredo to a card game.

Alfredo wins. As supper is served, Violetta stays behind and asks Alfredo to slip away with her. She begs him to go away because he is in danger — the Baron might challenge him to a duel. He refuses

unless she comes with him. She refuses, answering that she loves the Baron.

Alfredo calls all the guests and humiliates Violetta by throwing the money he has won at her. The guests turn on him.

Germont, who has arrived at the party and seen this display, asks if this is his son. Alfredo feels remorse immediately.

Finally, the Baron challenges Alfredo to a duel for the offense as the other guests comfort Violetta.

ACT III Violetta is ill in her deserted home.

When she awakens, she calls Annina, who apologizes for sleeping. Violetta wants to rise but she doesn’t have the strength. The Doctor enters to check on Violetta. He confides to Annina that Violetta has only hours to live. Violetta rereads a letter from Germont, which reveals that the Baron was wounded in a duel with Alfredo and that Germont has told his son everything about the departure of Violetta. Annina, hurrying into the room, prepares Violetta for a surprise. Violetta guesses the secret as Alfredo enters. He is ready to take her to the country. She gets up and starts to dress but is too weak. The Doctor enters, followed by Germont. Violetta tells Germont and his son that they have come too late. She then gives a miniature to Alfredo in order that he will remember her. Violetta has a moment of remission — no pain, no heaviness and a resurgence of strength. She collapses, and as Alfredo holds her, she dies.

- Courtesy of Opera America

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Program Notes

Joseph Rescigno, Conductor

Notes on La traviata

by Joseph Rescigno In many ways, Giuseppe Verdi is to opera what Ludwig van Beethoven is to symphonic literature: their works are mainstays of their repertories; both composers continued to grow and develop musically throughout their lives; and their numerous works may be divided into three distinct periods. Also, Verdi’s style is not unlike Beethoven’s, characterized as it is by rhythmic drive, sophisticated development and counterpoint, and rock-solid architecture.

La traviata is the last of three enduring Verdi works premiered in just the three years 1851 to 1853 (the other two being Rigoletto and Il trovatore). While some people may disagree as to whether La traviata is forward-looking enough to be called the first verismo opera, it is a break from classic bel canto opera. First, the plot is modern; indeed, its heroine’s lifestyle was considered too racy for a 14

contemporary setting, and for about four decades after its premiere it was set in the eighteenth century. The other modern aspect of the opera is its extensive throughcomposition; there are long stretches of music where the bel canto composers would have presented separate numbers and left room for applause. Moreover, the vocal ornamentation is supplied by the composer and more restrained than we hear in bel canto operas; singers bring few, if any, personalized variations and embellishments to La traviata.

Dabs of orchestral color are added by a banda in both Acts I and III. This is a group of musicians who play contrasting music that is part of the story, sometimes outside the pit (backstage, for example).

In La traviata, the banda plays during the party of the first act and outside Violetta’s window in the last act. Listen, too, for the beautiful clarinet solo of Act II, Scene 1, where Violetta writes her farewell letter to Alfredo; it is almost certain that this clarinet solo and the cello quartet of Verdi’s later opera, Otello, served as inspiration for

Program Notes continued Giacomo Puccini when he composed the opening sections of Tosca’s Act III. While using the same size orchestra as Verdi’s other operas of that time, this opera has a particularly light orchestration and feeling. Not until his last opera, Falstaff, would Verdi again serve musical champagne in quite this manner. After the entire orchestra bubbles with the opening tune (ALLEGRO BRILLANTISSIMO E MOLTO VIVACE, a most brilliant allegro and very lively), the composer reduces the orchestra to just a few strings. In fact, depending on the size and acoustics of the theater, this passage can sound exquisite with just a string quartet, which reasonably could be playing at this kind of party.

The challenges in conducting La traviata include cultivating this spirit of beauty and delicacy. Even in the opera’s most dramatic moments, it is imperative to avoid heaviness. In the Act II, Scene 2 confrontation between Alfredo and Violetta, for example, we can sustain the drama but avoid excess by having the strings play some of their repeated notes using a light, bouncing, bowing technique (such as the picturesquely named “ricochet” technique).

Those repeated rhythmic figures in the accompaniments, which are part of why the orchestra can get heavy in this scene, are more common in La traviata than in Verdi’s other works of this period. They are not like the repeated arpeggios in the introduction to “Casta Diva” in Vincenzo Bellini’s Norma, which sound delicate and

even ethereal. The figures used here play a more percussive role, like the chords in the rock-and-roll pianos of Chubby Checker or Jerry Lee Lewis, or the bass instruments in jazz and rock combos. When used by today’s concert and opera composers, these repeated figures are generally referred to as ostinati (plural of ostinato, the Italian for “stubborn”). In addition to hearing these in the Violetta-Alfredo confrontation, we encounter them when Germont sings of his daughter in Act II, Scene 1; as Violetta writes her farewell letter to Alfredo later in that scene; during her final aria, “Addio del passato” (Goodbye to the past); and at the conclusion of the opera.

In La traviata, Verdi supplies indications more liberally than earlier composers did, a practice that would grow throughout the romantic era and into our own

In 1998, soprano Brenda Harris sang the role of Violetta in La traviata with The Atlanta Opera. (photo: J.D. Scott)

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Program Notes continued day. As is true in all music, however, performing it requires thought about dramatic purpose and imagination in execution. For the conductor, the preludes to Act I and the final act are a particularly apt example. They look very similar on the page. There is room to treat them differently, however, without any fundamental change in the music. In the first prelude, the orchestra can portray a struggle: Violetta’s refusal to accept any limitations as expressed in the aria “Sempre libera” that closes the act. In the last act prelude, the same music played a bit slower and softer and even calmer can preview her acceptance of inevitable death as expressed in that act.

The Act II finale is a model of its type, masterfully portraying a complex tapestry of emotion. It is constructed from basic building blocks, and it is plain but elegant in the manner of a square-cut diamond.

First, the three lead singers have similar musical lines, differentiated in large measure by articulation. Violetta’s music is written almost entirely legato, in long lines of connected notes. Germont has some staccato marks, indicating that the syllables should be clipped and disconnected. Alfredo, remorseful after his outburst, has many more staccato marks than Germont over his notes, probably to suggest sobbing. Where he does not have staccato marks, he has a great many notes of very short duration.

Second, this Act II finale is marked LARGO, a slow tempo, with no changes indicated for the remainder of the act. This means no change in the tempo of a long 16

sequence that begins with the entrance of Germont with “Di sprezzo degno” (Worthy of scorn), continuing through Alfredo’s remorse, “Ah si che feci?” (What have I done?) and Violetta’s aside, “Alfredo, Alfredo, di questo core” (Alfredo, Alfredo, from this heart) and all of the onlookers’ comments. It requires a lot of discipline to portray contrasting emotions for some 10 minutes with only the modest tempo flexibility typical of 19th-century music, but without any fundamental change in the beating pattern. If we trust Verdi, however, this consistency lends a unity to the whole and produces a tremendous cumulative impact.

In La traviata, Verdi told a story through music that has captivated audiences for more than 150 years, and even though it no longer seems likely to provoke any public debates about morality, it still draws us in. The hardest part for modern audiences to swallow may be the success Germont has in bullying his son and, even more, Violetta. However, prior to World War I, conventions were very different from today. If we imagine Germont as a member of a strict religious community, we can perhaps come closer to understanding how his argument is possible and see that the story is rooted in truth.

The opera’s greatest truths — love, loss, and unintended consequences — are timeless, of course. Great music, by speaking directly to our hearts and even our guts in addition to our brains, can lift a story’s characters out of their specific place and time and make them as real as our neighbors.

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Program Notes continued a landmark in French theater. Verdi also intended the action of the opera to be similarly set, but restrictive rules of Italian censorship prevented it. The opera had to be set in 1700, and it finally was performed in contemporary dress in Milan in 1906 — a half-century after its debut.

Coincidentally, at the opera’s premiere on 6 March 1853 in Venice, a theater only a few moments’ walk away, was presenting an Italian translation of the play.

photo: Tim Wilkerson

La Traviata: Multi-Biographical Associations

by Jack Bona While on a stay in Paris, Giuseppe Verdi attended Alexandre Dumas fils’ (son) play, La Dame aux Camélias (The Lady of the Camellias) with his mistress of several years, Giuseppina Strepponi (1815-1897).

The Dumas play, based on his novel of the same name, had opened only four weeks earlier on 2 February 1852, but Verdi quickly realized its potential as the basis for an opera. Verdi’s 18th opera premiered in Venice one year later as La traviata — literally “a fallen woman.”

Dumas, Verdi and his librettist, Francesco Maria Piave, modeled their characters on actual contemporary individuals. The play’s action ironically also takes place about the time the play was produced, 18

The young Dumas was 24 when he published his first novel, La Dame aux Camélias (1848), based on his real love affair with Marie du Plessis. The author admits in his opening paragraph, “Not having yet reached the age when I can invent, I have contended myself with recounting.” Marie nicknamed Dumas “A.D.” and it was no mere coincidence that the novel’s male protagonist, Armand Duval, shares the same initials.

Incidentally, Dumas’ transformation of the novel to the stage served as a virtuoso vehicle for some famous actresses in the 19th and 20th centuries: Sarah Bernhardt played the heroine more than 3,000 times; Eleonora Duse’s performance, according to Henry James, “lives in the mind as a fine vindication of the play.” There have been more than 20 film versions beginning in 1907, starring a few outstanding actresses and actors: Bernhardt in 1911; Nazimova in 1921, with Rudolph Valentino in an early supporting role as Armand; Norma Talmadge and Gilbert Roland in 1927; and Greta Garbo’s 1937 version, which remains one of her most memorable roles in a relatively short career.

Program Notes continued The “real” story began with Marie du Plessis, whose true name was Alphonsine Plessis, and came who from a chaotic peasant family; her grandmother had been part beggar and prostitute; her mother had left her own debauched husband, who later sold Alphonsine to some gypsies. At about 14, Alphonsine showed up in Paris and began life as a grisette (a happy working girl), not unlike Puccini’s Mimì, based on Henri Murger’s Scenes de la vie bohème, (1847-1849).

However, Marie must have longed for the rich high life of Paris and decided to leave her young lover. The breakup prompted Alexandre to write a letter that carries a cordially affectionate, yet understanding tone:

Marie’s exceptional attractiveness met the eye of a young nobleman, thereby launching her career among the dandies of Parisian society. Though barely able to write, Marie was both intuitive and intelligent, and she successfully affected the air of a great lady who could ride, dance, and play the piano skillfully. Marie charmed all who met her, including composer Franz Liszt, who believed corruption “never touched her heart.” Also charmed was the young Alexandre. They were both 20 years old, immediately fell in love, and for several months lived modestly in a country house outside Paris.

Marie later married Vicomte Edouard de Perregaux, possibly to their mutual regret.

She died of consumption when barely twenty-three years old and the funeral was attended by her husband and too few friends. Young Dumas had been abroad at the time, but upon his return to Paris, his remorse and nostalgia propelled his writing the novel in barely a few days.

I am not rich enough to love you as you would wish, and not poor enough to be loved as you would desire … You have too much heart not to understand why I write you this letter, and too much intelligence not to be able to pardon me for it.

Although Armand Duval’s story essentially parallels that of Dumas himself, one principal difference lies in the roles played by the fathers.

Alexandre Dumas pere (father), a bon

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photo: Tim Wilkerson

Program Notes continued vivant with an energetic libido who kept several mistresses simultaneously, never objected to his illegitimate son’s lifestyle. The fictional George Duval, on the other hand, self-righteously appeals to Marguerite Gautier — Marie’s alter ego — to break off her relationship with his son to save the “honor” of the Duval family name.

This appeal figures prominently in La traviata. Piave’s libretto closely follows Dumas’ novel and play, although he eliminates minor characters and superbly abridges much of the dialogue. In the opera however, the character of the father, Giorgio Germont, markedly deviates from the play’s counterpart in the scene when he enters Flora’s salon to reprimand his son’s cruel public denouncement of Violetta.

This action seems inconsistent with Giorgio Germont, a fastidious older gentleman, who would not seriously think of appearing at Flora’s party. Nonetheless, Verdi needed Germont’s presence to heighten the tension in the father and son relationship and for a baritone voice to complement the scene’s concluding ensemble.

Verdi himself had biographical associations to this romantic melancholy tale. About eight years after the premature death of his wife and two children, the composer began living with Giuseppina Strepponi, a retired opera soprano he had met professionally several years before, when she successfully sang in Verdi’s third opera, Nabucco.

Strepponi had had her own too rapid, short professional success that overtaxed her energies and vocal resources midst her 20

strained love affairs and two illegitimate children. At only 31, she had to resort to teaching voice. This “fallen woman” became first the mistress, then the devoted wife for a half a century to Italy’s supreme composer, revered public figure, and austere private man.

In another parallel to the male protagonist of La traviata, Verdi had a strained relationship with his own father regarding financial matters. Just as Dumas’ life experiences enhance his novel and play, so too do the events in Verdi’s life enhance the creative energy that resulted in La traviata. Furthermore, Dumas and du Plessis lived together outside of Paris in the summer of 1845. Three years later, Verdi and Strepponi also lived together in Passy, outside Paris. Each couple had sought their bliss of love, peace, and reconciliation.

Thus we can sense the essence of the real Marie du Plessis and Giuseppina Strepponi, the novel’s Marguerite Gautier and the opera’s Violetta Valéry as a fusion of the idealized tragic heroine who sacrificed her life for her lover.

The poignant romantic story of The Lady of the Camellias was transformed into La traviata and has remained a memorable favorite opera. Its ever-melodious music and realistic characterizations have continuously entranced audiences for more than 150 years.

This article appears as an excerpt from Jack Bona’s new book, Synopses and Background to Ten Popular Operas: An Introduction for New Audiences, published by BookLogix (Winter 2013).

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Meet the Cast Joseph Rescigno Conductor Atlanta Opera Debut: I Pagliacci/Carmina Burana, 2006 Joseph Rescigno has conducted symphonies, concertos, operas, and oratorios 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 (Wis.), where he has conducted some of the company’s most challenging repertory. In his permanent and guest engagements, Joseph Rescigno has conducted symphonies and concertos from the baroque to the modern era — sometimes conducting from the keyboard in works from the earlier eras.

In opera houses, Maestro Rescigno has conducted virtually all of the core Italian repertoire, including romantic, verismo, and bel canto operas; the standard French and German repertory, including the works of Wagner and Richard Strauss; and contemporary works, including the Florentine Opera’s first world premiere, Don Davis’s Río de Sangre, in 2010.

As a guest artist, Maestro Rescigno has conducted the New York City Opera, Lyric Opera of Chicago, Washington National Opera, Hungarian State Opera, Opera Theatre of Saint Louis, Seattle Opera, Glimmerglass Opera, Vancouver Opera, Teatro Bellini, l’Opéra de Marseille, and l’Opéra de Montréal, among others. The symphony orchestras he has conducted include the Montreal Symphony and the Milwaukee Symphony, both of which he has conducted in their regular subscription series as well as in opera productions.

Don Davis’s Río de Sangre, recorded in performance, was released on CD by Albany Records in 2011. Maestro Rescigno’s discography also includes four recordings for Analekta of Canada with the Metropolitan Orchestra of Montreal: Beethoven’s Eroica Symphony plus incidental music to Egmont, with soprano Karina Gauvin; Brahms’s piano concertos with Anton Kuerti; Mendelssohn’s violin concertos with Angèle Dubeau; and soprano arias from Mozart’s The Marriage of Figaro plus Exsultate Jubilate with soprano Lyne Fortin. Also for Analekta, he recorded the highly regarded Verismo, featuring Diana Soviero, with the orchestra of the Montreal Opera. Having conducted the world and Japanese premieres, Maestro Rescigno recorded Minoru Miki’s J¯oruri with the Tokyo Symphony Orchestra for Toei Video Disk.

This native New Yorker comes from a long line of musicians on both sides of his family, notably his uncle, prominent conductor Nicola Rescigno, a founder of both the Dallas and Chicago opera companies.

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Meet the Cast continued Joseph Rescigno is a graduate of Fordham University (Phi Beta Kappa) and the Manhattan School of Music. He studied with composer Nicolas Flagello and other distinguished teachers in the United States and Europe, including privately at l’Accademia Nazionale di Santa Cecilia in Rome.

He went on to serve the time-honored, opera-house apprenticeship in the European manner with such influential conductors as Laszlo Halasz (founder of the New York City Opera), Bruno Maderna, Gianandrea Gavazzeni, Carlo Moresco (the first director of the Philadelphia Lyric Opera Company), and his uncle. Powerful influences also included pianist Arturo Benedetti Michelangeli, conductors Herbert von Karajan and Erich Leinsdorf, and Roberto Benaglio, the legendary chorus master of La Scala. Each one personally taught him something unforgettable.

A born teacher, Joseph Rescigno is a past faculty member at the Manhattan School of Music and currently serves as the Music Director of La Musica Lirica festival in Italy. He is working on his first book, The View From The Pit: Where Theater Meets Music. This is Joseph Rescigno’s third appearance with The Atlanta Opera, having conducted Madama Butterfly in 2008, and I Pagliacci and Carmina burana in 2006.

David Gately Stage Director Atlanta Opera Debut: Cinderella, 2008 Stage director David Gately is known for his vivid storytelling and lively and clever productions. During the 2012-13 season he joins the Los Angeles Philharmonic for Angels in America, Fort Worth Opera for Ariadne auf Naxos, and Boston University’s Fringe Festival for Massenet’s Le Portrait de Manon. Recent seasons include Le nozze di Figaro with Opera Colorado, his highly successful “Wild West” production of Don Pasquale with San Diego Opera, Aïda with Vancouver Opera, Orfeo ed Euridice with Boston Baroque, Lysistrata with Fort Worth Opera, La bohème with The Atlanta Opera, both Hansel and Gretel and Little Women with Utah Opera, Faust with San Diego Opera, and Giulio Cesare with Fort Worth Opera. He has directed productions of L’elisir d’amore with Dallas Opera, Madama Butterfly with Seattle Opera, La bohème with Florida Grand Opera, Die Zauberflöte with Vancouver Opera, Il barbiere di Siviglia with Washington National Opera, L’elisir d’amore with The Atlanta Opera, Simon Boccanegra for its premiere with l’Opéra de Montréal, and the World Premiere Production of Before Night Falls with Fort Worth Opera.

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Meet the Cast continued Mary Dunleavy Violetta Valéry Atlanta Opera Debut American soprano Mary Dunleavy continues to receive critical and popular acclaim for her performances with many of the world’s leading opera houses and orchestras. The artist’s 2012-13 season includes a return to the Metropolitan Opera, to cover Donna Anna in Don Giovanni; her role debut as Donna Elvira in Christopher Alden’s production of Don Giovanni at Portland Opera; and Mimì in La bohème with Fort Worth Opera. Mary Dunleavy appears in the 2012 Steven Spielberg film Lincoln, singing music from Gounod’s Faust. In the 2011-12 season, the soprano performed Marguerite in a new production of Faust with l’Opéra de Montréal. Mary Dunleavy’s 2010-2011 season included the lead soprano, Christine, in New York City Opera’s revival of Strauss’ Intermezzo, the soprano soloist in Beethoven’s 9th Symphony with the Richmond Symphony, a gala concert with the Hartford Symphony Orchestra, and her first Marguerite in Faust with Opera Birmingham, followed by further performances of the role in North Carolina Opera’s inaugural season. Her gallery of operatic heroines is led by her signature role, Violetta, seen thus far in more than 60 performances at the Metropolitan Opera, San Francisco Opera, Barcelona’s Gran Teatre del Liceu, Glimmerglass Opera, New York City Opera, Opera Theatre of Saint Louis, Lyric Opera of Kansas City, the Nederlands Philharmonisch Orkest, and others.

Boris Rudak Alfredo Germont Atlanta Opera Debut Born in Belarus, Boris Rudak graduated from the Music College in Molodechno and later studied at the Belorussian State Academy of Music and the St. Petersburg State Conservatoire, where he studied with Irina Bogacheva. At the Conservatoire, Rudak took part in many of the Opera Studio’s productions, with roles including Tamino in Die Zauberflöte, Remendado in Carmen, and Jesus in Beethoven’s Christ on the Mount of Olives. Rudak is a member of the Young Artists’ Programme at the Bolshoi Theatre in Moscow. In 2009, he performed the role of Arbace in a concert performance of Mozart’s Idomeneo with the Musica Viva Chamber Orchestra conducted by Alexander Rudin.

He made his debut at the Bolshoi Theatre as First Armed Man in Die 26

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Meet the Cast continued Zauberflöte and also sang Almeric in Tchaikovsky’s Iolantha. In 2010, he made his debut as Lykov in Rimsky-Korsakov’s The Tsar’s Bride and in 2011 as Alfred in Strauss’ Die Fledermaus. He also performed the role of Gvidon in a new production of Rimsky-Korsakov’s The Golden Cockerel. In 2011, he made his debut as Alfredo in Verdi’s La traviata with the Goettingen Symphony Orchestra. He will soon add some new roles to his repertoire, such as Ismaele in Verdi’s Nabucco, the Prince in Prokofiev’s The Love of Three Oranges and Italian Tenor in a new production of Richard Strauss’ Der Rosenkavalier.

Weston Hurt Giorgio Germont Atlanta Opera Debut: Madama Butterfly, 2008 This season, baritone Weston Hurt makes his debuts at both the Lyric Opera of Kansas City and the Boston Lyric Opera as Sharpless in Madama Butterfly. He also makes his role debut in the title role of Rigoletto with the Boston Youth Symphony. Other recent opera engagements include Cecil in Maria Stuarda at the Canadian Opera Company, Ford in Falstaff at the Seattle Opera, Sharpless in Madama Butterfly at the New York City Opera, Schaunard in La bohème at the Dallas Opera, Peter in Hansel and Gretel at the Portland Opera, Enrico in Lucia di Lammermoor at the Arizona Opera and the Austin Lyric Opera, the Count in Le nozze di Figaro at the Michigan Opera Theater, Frank in Die Tote Stadt at the New York City Opera, Baldassare in L’arlesiana with the Opera Orchestra of New York, and a performance of Der ferne Klang with the American Symphony Orchestra in Avery Fisher Hall. Also a prolific concert singer and recitalist, Mr. Hurt has performed in recitals sponsored by the prestigious Marilyn Horne Foundation in the United States, and also has performed in concert internationally, including a South American tour of performances of the Brahms Ein Deutsches Requiem. Recent engagements have included appearances with the Nashville Symphony, the Dallas Symphony, and the Oratorio Society of New York in Carnegie Hall. A graduate of the prestigious Juilliard Opera Center, Mr. Hurt has received many notable vocal awards, including first place and the People’s Choice Award from the Dallas Opera Guild Vocal Competition and the Vienna Prize from the George London Foundation.

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Meet the Cast continued Maria McDaniel Flora Bervoix Atlanta Opera Debut: Cold Sassy Tree, 2008 As the 2011 Grand Prize Winner in Women’s Voice of the National Federation of Music Clubs, mezzo-soprano Maria McDaniel has been delighting audiences with her captivating performances on the recital, operatic and concert stage. Recent credits include performing Beethoven’s Symphony No. 9 with the Gainesville Symphony Orchestra; Bach’s Magnificat with Cobb Symphony Orchestra; a Gala Concert with the Savannah Philharmonic; Love Letters, a debut recital featuring the Brahms Liebeslieder Waltzes with North Carolina Opera; and I SING BEIJING, a pioneering new musical exchange program in China. A house favorite with The Atlanta Opera, appearances there have included Second Lady in Die Zauberflöte, and Myrtis in Cold Sassy Tree. Additional operatic engagements have included Isabella in L’italiana in Algeri with the Ludwig Symphony Orchestra; Meg in Little Women with Peachtree Modern Opera; Miss Todd in The Old Maid and the Thief with Harrower Summer Opera; and Prima Sorella in Suor Angelica with La Musica Lirica in Italia. She has performed frequently with Chautauqua Opera in such roles as Adalgisa (cover) in Norma, Mamma Lucia in Cavalleria rusticana, La Voix in Les contes d’Hoffmann, Laura in La gioconda, Eunice in A Streetcar Named Desire, Foster’s Wife in The Cunning Little Vixen, and Mrs. Hildebrand (cover) in Street Scene. Ms. McDaniel also is noted for her portrayals as Suzuki in Madama Butterfly, Charlotte in Werther, Marcellina in Le nozze di Figaro, Dame Marthe in Faust, and Meg Paige in Falstaff.

Ashley Curling Annina Atlanta Opera Debut Ashley Curling is a rising young American soprano who makes her professional stage debut in these performances of La traviata. Additional engagements this season include a reprise of the role of Micäela in Bizet’s Carmen under the musical direction of Maestra Elaine Rinaldi, and the title role of Angelica in Puccini’s Suor Angelica with New York Lyric Opera in Carnegie Hall’s Weill Hall. Ms. Curling was a district winner in the 2012-2013 Metropolitan Opera National Council Auditions, and competed as a finalist in the New Orleans, La., regional auditions.

Last season Ms. Curling made two role debuts, as Mimì in Puccini’s La 30

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Meet the Cast continued bohème and Micäela in Bizet’s Carmen, both under the musical direction of Maestra Elaine Rinaldi. She also was a featured artist in the V.O.I.C.E. Workshop, a new young artists program developed by Sherrill Milnes that is geared toward emerging professional artists. In previous seasons, Ms. Curling sang the role of Desdemona in Act IV of Verdi’s Otello under the baton and stage direction of Marilyn Mims at Palm Beach Atlantic University, and sang with the Miami Chamber Orchestra under the baton of Maestra Marlene Urbay in the concert series “Tutto Puccini” and “Tutto Verdi.” Ms. Curling earned her bachelor’s degree in 2010 from the Jacobs School of Music at Indiana University in Bloomington. She previously studied voice with Virginia Zeani, and currently resides in New York City where she studies with Diana Soviero.

Wesley Morgan Gastone Atlanta Opera DebuT: Cold Sassy Tree, 2008 American tenor Wesley Morgan has been praised by conductors, stage directors and audiences for his “ringing tenor” and “gift for suave phrasing”(Greenville News), and “leaving the audience swooning” with his “flawless performance” as described by The Atlanta Journal-Constitution.

Mr. Morgan made his international debut this past December as the tenor soloist in Messiah for the Windsor Symphony Orchestra in Ontario.

The rising tenor is a former member The Atlanta Opera Studio, where he starred in the company’s touring shows as Frederic in The Pirates of Penzance. He has appeared on the Atlanta Opera mainstage as Mayor in Cold Sassy Tree and 1st Priest in Die Zauberflöte. For St. Petersburg Opera’s Emerging Artist program, Mr. Morgan has sung the roles of Count Almaviva in Il barbiere di Siviglia and Nemorino in L’elisir d’amore. Other roles include Tamino in Die Zauberflöte (Jubal’s Lyre Opera), Rinuccio in Gianni Schicchi (Capitol City Opera), Nanki Poo in The Mikado (Atlanta Lyric Theatre & Greenville Light Opera Works), the title role in Candide (Georgia State University Opera), and Rodolfo in La bohème for El Paso Opera, where he returned this fall to sing Eisenstein in Die Fledermaus.

Last summer he sang the role of Tamino in Die Zauberflöte as a young artist with Ash Lawn Opera, and this spring will make his West Coast debut as Cassio in Otello with the Puget Sound Concert Opera, and Eisenstein in Die Fledermaus for Vashon Opera.

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Meet the Cast continued Brent Davis Baron Douphol Atlanta Opera Debut: Madama Butterfly, 2004 Brent Davis recently appeared as Guglielmo in Così fan tutte with Asheville Lyric Opera, Masetto in Mozart’s Don Giovanni with The Atlanta Opera, and Marcello in La bohème with University of Georgia Symphony Orchestra, where he also has performed Ford in Verdi’s Falstaff. Recent concert appearances include a recital with Atlanta Vocal Arts Society, soloist in Carmina burana with Michael O’Neal Singers, and soloist with Governors Club Opera Guild. Davis has appeared at the International Festival of the Aegean as soloist and as Il Barone and Giorgio Germont cover in La traviata. Other productions include the Atlanta Opera premieres as Horemhab in Akhnaten and Hosie in Cold Sassy Tree with composers Philip Glass and Carlisle Floyd, Prince Danilo in The Merry Widow with Asheville Lyric Opera, Schaunard in La bohème with Mobile Opera, as well as Pélleas in Pélleas et Mélisande and Eisenstein in Die Fledermaus with Illinois Opera Theater. With Donald Runnicles and the Atlanta Symphony Orchestra, he sang in Der Rosenkavalier as Zweiter Lakai, and performed Dvo˘rák’s Te Deum with Georgia Symphony Orchestra. Davis received his Master of Music from University of Illinois at Urbana-Champaign, where he studied with John Wustman, Jerold Siena, and Eric Dalheim. He has been a finalist in the Metropolitan Opera Southeast Region Competition and was the competition guest soloist at Spivey Hall this past February. Mr. Davis has worked with coaches Craig Kier and Walter Huff and studies with Metropolitan Opera baritone Frederick Burchinal, Deutsche Oper Berlin coach Kathryn Wright, and stage director Carroll Freeman.

Jason Hardy Marquis d’Obigny Atlanta Opera Debut: Andrea Chenier, 1998 Last seen with The Atlanta Opera as Grandpa George/Mr. Beauregard in The Golden Ticket, bass Jason Hardy recently returned to New York City Opera in the highly acclaimed new production of Don Giovanni as Leporello. Other recent operatic engagements include the title role in Le nozze di Figaro with Michigan Opera Theater, Madison Opera, Opera Cleveland, Opera Omaha, and Opera Birmingham; Don Alfonso in Così fan tutte and the Speaker in Die Zauberflöte with The Atlanta Opera; 34

Meet the Cast continued and Cadmus/Somnus in Semele with Florentine Opera. Mr. Hardy has been seen as Leporello with Orlando Opera and Connecticut Opera, Colline with Nashville Opera, Berkshire Opera and Palm Beach Opera, Don Magnifico in La Cenerentola with Connecticut Opera and Wolf Trap Opera, Basilio in Il barbiere di Siviglia and Sparafucile in Rigoletto, with Opera Birmingham, Dulcamara in L’elisir d’amore with Cleveland Opera and Wolf Trap Opera, and Judge Turpin in Sweeney Todd with Wolf Trap Opera. He has been seen in recital under the auspices of the Marilyn Horne Foundation and in concert for Verdi’s Requiem in Prague and Haydn’s Creation in Montreal with the Berkshire Choral Festival, and for Stravinsky’s Les noces with the New York City Ballet, and the Los Angeles Philharmonic. Additional engagements for the 2012-2013 season include Magnifico in La Cenerentola with Nashville Opera, Leporello with Portland Opera, and Figaro with Arizona Opera. In the summer 2013, Mr. Hardy will make his Glimmerglass Opera debut in Verdi’s Un giorno di Regno, as Baron Kelbar.

Adrian Smith Dr. Grenvil Atlanta Opera Debut Adrian Smith, bass-baritone, is a 2012 graduate of the Opera Institute at Boston University, where he also earned the Master of Music degree in 2010, studying with Dr. Jerrold Pope. Mr. Smith is a 2008 graduate of Lenoir-Rhyne University in Hickory, N.C,, where he earned a B.A. in Voice Performance. Mr. Smith has been heard in roles such as Raimondo in Lucia di Lammermoor, Colline in La bohème, The Doctor in Vanessa, and Frere Laurent in Gounod’s Roméo et Juliette.

Roles in the 2011-12 season included the title role in Bartók’s Duke Bluebeard’s Castle, Geronimo in Domenico Cimarosa’s Il matrimonio segreto, Marquis de la Force in Dialogues of the Carmelites, and the title role in Donizetti’s Don Pasquale. Mr. Smith made his solo debut at Opera Theatre of Saint Louis in 2012 as a member of the Gerdine Young Artist Program, singing the role of the Dodo in the U.S. premiere of Unsuk Chin’s Alice in Wonderland. On the concert stage, he has been heard in Mozart’s Requiem, Bach’s Magnificat and Mass in B Minor, Puccini’s Messa di Gloria, Haydn’s Paukenmesse, Dvo˘rák’s Stabat Mater, and Handel’s Messiah and Dettingen Te Deum. Mr. Smith made his Boston Symphony Hall debut in 2009 performing Mozart’s Great Mass in C Minor with the Boston University Symphony 36

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Meet the Cast continued and Chorus. This fall, he was a Resident Artist with the Kentucky Opera, where he performed The Master of Ceremonies in Massenet’s Cendrillon. While with Kentucky Opera, he also performed the role of Angelotti in a concert performance of Tosca with the Owensboro (Ky.) Symphony Orchestra.

Chad R. Jung Lighting Designer Atlanta Opera Debut Chad R. Jung has designed more than 200 productions for theatre, opera, music and dance. Opera credits include more than 30 productions for companies including Dallas Opera, Fort Worth Opera, and Opera Pacific. Theatre credits include off-Broadway: Leonce & Lena; NY Theater: Julia Pastrana, A Leopard Complains of Its Spots, Shelf Life; international: The Bear at the Festival of Russian Drama in Togliatti, Russia. Mr. Jung has designed for many other artists and organizations including Ballet Austin, Bruce Wood, Caroline Calouche, Casa Mañana, Dallas Museum of Art, Fort Worth Symphony Orchestra, Lyle Lovett, Metropolitan Classical Ballet, Texas Ballet Theatre and Willie Nelson. In addition to being the Lighting Director for Fort Worth Opera, Mr. Jung is the Resident Lighting Designer for Amphibian Stage Productions, Kids Who Care, and UNT Opera.

Seth Hoff Choreographer & Assistant director Atlanta Opera Debut A native of Madison, Wis., Seth Hoff recently worked as an assistant director at Portland Opera (Tosca); Virginia Opera (Die Fledermaus); Castleton Music Festival (A Little Night Music); Opera Theatre of Saint Louis (Così fan tutte); Opera Company of Philadelphia (Manon Lescaut); Lyric Opera of Kansas City (Turandot). He has choreographed at the Portland Opera (Rigoletto), Opera Company of Philadelphia (Die Fledermaus, A Masked Ball, Rigoletto), as well as multiple productions of Singin’ in the Rain, a national tour of Ain’t Misbehavin’, and Jesus Christ Superstar. Based in Chicago, Mr. Hoff is a dancer, fitness instructor, assistant director, and choreographer.

38

Meet the Cast continued Walter Huff Chorus Master Atlanta Opera Debut: Tosca, 1988 Walter Huff has been Chorus Master for The Atlanta Opera for 24 years. Along with his duties at The Atlanta Opera, Mr. Huff was recently appointed to the choral faculty at Indiana University’s Jacobs School of Music, serving as Adjunct Associate Professor and Faculty Director of Opera Choruses. 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. In 1984, he received Tanglewood’s C.D. Jackson Master Award for Excellence, presented by Seiji Ozawa and the Boston Symphony Orchestra. He has been musical director for The Atlanta Opera Studio, Georgia State University Opera, and Actor’s Express. Mr. Huff was one of four Atlanta artists chosen for the first Loridans Arts Awards, given to Atlanta artists who have made exceptional contributions to the arts life of Atlanta. In 2008, The Atlanta Opera Chorus under Mr. Huff ’s direction sang critically acclaimed performances of Porgy and Bess at Opéra-Comique in Paris and on tour in Granada, Normandy, and Luxembourg. Mr. Huff also has served as chorus master for Faust and Der Rosenkavalier with San Diego Opera.

The Atlanta Opera’s 1989 production of La traviata, and Walter Huff’s first season as Chorus Master. (photo: Chip Simone)

39

Community EngagemenT The 24-Hour Opera Project The third annual Atlanta Opera 24-Hour Opera Project is officially in the books! It was another success, with glowing feedback from participants and audience alike.

The 24-Hour Opera Project, which has received attention from media outlets and opera companies all over the country, is the first event of its kind in the opera industry and has gotten stronger and more successful each year. Participants in the categories of composers, lyricists, stage directors, and singers come from all over the country for this crazy opera science experiment!

photo: Kevin Hackshaw

photo: Jeff Roffman

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The 24-Hour Opera Project launched with a fun kickoff event at First Presbyterian Church of Atlanta, where the composers and lyricists were randomly paired and the Project theme was unveiled. Then it was time to write! Composition teams worked overnight to create an original opera for the cast of singers they were assigned.

The stage and music directors, stage managers, and singers went to work early Saturday morning, turning the new music into a work of art. The final performance of the five operas took place at The Atlanta Opera Center that evening, where more than 250 were in attendance and more than 700 watched the performance live online.

The compositions were judged by a team of industry experts and the live and online audience also got to choose their

Community Engagement continued favorite performance. Area high school students were selected to serve as video production assistants with the live webcast.

If you missed The Atlanta Opera 24-Hour Opera Project, you can still view video highlights on our website at atlantaopera.org.

The Atlanta Opera 24-Hour Opera Project is made possible by generous support from Turner Broadcasting System, Inc. and Turner Voices.

We are also very grateful for support from our friends at First Presbyterian Church of Atlanta, Stevens Interactive Productions, Inc., and all of the individuals who supported the project on Power2Give.org.

photo: Jeff Roffman

SCENE 24 Hour Opera Project

41 photos: Jeff Roffman, Kevin Hackshaw, Matt Burkhalter

The Atlanta Opera Chorus Chorus Master Walter Huff Chorus Jayme Alilaw

Jennye Guy

Laura Porlier

Lynnette Anderson

Jennifer Hamilton

Marc Porlier

Caitlin Andrews

Christopher Hawkins

Mary Brooke Quarles

Kyle Barnes

Zachary Heath

Bryan Saxon

Joshua Bartolotti

Christina Howell

Stuart W. Schleuse

Charles Baugh

Keli Jackson

Jonathan C.B. Spuhler

Lisa Brown

Grant Jones

Elizabeth Stuk

Megan Brunning

Adam Kissel

Laurie Tossing

John Burnett

Lara Longsworth

Trenton Tunnell III

Darian Clonts

Marcella Meredith

Kristin Vienneau

Christopher S. Connelly

Brishelle Miller

Carrie Anne Wilson

Gabriel Couret

Conrad Moore

C. Augustus Godbee

J. Brandon Odom

William Green

Nadeen Paul

The Atlanta Opera cast and chorus brighten the stage in the 2005 production of La traviata. Some of the chorus members pictured here are also in this season’s production. (photo: Tim Wilkerson)

42

The Atlanta Opera Orchestra Violin Peter Ciaschini, Concertmaster

Cello Charae Krueger, Principal

Trumpet Yvonne Toll, Principal

Helen Kim, Assistant Concertmaster

Erin Ellis, Assistant Principal

Hollie Lifshey

Shawn Pagliarini, Principal, Second Violin (Acting)

David Hancock

Angele Sherwood-Lawless, Assistant Principal, Second Violin (Acting)

Roy Harran

Trombone Mark McConnell, Principal

Mary Kenney

Ed Nicholson

Cynthia Sulko

Richard Brady, Bass Trombone

Felix Farrar

Bass Lyn DeRamus, Principal

Robert Givens

Christina Caterino

Patti Gouvas

Emory Clements

Sheela Iyengar

Rob Henson

Alison James

Flute/Piccolo James Zellers, Principal

Fia Mancini Durrett

Jeanne Johnson Steven K. Leonard Michele Mariage-Volz Lisa Morrison Lee Nicholson Patrick Ryan Mayu T. Sammorigo

Kelly Bryant Oboe Dane Philipsen, Principal Diana Dunn

Elonia Varfi

Clarinet David Odom, Principal

Rafael Veytsblum

Jeanne Heinze

Viola William Johnston, Principal

Bassoon Mike Muszynski, Principal

Elizabeth Derderian-Wood, Assistant Principal

Debra Grove

Mimi Tam

Sarah Park

Horn David Bradley, Principal

Karl Schab

Ed Ferguson

Joli Wu

Jason Eklund

Allyson Fleck

Cimbasso Donald Strand, Principal Timpani John Lawless, Principal Percussion Michael Cebulski, Principal Jeff Kershner Harp Susan Brady, Principal Personnel Manager Mark McConnell *String sections are listed in alphabetical order

Alan Brown

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The Atlanta Opera Volunteers The Atlanta Opera acknowledges and is grateful for the volunteers whose donations of time and effort help to set the stage for the opera performances you experience. Are you interested in working behind the scenes? Call Allison DeNiro at 404-591-2928 or visit the “Support Us” section at atlantaopera.org to learn more about becoming a volunteer.

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Sonia Oxman Priya Patel Polly Pater Glenda Pearson Matthew Pinnow Victor Prince Tandi Reddick Nancy Reed Marie Reid Zabrina Rios Catherine Roberson Diana Robinson Suzanna Saiah Cherylene Sands John Sands Martha Schallern Catherine Schatz Joyce Schechter Carol Schmied Gail Shattah Amanda Shearrow Tatiana Shiferson Dan Shumate Verna Slade Alisha Smith

Sheena Spencer Margaret A. Stephen Eleanor & Jim Strain Beth Suryan Sandy Taffel Linda Taylor Carol Thurman Donald Thurman Suzanne Touchstone Ruth Vaught Tricia Vogelgesang Mark Vogelgesang Alice Wade Alana Walker Dorman Wallace Hilary Wayne Harold Whitney Branalyn Williams Laura Chris Wright Yilan Xiang Barbara Zellner

A performance of the Atlanta Opera’s La traviata at the Boisfeuillet Jones Atlanta Civic Center in 2005. (photo: Tim Wilkerson)

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The Atlanta Opera Celebrates

Verdi’s Birthday October 10, 2013, will mark the bicentennial birthday of the great Verdi.

Opera houses worldwide, including The Atlanta Opera, are celebrating the occasion by presenting one of his operas in the 2012-13 season. One of the greatest composers of all time, Verdi successfully conveyed himself through today’s most popular operas (such as Rigoletto, Il trovatore and today’s presentation of La traviata) as well as through deeper operas (such as Aida, Otello and Falstaff). The diversity of his operas shows his mastery of Italian opera.

We hope you enjoy La traviata — a true expression of a composer’s adoration for art!

SCENE Stone Soup

46 photos: Kevin Hackshaw

“I adore art... when I am alone with my notes, my heart pounds and the tears stream from my eyes, and my emotion and my joys are too much to bear.”

– Giuseppe Verdi

...a completely new approach to the atlanta opera annual Fund Enhance your entire Atlanta Opera experience, not just your benefits. 路 Along with existing benefits, new choices have been added. 路 You will receive a tailored MyOpera portfolio which will include detailed information on your benefits. 路 Starting at the Gold Level, you can choose your benefits from multiple level options. 路 Starting at the Platinum Level, you will be partnered with a MyOpera Concierge to help you tailor a more personal Atlanta Opera experience.

For more information, please contact Rebecca Bowden at 404.881.1035 or visit atlantaopera.org.

SCENE Carmen: Opening Night & Afterparty

47 photos: Jeff Roffman

Society for Artistic Excellence Membership in the Atlanta Opera’s Society for Artistic Excellence represents a minimum pledge of $20,000 over a three-year period. These vital gifts help The Atlanta Opera improve its capacity both artistically and financially while building on a tradition of world-class opera in the Atlanta area. Below is a list of patrons who currently have threeyear gift commitments.

All donors below are listed both here in the ARIA and online at atlantaopera.org.

For more information, contact Bert Huffman at bhuffman@atlantaopera.org.

New Production Patron $300,000+ Dr. & Mrs. James W. Bland Jr. Jane S. Willson Revival Production Patron $150,000+ Mr. & Mrs. Carl W. Knobloch, Jr. Director Patron $75,000+ Mr. & Mrs. Harmon B. Miller III Jerry & Dulcy Rosenberg Bob & Cappa Woodward

Artist Patron $45,000+ The Laura & Montague Boyd Foundation The John & Rosemary Brown Family Foundation Dr. Alexander Gross & Mrs. Joanne Chesler Gross Mr. & Mrs. William J. Hayes III Candy & Greg Johnson Mr. William F. Snyder & Mr. Louis A. Peneguy* Mr. & Mrs. J. Barry Schrenk Rhys & Carolyn Wilson The Mary & Charlie Yates Family Fund Charlie & Dorothy Yates Family Fund

Conductor Patron $20,000+ Shepard & Boyce Ansley Mr. & Mrs. Jim Balloun Bryan & Johanna Barnes Mr. & Mrs. Andy Berg Mr. Mario Concha Heike & Dieter Elsner Mr. William Hajjar John L. Hammaker Mr. & Mrs. John Michael Hancock Mr. & Mrs. Michael L. Keough Mr. John O. King Mr. & Mrs. George W. Levert Mr. & Mrs. C. David Moody, Jr. Clara M. & John S. O’Shea Mr. & Mrs. Michael Paulhus Mr. William E. Pennington Edward W. Phares Mr. James D. Powell Mr. Charles Sharbaugh Baker & Debby Smith Mr. & Mrs. William E. Tucker Thomas R. Williams Family Additional Multi-Year Gifts $15,000+ Cathy & Mark Adams Mr. & Mrs. Timothy E. Sheehan $10,000+ Tom & Sandy Teepen *deceased

48

The Woodruff Arts Center’s Alliance Theatre hosted the Atlanta Opera’s 1989 production of La traviata featuring Miguel Cortez as Alfredo and Susan Patterson as Violetta.

(Photo: Chip Simone)

Annual Fund The following names represent gifts from individuals, family foundations, The Atlanta Opera Board of Directors, staff, chorus and orchestra. The ongoing support you provide allows the Opera to continue building on a tradition of excellence, and makes possible quality productions just like you are experiencing now. Thank you.

Listed on the following pages are friends who contributed $350 or more to the Opera between July 1, 2011 and January 8, 2013. For a complete list of donors visit atlantaopera.org.

Diamond $100,000+ Mr. & Mrs. Donald Keough Mr. & Mrs. Carl W. Knobloch, Jr. Jane S. Willson $25,000+ Mr. & Mrs. John L. Connolly Martha Thompson Dinos Mrs. Olga Casteleiro de Goizueta Platinum $10,000+ Mr. David Boatwright Polly N. Pater $5,000+ Mr. & Mrs. Richard H. Anderson Mrs. Elizabeth Tufts Bennett R. Dwain Blackston Nancy & Jim Bland Carl & Sally Gable Peg Simms Gary Genuine Parts Company Mr. Bert Huffman Mary Ruth McDonald Peggy & Jack McDowell Mr. James B. Miller, Jr. Dr. & Mrs. Richard M. Robinson John & Barbara Ross Mr. Charles Scarborough Triska Drake & G. Kimbrough Taylor $2,500+ Mr. & Mrs. Ronald R. Antinori Dr. Florence C. Barnett Chris Casey & Douglas Weiss Mrs. Jean Cooper

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Platinum (continued) Sally & Larry Davis Mr. Robert S. Devins Col. & Mrs. Edgar W. Duskin Mr. & Mrs. Robert G. Edge Dr. Mary M. Finn Ms. Rebecca Y. Frazer & Mr. Jon Buttrey Mr. & Mrs. Harry L. Gilham Jr. Dr. Thomas N. Guffin, Jr. Mr. & Mrs. Douglas Hantula Mr. & Mrs. Edward J. Hardin Mr. & Mrs. Harry C. Howard Katie Hutchison Mrs. Joseph W. Jones Mr. & Mrs. Gert Kampfer James M. Kane & Andrea Braslavsky Kane Mr. & Mrs. Michael A. Klump Linda L. Lively & James E. Hugh III Dr. & Mrs. James Lowman Sally & Allen McDaniel Robert & Suzanne Minarcine Mr. & Mrs. William A. Parker, Jr. Dr. & Mrs. Lawrence S. Phillips Mr. James L. Rhoden Mr. & Mrs. George P. Rodrigue Milton J. Sams Morton & Angela Sherzer Mrs. J. Lucian Smith Johannah Smith Yee-Wan & John Stevens Judith & Mark Taylor Mr. & Mrs. George B. Taylor, Jr. Ms. Bunny Winter & Mr. Michael Doyle Mr. W. C. Wyatt, Jr.

Gold $1,000+ Mr. Keith E. Adams Mr. & Mrs. C. Duncan Beard Michael L. & Valerie W. Benoit Allison Krebs Bensch & Torsten Bensch Mr. & Mrs. Paul Blackney Mrs. Enrique E. Bledel Dr. J. Bricker Burns Mr. Hugh Cheek Mr. Lawrence Clarkson Dr. & Mrs. William C. Collins Dr. John W. Cooledge Mr. & Mrs. Stephen E. Crowley Dr. & Mrs. F. Thomas Daly Jr. Ms. Dorothy E. Edwards Dr. & Mrs. Arnoldo Fiedotin Ms. Jeanne R. Frazier R. Derril Gay, Ph.D. Mr. & Mrs. John W. Grant III Ms. Sue Hall John L. Hammaker Harald Hansen Donna Hiller James E. Honkisz & Catherine A. Binns Mr. & Mrs. Hugh Hosch Ann P. & Ezra F. Howington Mr. & Mrs. David C. Huffman Mr. Mike Hurdle Mr. & Mrs. Wayne James Lou & Tom Jewell Mr. & Mrs. Kenneth D. Johnson Mr. Alfred D. Kennedy & Dr. Bill Kenny Mr. & Mrs. Peter G. Kessenich, Sr. Marsha & David King Mrs. Treville Lawrence

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Annual Fund Continued Gold (continued) Dr. Jill Mabley Jeanie & Albert Marx Dan D. Maslia Mr. William McDaniel Mr. & Mrs. Richard V. McPhail III Mr. Gene Milner & Dr. Rhonda D. Milner Mr. Gene Moon & Mrs. Dorothy Moon Terri & Stephen Nagler Mr. & Mrs. John L. O’Neal Victoria & Howard Palefsky Dr. & Mrs. Donald A. Paul Lucy S. Perry Dr. Michael F. Pratt & Nancy Peterman Ms. Lorraine Russell Mr. Dustin B. Schneider Sachin Shailendra Mr. Nicholas Shreiber Dr. & Mrs. Patton P. Smith Mr. Fred B. Smith Mr. Peter James Stelling Dr. Marilyn Stockton Dr. Jane T. St. Clair & Mr. James E. Sustman Mr. & Mrs. Ben J. Tarbutton, Jr. Ms. Carol Uhl Dr. Nicholas Valerio III Alan & Marcia Watt Rae & George Weimer Ms. Linda D. Wickham Larry & Beverly Willson Mrs. Wadleigh C. Winship Drs. Martin & Holly York $500+ Mr. & Mrs. C. S. Akers, Jr. Mr. & Mrs. Michael Barker Mr. & Mrs. Harris P. Baskin Mr. Joe E. Bates Mr. & Mrs. Wallace F. Beard Ms. Tiffany Bloomer Ms. Martha S. Brewer Dr. Harold Brody Dr. & Mrs. W. Scott Brooks Barbara S. Bruner, M.D. Mr. Robert Bunker

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Gold (continued) Dr. Bruce Cassidy & Dr. Eda Hochgelerent Mrs. Carol J. Clark Dr. Kristin R. Corgan Mr. Stuart Culpepper Mr. & Mrs. Tom DeBra Mr. Kevin Dew & Mr. Hal Platt Mr. & Mrs. William D. Duckworth Dr. & Mrs. H. Allen Ecker Mr. & Mrs. John C. Ethridge, Jr. Heather & Eli Flint Dr. & Mrs. David J. Frolich Mr. & Mrs. John Gam Dr. & Mrs. Joseph D. Giovinco The Law Offices of Jason B. Godwin Mr. & Mrs. Donald Goldstein Mr. & Mrs. George Gundersen Ms. Louise S. Gunn Sylvia Halleck, MD Harriet H. Harris Mr. Michael D. Hastings Mr. George Hickman, III Mr. L. D. Holland Richard & Linda Hubert Mrs. H.F. Hunter Mr. Francis M. Jack Dr. & Mrs. Duke Jackson, Jr. Mr. Speight Jenkins Mr. Doyle P. Jones Dr. Sidney T. Kellon Joan & Arnold Kurth Chris & Jill Le Ms. Salli LeVan Dr. Jason Liebzeit Mr. & Mrs. J. David Lifsey Dr. & Mrs. P. Mather Lindsay Richard Lodise & Valerie Jagiella Donna & Trevor Lumb Douglas W. & Sarah Mabry Stanley & Elaine Mager Dr. & Mrs. Ellis L. Malone Dr. Robert & Judge Stephanie Manis Shelley McGehee Mr. & Mrs. John McMullan Mr. M. Sean Molley

Gold (continued) Ms. Priscilla M. Moran Mr. & Mrs. Peter J. Morelli II Ms. Melissa Mortimer Mr. & Mrs. Frank Muckler Mr. & Mrs. Robert Nemo Ms. Beverley Paquette George & Libba Pickett The Reverend Neal P. Ponder, Jr. Mr. David Pylate Diane & Nicolas I. Quintana R.J. & D.G. Riffey, Jr. Mary K. Roarabaugh Mr. & Mrs. E. Gordon Robinson The Honorable Judge Dorothy A. Robinson Ms. Heidi M. Rockwood Sidney & Phyllis Rodbell Fred Rodriguez Dr. & Mrs. Mark Rowles Dr. Michael Sanseviro Mr. Brenn Smith Judge & Mrs. Mike Stoddard Mr. N. Jerold Cohen & Ms. Andrea Strickland Steve & Christine Strong Mr. & Mrs. Frederick A. Stuart Ms. Melinda R. Stuk Dr. & Mrs. Michael Szikman Mr. & Mrs. Hugh M. Tarbutton Ms. Virginia S. Taylor Mr. Eric Taylor Mr. Richard Thio Mrs. Newell B. Tozzer Mr. & Mrs. Leroy Walden Dr. & Mrs. James O. Wells, Jr. Ms. Venette Williams Mrs. Frank Wilson, Jr. Dr. & Mrs. David Wingert Mrs. Geraldine S. Woodward Mr. & Mrs. John Zellner $350+ Anonymous Atlanta Opera Orchestra Players Association

Annual Fund Continued Gold (continued) Mr. & Mrs. Walter Bailey Mr. & Mrs. David S. Baker Mr. & Mrs. Robert O. Banker Dr. & Mrs. John Barnes Dr. & Mrs. William Battles Daniel & Bethann Berger Dr. & Mrs. Jerry Blumenthal Mrs. Karen Bunn Dr. & Mrs. W. Brantley Burns Mrs. Stella M. Carlson Mr. & Mrs. Raymond H. Chenault Mr. Michael Clutter Mr. Lawrence M. Cohen Lucy & John Cook Mrs. June Crawford Mr. & Mrs. Michael J. Curry Maureen & Michael Dailey Dr. & Mrs. Albert De Chicchis Mrs. William Elmore Mr. & Mrs. Arthur R. Dugger Debra & Greg Durden Janice & Charles M. Edwards III Dr. G. Eichholz Mr. John Fischer Mr. Glen Galbaugh Ms. Lois M. Grant Judge Adele P. Grubbs Mr. & Mrs. Sam Hagan Owen Halpern Dean & Vivian Haulton Honeywell International Corporation Pearlann & Jerry Horowitz Julie & Jason Ingraham Mr. Scott Ingram

Gold (continued) Cliff Jolliff & Elaine Gerke Ms. Jo. Elliott Jones Mr. & Mrs. Edward Katze Mr. & Mrs. Fred R. Keith Mr. & Mrs. Michael L. Keough Ms. Eleanor Kinsey Lucy R. & Gary Lee, Jr. Livvy Kazer Lipson Dr. Carlos E. Lopez Mr. Thomas L. McCook Mr. & Mrs. Norman Miller Ms. Sharon Mills Mr. Martin A. Moore Dr. Patricia S. Moulton Jane & Jim Murray Mrs. Amy Wynn Norman Ms. Marianela E. Noya Mr. & Mrs. Henry C. Parrish III Mr. & Mrs. Guy Paschal Mr. D. V. Pompilio & The Honorable S. L. Ingram Ms. Barbara Rivenbark Mr. Robert Sidewater Dr. Susan Y. Stevens Jim & Eleanor Strain Carolyn & Robert Swain Dr. & Mrs. Michael Szikman Mrs. Sarah Tate Raymond C. Townsend Mr. & Mrs. Charles D. Tuller Mrs. James B. Vaught Mr. & Mrs. Thomas W. Ventulett III Henry Waszkowski & Patty Thomas Ms. Reba P. Welch

Gold (continued) Dr. & Mrs. Sam Williams Emily Willingham & Dixon Adair Ms. Judith D. Wilson Sherrilyn & Donn Wright Mrs. Johnnie Zahler & Jeanette Zahler

Special Thanks Special thanks to the following individuals who donated their time as supernumeraries in the Atlanta Opera’s production of Carmen.

Roy Bryan Kim Christopher Rashuan Cormier Michael Edwards

Jerry Hunter John King Samuel McAleese Michael Mitchell

Sean Savage Walker Thomas Spiro Winsett Roque Marinho

53

Corporate Partners $100,000 The Coca-Cola Company

$50,000+ AT&T Delta Air Lines, Inc.

$10,000+ Affordable Equity Partners, Inc. Flight Options Lanier Parking Solutions

$2,500+ Anonymous $1,000+ Atlanta Opera Guild

$5,000+ Lockheed Martin Aeronautics Company

Community Partners Foundations $50,000+ Atlanta Music Festival Association Sara Giles Moore Foundation The Zeist Foundation

Government Funding $20,000+ City of Atlanta Office of Cultural Affairs Georgia Council for the Arts

Gifts In Kind $25,000+ Batdorf & Bronson Coffee Roasters The Kendeda Fund J. Marshall & Lucile G. Powell Foundation Joel Crowe – Wallace Graphics England Pianos – Official Piano Sponsor $20,000+ of The Atlanta Opera Jim Cox, Jr. Charitable Trust Federal Home Loan Bank of Atlanta $10,000+ Eli Flint – Flight Options Abraham J. & Phyllis Katz Foundation Lanier Parking Solutions Wells Fargo Philanthropic Giving Program National Distributing, Inc. $5,000+ Jeff Roffman Photography The Arthur M. Blank Family Foundation Tim Wilkerson Photography Camp-Younts Foundation John & Mary Franklin Foundation Fraser-Parker Foundation Ann & Gordon Getty Foundation The Home Depot Foundation JBS Foundation Nordson Corporation Foundation Norfolk Southern Foundation OPERA America Turner Broadcasting System, Inc. $2,500+ Mary Brown Fund of Atlanta Hills Family Foundation Charles Loridans Foundation Publix Super Markets Charities Frances Wood Wilson Foundation From the 1998 Atlanta Opera production of La traviata, tenor John Fowler performs as Alfredo. (photo: J.D. Scott)

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$1,000+ Bright Wings Foundation Georgia Humanities Council Herbert & Marian Haley Foundation Lois & Lucy Lampkin Foundation Ray M. & Mary Elizabeth Lee Foundation

Tributes & Memorials In Memory of Dr. Joseph Barnett Dr. Florence C. Barnett & Family Ms. Ann Bailey Fred D. Bentley Sr. & Family Fred D. Bentley Jr. & Family R. Randall Bentley Sr. & Family Emory Johns Creek Hospital Maria Jurado Kennesaw State University Foundation GA Neurosurgical Society Dr. Anthony Musarra Mr. & Mrs. W. A. Separk Dr. & Mrs. Edgar Vaughan Dr. & Mrs. Allison F. Williams In Memory of Margaret Bowden Reese Ellis Dr. & Mrs. James H. Dew Jr. In Memory of Sylvia Dabenpart Shelley McGehee In Honor of Bernadette Faber Enid & Jerry Draluck In Memory of Richard Felner Mrs. Anna Beth Felner In Memory of Dick Gallo Mr. Alfred D. Kennedy & Dr. Bill Kenny In Memory of Betsey G. Hansen Harald Hansen In honor of Joseph Lattanzi The Reverend Neal P. Ponder, Jr. In Memory of Rachel Lehmann Jim & Eleanor Strain In Honor of Polly Pater Mr. Brian D. Beem Mr. & Mrs. Charles Slick Mr. Tom Slick

In Memory of Hazel Roy Butler The Hazel Roy Trust In Honor of Sharon Silvermintz Ms. Elizabeth F. Meeker In Memory of Dr. Kingsley Weatherly Mr. & Mrs. Gerald Baxter Nancy & Jim Bland Mr. & Mrs. Peter M. Candler Dr. & Mrs. William H. Chew Lynn Cochran Mr. & Mrs. R. Park Ellis P. Wesley Foster, Jr. Ms. Beatrice Garner Joan Gill Carolyn & Lem Hewes Jim & Mary Long Howard Katie Hutchison Mrs. Clay Kirk Mrs. T. Harvey Mathis, Jr. Mr. & Mrs. Edward J. Merritt Jr. Anne Groves Morris Mrs. Elizabeth Pritchett Dr. & Mrs. Newton Quantz, Jr. Richard Worrell General Agency, LLC. Hugh Richardson, Jr. Elizabeth & Dick Rubenoff Dr. Kathy Shands The Sunshine Committee Willou & Bill Smith Dr. & Mrs. Carter Smith, Jr. Ms. Susan Soper Margo & Buddy Stack The Sutton Family Mr. & Mrs. Charles D. Tuller Mel & Hootie Zaher In Memory of Marya Gabrielle Williams Ms. Marilon Jone P. Williams

In Memory of Louis Peneguy Mr. William E. Pennington Raul Hernandez as Alfredo and Jan Grissom as Violetta in the Atlanta Opera’s 2005 production of La traviata. (photo: Tim Wilkerson)

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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 Mr. & Mrs. Wallace F. Beard Mr. Montague L. Boyd Ms. Mary D. Bray Mr. Robert Colgin Arnold & Sylvia Eaves Ms. Dorothy E. Edwards Mr. & Mrs. Dieter Elsner Carl & Sally Gable Rebecca & Sidney Guberman Ms. Judy Hanenkrat Mr. Hilson Hudson

Mrs. Joseph B. Hutchison Mr. Alfred D. Kennedy Ms. Corina M. LaFrossia Mr. Louis L. Lawson Mr. & Mrs. John G. Malcolm Mr. Robert Lee Mays Mr. & Mrs. Allen P. McDaniel Mr. & Mrs. Jack C. McDowell Mr. & Mrs. Craig N. Miller Miss Helen D. Moffitt Mr. J. Robert Morring Mr. & Mrs. Bertil D. Nordin Clara M. & John S. O’Shea

Mrs. Polly Pater Mr. William E. Pennington Bruce A. Roth Mr. & Mrs. Paul Sanger Kevin J. Saunders Mr. D. Jack Sawyer, Jr. Mr. & Mrs. Thomas H. Teepen Mr. Richard F. Tigner William E. Torres, M.D. Dr. & Mrs. Harold Whitney Ms. Bunny Winter & Mr. Michael Doyle Mr. & Mrs. Charles R. Yates, Sr. Mr. Charles R. Yates, Jr. & Mrs. Mary Yates

SUPPORT THE ATLANTA OPERA

Support Tomorrow, Today!

Build a Legacy with The Atlanta Opera.

We at The Atlanta Opera sincerely appreciate your generous support and belief in our mission of enriching lives though 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 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 advisor 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! Please call 404-591-2926 or 404-343-7125 to discuss your planned gift.

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would like to thank

F&B AD

3630 Peachtree Road, N.E. 404-254-1797 • fandbatl.com

SCENE The Atlanta Opera Holiday concert

photos: Jeff Roffman

Board of Directors Officers Mrs. Shepard B. Ansley Chair Emeritus William E. Tucker Chair Tucker, Midis & Owen, LLC Mr. Gregory F. Johnson Immediate Past Chair Republic National Distributing Company, Inc. Mr. John L. Hammaker Vice Chair Mr. Charles R. Yates, Jr. Vice Chair Mr. Rhys T. Wilson Treasurer Nelson, Mullins, Riley & Scarborough, LLP Mr. Michael Keough Secretary DMK International

Members Ms. Cathy Callaway Adams, Federal Home Loan Bank Mr. Bryan H. Barnes, Deloitte & Touche, LLP Mr. Andy Berg, Homrich Berg Mrs. James W. Bland, Jr. Mr. Montague L. Boyd, III, UBS Financial Mrs. Rosemary Kopel Brown Ms. Sharon J. Byers, The Coca-Cola Company Mrs. John W. Calhoun, III The Very Reverend Samuel G. Candler, Cathedral of St. Philip Mr. Mario Concha, Concha Consulting, LLC Ms. Martha Thompson Dinos Mr. Robert G. Edge, Alston & Bird Mr. Dieter Elsner, Roedl Langford de Kock, LLP Mr. Eli Flint, Flight Options Mrs. Joanne Chesler Gross Mr. William Hajjar, JWT Mr. John Michael Hancock Mr. William J. Hayes, Bain & Company, Inc. Mr. Douglas R. Hooker, Atlanta Regional Commission Mr. John Isakson, Jr., Williams Asset Management Ms. Mary B. James

One of Michael Stauffer’s set design sketches for Act I of La traviata from the Atlanta Opera’s inaugural season in 1980. (photo: The Atlanta Opera Archives)

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Mr. John King, Breitland, LLC Mrs. Carl Knobloch Mr. George Levert, Kinetic Ventures, LLC Mr. Richard McPhail, The Home Depot, Inc. Mr. Harmon B. Miller, III, MillerZell, Inc. Mr. James B. Miller, Fidelity Bank Mr. David Moody, C. D. Moody Construction Mr. Michael Paulhus, King & Spalding Mr. William E. Pennington Mr. James D. Powell, KPMG, LLP Mr. Herbert J. Rosenberg III, National Distributing Company, Inc. Mr. Bruce A. Roth, Roth & Associates, Inc. Mr. J. Barry Schrenk, Taggarts’ Driving School Mr. Stewart A. Searle, Strategic Thought Partners Mr. Sachin Shailendra, S G Contracting Mr. Charles Sharbaugh, Paul, Hastings, Janofsky & Walker, LLP Mr. Timothy E. Sheehan, Mellon Private Wealth Management Mr. Baker A. Smith, BDO Consulting Corp. Advisors, LLC Mr. G. Kimbrough Taylor, Jr., Kilpatrick Townsend & Stockton Mr. Timothy J. Walsh, Lanier Parking Solutions Mr. Thomas R. Williams Jane S. Willson, Sunnyland Farms, Inc. Mr. Robert G. Woodward, King & Spalding

Honorary Members Ms. Dorothy E. Edwards Mr. Carl I. Gable Mr. John S. Gillfillan Mrs. Holcombe T. Green, Jr., WestPoint Stevens Mr. Carter Joseph, Empire Distributors Mrs. Jack C. McDowell Mr. Sam Olens, State of Georgia Mr. Mark K. Taylor, HT Group, LLC Mrs. John C. Wilson Ms. Bunny Winter

presents

Stone

Soup COMMUNITY . DIVERSITY . FRIENDSHIP . MAGIC

In Your Community...

The Atlanta Opera Center 1575 Northside Dr., NW PERFORMANCE FOR GIRL SCOUT DAY Building 300, Suite 350 9:30 a.m. Atlanta, GA 30318 Admission to Girl Scout Day is $10 per Girl Scout and $5 per adult.

Please call 404-881-8883 for tickets.

SATURDAY, MARCH 16, 2013

SATURDAY, MARCH 23, 2013

PERFORMANCE AT 11:00 a.m.

Southwest Arts Center 915 New Hope Rd. Atlanta, GA 30331

Admission is $7 per person for each family performance.

Please call 404-881-8885 or visit atlantaopera.org for tickets.

59

Staff Artistic & Production Arthur Fagen Carl & Sally Gable Music Director & Conductor Elecia Crowley Artistic Administrator Walter Huff Chorus Master Michael Benedict Production Manager Shawn Rieschl Johnson Company/Stage Manager Eric Mitchko Artistic Consultant

Community Engagement Emmalee Iden Hackshaw Director of Community Engagement Anne Stillwagon Intern Wade Thomas Intern

Development Bert Wesley Huffman MPA CFRE Director of Development Rae Weimer Associate Director of Development Kristin Boggs Major Gifts Officer Greg Carraway Foundation & Grants Manager Rebecca Bowden Annual Fund Manager Allison DeNiro Events Manager & Volunteer Coordinator

Finance & Administration Mike Hurdle Director of Finance Ashley Gilleland Accounting Manager Stephanie Cantillo Administrative Manager

Marketing & Communications Cristina Vรกsconez Herrera Director of Marketing & Communications Lindsay Smith Marketing Manager Emily Genetelli Communications Manager Matt Burkhalter Creative Services Manager Alan Strange Ticketing Services Manager Renee Smiley Ticketing & Group Sales AssociatE

Costume Shop

Wig & Makeup Staff

Joanna Schmink Costume Designer/Coordinator Patricia McMahon Costume Shop Manager Brett Parker First Hand Mary Cruz Torres Stitcher Bridgette K. L. Mont Stitcher Sylvia Otto Costume Assistant

Katrina Suhre Design Assistant Christina Whitaker Moore Tracy Salazar Aida Scuffle Tiffany Davis Selena Miller

Seasonal Staff John Beaulieu Technical Director/Master Carpenter Patricia Tuckwiller Production Electrician Steve Dubay Production Electrician Pamela Hickey Properties Master Gregory Boyle Assistant Stage Manager Jamie Hahn Assistant Stage ManageR Ken McNeil Wardrobe Master

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The 2013 Atlanta Opera Ball

September 14, 2013 • St. Regis – Atlanta

Be part of the Excitement.

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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 a $6 charge 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 & 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 770-916-2828. A limited number of booster seats are also available. All items require a form of identification to be held until the item is returned.

Cobb Energy Centre Rules & Requests • 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 •C ameras (including use of cell phone camera) and audio & 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.

For an accounting firm that has earned a reputation for business sense and people sense, you want Warren Averett + GH&I. Audiences have been singing our praises for over 30 years.

Warren Averett + GH&I and The Atlanta Opera.

Experience matters.

For a close-up view, visit warrenaverett.com, or call 770-396-1100.

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