The Atlanta Opera: A Midsummer Night's Dream, March 2024

THE ATLANTA OPERA

A Midsummer Night’s Dream

Benjamin Britten composer

Benjamin Britten, Peter Pears librettists

March 2, 5, 8, 10, 2024

Cobb Energy Performing Arts Centre

A MIDSUMMER NIGHT’S DREAM Page 18 Page 10 WELCOME Letter From Tomer Zvulun, Carl W. Knobloch, Jr. General & Artistic Director ..... 4 SPONSORS & CREDITS Sponsors ................ 6 Credits ................. 9 FEATURES About .................. 10 Director’s Note ............ 18 Written by Tomer Zvulun BEHIND THE CURTAIN Cast & Creative ............ 20 Glynn Studio Artists.......... 38 The Atlanta Opera Chorus ...... 40 The Atlanta Opera Orchestra .... 41 COMMUNITY & SUPPORT Giving & Support ............ 42 Director’s Circle ............ 43 Annual Giving ............. 43 Corporate Partners & Foundations & Government ...... 45 Barbara D. Stewart Legacy Society .. 46 Tributes & Memorials .......... 47 LEADERSHIP Executive Committee /Board of Directors /Advisory Council ............ 48 Staff ................... 49

TOMER ZVULUN CARL W. KNOBLOCH, JR. GENERAL & ARTISTIC DIRECTOR

As we reach the last part of our season with this penultimate production of A Midsummer Night’s Dream, I feel like we are finally hitting our stride as an opera company. Our sold-out productions of The Shining, Frankenstein and La bohème and the new status of The Atlanta Opera as one of the top 10 companies in the nation, have been both energizing and demanding. While this is a source of pride for all of us, the old cliché (and clichés are always true) that “you are only as good as your last show” emerges obsessively in my mind. How do we ensure that the quality of every production, the voices, musical standards, production elements, etc., are aligning to deliver absolute magic for the audience every single time? So many things must come together for a company to deliver a clockwork production. So much can go wrong. Especially when creating new productions, with fresh interpretations, new technologies and debut artists. Live performance is the greatest, most thrilling mystery. You never know if it will work! But when it does work, there is nothing quite like it. So, I admit to you here, that I have no idea how our first Midsummer will turn out to be. We have assembled a stellar cast, a brilliant conductor, world class designers and we are ready to go and yet there are no guarantees of success. This is why live theatre is absolutely magic.

So how do I keep my sanity? To me the answer is inherent in the art itself. The works of these absolute masters of the past that I am so devoted to, and the inherent commitment that we have to do justice to their work.

Fundamentally, the words and the music are the foundation of our work and every aspect of production and performance is built upon that foundation. Our season ends with the work of two artists that have become a focus of my obsession, geniuses that I view as the greatest masters of the stage: William Shakespeare and Richard Wagner. These two artists revolutionized the world of theatre and arts in the most radical way. Their understanding of the human condition and their approach to stagecraft are still power catalysts. On a personal note, they have transformed my own life in ways I cannot even begin to explain in a short message. Serving the vison of Shakespeare and Wagner creates a clear path to help us deliver a successful night at the opera.

Today’s A Midsummer Night’s Dream is a part of a Shakespeare cycle here at The Atlanta Opera that will continue next year with Verdi’s Macbeth (and started years ago with Gounod’s Romeo and Juliette). The work of the Bard inspired countless operatic adaptations. Some of them good, some of them bad, and some absolutely sensational. We are excited to bring them, in some cases for the first time ever, to Atlanta.

The other master (just as influential and much more controversial) is Richard Wagner, and his RING cycle that continues next month with Die Walküre, following the success of our Das Rheingold last year and in anticipation for the third and most heroic installment of the RING next year: Siegfried. Wagner’s RING is considered to be the “Mount Everest” of opera for a good reason. It is complex, rich, and challenging on every level. As usual, challenges abound. Things are never easy. Perhaps that is why our company is thriving. Challenges are our fuel and doing justice to these masterpieces is our responsibility. Enjoy this production of A Midsummer Night’s Dream, the rest of this season, and please continue to support your Atlanta Opera.

| welcome

4

Characters, Synopsis, & History

WRITTEN BY Robert Walport—TheOpera101.com

COSTUME RENDERINGS

Erik Teague

A Midsummer Night’s Dream (MSND) is an appealing opera in part because of how flexible it is. On the simplest level, it is an evening of sheer enchantment, a traditional fairytale with plenty of comedy. On another, it is a psychological treasure trove, purity, madness and cruelty crashing against each other to riveting effect. For the music buff, it is also filled with musical homage and satire, from Baroque through Schoenberg, referencing many classic works, particularly in the riotous play within a play, Pyramus and Thisbe.

In adapting Shakespeare’s MSND Britten stuck to the original play text extremely closely. All the characters bar two (Egeus and Philostrate) make the cut, resulting in an opera with a diverse and lively range of characters (nearly 20!). These characters divide into three groups, each with a largely separate plot as in Shakespeare’s play. Britten captures these disparate narratives with contrasting sound worlds. From the ethereal beauty of the fairies to the rough and tumble of the mechanicals.

Ultimately, it’s an evening of pure magic. A show that rewards repeat viewings whilst still managing to be instantly accessible. Genuinely funny, particularly in the final act, and featuring two pairs of young lovers (as well as a brief Donkey/Fairy pairing), it’s a deliciously romantic evening too.

CHARACTERS

Britten’s MSND has an enormous number of characters by operatic standards, and it is also unusual in that so many of them are prominent. There is no dominant role with all the characters getting their moment, though Oberon, Tytania and Bottom, in particular, have plenty of opportunities to shine. Don’t worry if it seems like a lot to remember; one of the joys of this opera is just how enjoyable it is even when you’ve lost the plot!

atlantaopera.org | @theatlantaopera 10 | about

The Fairies

Oberon, Countertenor, The king of the fairies. Oberon guides the narrative through his servant Puck. An otherworldly force who can be more than a little creepy.

Tytania , Soprano, The queen of the fairies. A force to be reckoned with though Oberon dominates her. Falls for Bottom because of a love potion to hilarious effect.

Puck , Spoken, A mischievous sprite who does the bidding of Oberon (to sometimes unintended effect). Puck acts without thought for others but acts essentially innocently.

Cobweb, Mustardseed, Moth, Peaseblossom, Treble, Tytania’s four fairy servants.

The Royalty

Lysander, Tenor, Lysander loves Hermia though she is engaged to his friend Demetrius. Flees Athens with Hermia before the opera begins.

Demetrius, Baritone, Demetrius is engaged to Hermia having been previously engaged to Helena. His cruelty to Helena in front of Oberon sets the play’s events in motion.

Hermia , Mezzo-soprano, Loves Lysander but is betrothed to Demetrius. She and Lysander are fleeing into the forest together at the start of the opera to escape the wrath of her father (who wants her to marry Demetrius).

Helena , Soprano, A friend of Hermia who was previously engaged to Demetrius before he called it off to marry Hermia. She still loves Demetrius despite this ... Theseus, Bass, The Duke of Athens (the chap who slew the Minotaur in Greek legend). A small role in Britten’s adaptation only appearing in Act III.

Hippolyta , Contralto, The queen of the Amazons. Hippolyta is to marry Theseus. A small role in Britten’s adaptation only appearing in Act III.

The Mechanicals

Bottom , Bass Baritone, Nick Bottom, the weaver. He provides considerable comic relief, particularly when he gains his donkey’s head and frolics with Tytania. Plays Pyramus in the play within the play.

Quince, Bass, The leader of the mechanicals troupe though Bottom often rides roughshod over his opinions. Flute, Tenor, A bellows-mender excited by the prospect of acting in a play. Takes the role of Thisbe, Pyramus’s female lover.

encoreatlanta.com | 11

Snug , Bass, A joiner who is timid and a bit thick. Plays the Lion that (rather sweetly) fails to eat Thisbe.

Snout , Tenor, A tinker who plays the hilarious role of Wall (which he does badly as he’s so nervous).

Starveling , Baritone, The tailor who plays the part of the moon. He does this with a lantern, and is much mocked for it by the Athenians.

SYNOPSIS

ACT I

It is night in the woods outside Athens. Oberon argues with Tytania over a young changeling boy (Oberon wants him for a knight whilst Tytania wants to keep him as his mother was one of her servants). Refusing to give the boy up, Tytania leaves. Oberon calls Puck and sends him to find a magical flower. The juice of this flower has the power to make anyone fall in love with the next person they see. Oberon plans to sprinkle this juice on Tytania’s eyes as she sleeps and then take the boy for himself.

We next meet Lysander, Hermia, Demetrius and Helena. They are variously fleeing/chasing into the woods and form something of a love chain. This unhappy group is overheard by Oberon, who instructs Puck to fix the group by making Demetrius fall for Helena (using the magic flower).

We now meet our third and final group, the six “mechanicals” or “rustics” (basically working-class men). They are preparing to perform a play for the wedding of Theseus (Duke of Athens) to Hippolyta (Queen of the Amazons). They fuss over the casting, Bottom’s shenanigans setting off hilarity, but eventually, all is settled, and they agree to meet later the same night to rehearse.

Lost and exhausted Hermia and Lysander fall asleep in the woods. Puck appears and, thinking he has found Demetrius, sprinkles the juice on Lysander. Demetrius arrives pursued by Helena but angrily dismisses her. Helena is distraught and, seeing Lysander, moves to wake him. Surprise, surprise, he awakens and instantly falls in love. Helena runs off thinking Lysander is making fun of her; Lysander chases after, and Hermia awakens to find herself all alone.

Nearby, Tytania begins to sleep. Oberon appears and places the juice on her eyes.

encoreatlanta.com | 13

The mechanicals meet later that same day for a rehearsal. They begin but are soon spotted by Puck, who decides to work some mischief. He transforms Bottom’s head into that of a donkey causing the other mechanicals to flee in fear (much to Bottom’s confusion). Left alone, Bottom sings to himself awakening the

The juice works its magic, and she instantly falls in love with him! In a stunningly funny sequence, she seduces him to bed with some help (and headscratching) from the fairies.

Oberon is delighted to find his plan for Tytania has worked so well, but his pleasure quickly dissipates when Demetrius enters chasing Hermia.

Puck has not completed his task! Demetrius falls asleep (the characters in MSND have a natural penchant for sleeping...), and Oberon drips the juice on his eyes.

Unfortunately, things get even worse when Helena and Lysander come hurtling in, waking Demetrius, who promptly falls in love with Helena. Hermia enters and Lysander swiftly rejects her, which only enrages Helena more as she thinks the other three

Oberon is now angry with Puck and instructs him to sort the couples out. Puck then leads the four away through the woods, applying the needed juice and antidote to them as they fall asleep.

It is nearly dawn. Oberon rouses Tytania, freeing her from the flower’s spell. The four lovers awaken, finally happily paired off. Bottom awakens with his head returned to normal; he thinks it has only been a dream but a bizarre dream at that. The other mechanicals who have been searching for Bottom come across him as he announces that their play is to be

We leave the woods for Athens. It is Theseus and Hippolyta’s wedding day. The mechanicals deliver their ludicrous (and hilarious) Pyramus and Thisbe for the

As the humans head to sleep... the fairies bid

14 | about

HISTORY

Operas aren’t things that generally get written overnight. It took Benjamin Britten several years in most cases. However, A Midsummer Night’s Dream was something of a rush job, going from conception to opening night in well under a year. The Jubilee Hall in Aldeburgh was undergoing a complete refurbishment, and to celebrate its opening and the 1960 Aldeburgh Festival (Britten’s own festival), a new opera was required. For various reasons, this wasn’t settled upon until late summer 1959, leaving Britten an extremely tight schedule.

It was partly for practical reasons that Britten and his partner and librettist Peter Pears settled upon Shakespeare’s play. “There was no time to get a libretto written, so we took one that was ready to hand. I have always loved A Midsummer Night’s Dream.” However, the practical dimension of the decision should not be overstated. Britten didn’t do anything without reason. There are many themes in the play that fit with Britten’s ethos and work. Since writing “On This Island” with W. H. Auden, Britten had regularly returned to the subject of dreams and darkness whilst innocence was a subject that preoccupied him throughout his life.

With the libretto swiftly assembled, Britten set about writing the score. He did so steadily, though he suffered bouts of depression over the winter. His health was uneven; gout, tendonitis and bursitis all plaguing him over the year. Nor was he helped by Imogen Holst, his music assistant, was rushed to hospital with suspected appendicitis and told to take six weeks to rest after the resulting operation.

The music came together in time. Still, the opening was then threatened by Alfred Deller, the first Oberon, fearing he was inadequately

encoreatlanta.com | 15

prepared for the acting in an opera little helped by John Cranko’s apparently poor direction (He was a ballet choreographer with limited opera directing experience). However, everything came together to a near-total success. Frank Howes of the Times of London described it as “a major opera of the size and quality to follow Peter Grimes around the world,” and it did indeed soon find its way around the world. The Royal Opera would produce it the year after its premiere, and A Midsummer Night’s Dream was rapidly taken up abroad (not infrequently in translation), becoming a part of the international standard repertory.

Britten and Pears adapted their libretto from Shakespeare’s text by editing heavily, but they added only one line, “compelling thee to marry with Demetrius”, which quickly clarifies the plot in Act I. Britten described the process, “to get it into manageable shape, which basically entailed simplifying and cutting an extremely complex story … I do not feel in the least guilty at having cut the play in half. The original

16 | about

Director’s Note

WRITTEN BY Tomer Zvulun

“We are such stuff as dreams are made on, and our little life is rounded with a sleep.”

— William Shakespeare, The Tempest

I’m so grateful for dreams. With reality kicking me daily, sometimes in the most painful ways, I find myself looking for escape more than ever. The paths to escape from life’s pressure haven’t changed much over the past four centuries since Shakespeare wrote his master works. Sure, we have more screens at our disposal and all manners of toxic distractions (social media anybody?) that were not available in the 16th century. However, A Midsummer Night’s Dream presents five distinct realms of diversion, that are still as valid in our times as they were in Shakespeare’s.

My number one escape, my psychiatrist, my temple, has always been the theatre. A place where everything is possible, and stories come to life. To that most magical of all places, Shakespeare adds four more realms: dreams, nature (particularly the forest), love, and pure magic. That’s where his characters escape when things fall apart. They run to the forest, they fall in love, choose to dream, escape into a play, or literally sprinkle magic in each other’s eyes. Isn’t it great to escape sometimes? What is more human than that?

In A Midsummer Night’s Dream , Shakespeare combines all these worlds into one brilliantly devised comedy. These five elements are always present, sometime on their own and sometime woven into each other in a way that creates a new alchemy. In this Midsummer We find these realms entangled: dreams, nature, love, magic, and a play-within-a-play that carries the characters into the joyful escape of theatre. The result? A delightful plot that is beloved in the original but becomes radiant with the music of Benjamin Britten.

Shakespeare brings us some rough realities to open the piece—realities that we want to escape. There’s chaos in the realm as war breaks between two superpowers (the king and queen of fairies Oberon

atlantaopera.org | @theatlantaopera 18 | director’snote

OREL COHEN

and Tytania). As we know from our own lives, when major forces clash and war breaks, human beings suffer the most. The world is off kilter: Hermia’s father is forcing her into an unwanted marriage, young people run away from home, wedding plans are coming apart, petty rivalries escalate, chaos ensues. Our setting, an enchanted forest where all the characters collect, becomes a liminal space where the boundaries between reality and illusion blur. It is here that magic can become transformative and bring out the transcendent power of love, but magic stained with malice becomes manipulative and cruel. Shakespeare’s comedy of mis-directed love, where characters fall in love and then out of love, is especially timeless. After Tytania wakes up from her love/dream infatuation with Bottom (who, by mistake, was magically transformed into a donkey), she proclaims, “me thought I was enamored of an ass.” How many of us have fallen in, and out of love with the wrong person? How many of us asked ourselves the same questions that Tytania asks herself: why? What happened?

The answer is anchored in the mystery of our existence. We can’t always rationalize why we fall in love. Magic is often inexplicable, just like dreams, just like the theatre, just like nature. As human beings we simply cannot explain it. We can only stare at it and marvel at the beauty of it all.

Our goal in building this production is to offer you an enchanted escape from the conflicts of our screwed-up world. Watch and listen for the contrasting music and distinctive portrayal of the differences between the humans and the fairies. This opera offers you an escape to the place where reason and irrationality blur and love and chaos ricochet. This is the place theater holds in our lives. We come here to escape, to play, to love and laugh, and “perchance to dream.”

To that end, our set reflects the structure of Shakespeare’s own Globe Theater, distorted into a maze reminiscent of Escher’s art. The Globe, the theatre where Shakespeare presented his plays, was a place where the text, the actors, the story, and the music could shine in its simplicity. We hope to justly augment that with our 21 st century technology to bring forward the glowing imagination of both the work of Shakespeare and Benjamin Britten. We hope you find respite and joy in our opera.

19 encoreatlanta.com |

Since his professional debut at the Teatro dell’Opera di Roma in 2019, Louis Lohraseb has quickly established himself as an exciting new conductor on the international stage, with subsequent debuts at the Semperoper Dresden, Los Angeles Opera, and Komische Oper Berlin. Following his mainstage debut conducting Tosca at Los Angeles Opera, Mr. Lohraseb was immediately re-engaged for Il Barbiere di Siviglia and La traviata. Elsewhere in 2023-24, he debuts at Staatsoper Hamburg (Le Nozze di Figaro) and with the Oakland and Peoria symphonies, and Wintergreen Music Festival. Recent seasons have included Semperoper Dresden (Carmen); Komische Oper Berlin (La traviata); Opera Sarasota (Thérèse); La Rondine and Don Giovanni at Indiana University Opera Theatre; and gala concerts with Yale Opera and Summer Opera Tel Aviv. An accomplished pianist, Mr. Lohraseb is a regular recital and chamber music partner collaborating with such artists as Erica Petrocelli, Liv Redpath, Charles Castronovo, Taylor Raven, Eric Silberger, Madalyn Parnas, and Cicely Parnas. He studied piano with Findlay Cockrell and Kevin Murphy, and harpsichord and theory with William Carragan. Mr. Lohraseb was a recipient of the prestigious Solti Foundation U.S. Career Assistance Award in 2022, and he includes among his mentors Lorin Maazel, James Conlon, Arthur Fagen, and Kevin Murphy. An alumnus of the Domingo-Colburn-Stein Young Artist Program at the Los Angeles Opera, he has served as assistant conductor to music director James Conlon for numerous productions since 2017 at the Los Angeles Opera and the Ravinia Festival with the Chicago Symphony Orchestra. Born to Iranian and Italian parents, Mr. Lohraseb was graduated summa cum laude from SUNY Geneseo, where he was an Edgar Fellow. He has been a Conducting Fellow at the Yale School of Music, where he studied with Shinik Hahm and served as assistant conductor to Peter Oundjian, John Adams, and Krzysztof Penderecki, among others; with additional post-graduate coursework at Indiana University Jacobs School of Music.

General and Artistic Director of The Atlanta Opera since 2013, Israeli born Tomer Zvulun is also one of opera’s most exciting stage directors, earning consistent praise for his creative vision, often described as cinematic and fresh. His work has been presented by prestigious opera houses around the world, including the Metropolitan Opera, the opera companies of Israel, Buenos Aires, Wexford, Glimmerglass, Houston, Washington National Opera, Seattle, Detroit, San Diego, Minnesota, Boston, Cleveland, Dallas, Cincinnati, Pittsburgh, New Orleans, and Wolf Trap, as well as leading educational institutes and universities such as The Juilliard School, Indiana University, Boston University, and IVAI in Tel Aviv. Since becoming General and Artistic Director in Atlanta a decade ago, he has increased the operations of the company from three to six productions per season, while stabilizing the financials. Some of his noted achievements include launching the successful Discoveries series, creating the first young artist program, tripling the company’s annual fundraising, creating a film studio, and building a theatre in a circus tent where performances were conducted safely during the pandemic. His work has attracted international attention by earning numerous awards and prizes including nomination of The Atlanta Opera for the International Opera Awards in London and the selection of his production Silent Night as both the Irish Times and The Atlanta Journal-Constitution’s production of the year. His focus on innovation led to an invitation to deliver a TED Talk as well as a case study being taught at Harvard Business School.

atlantaopera.org | @theatlantaopera 20

LOUIS LOHRASEB CONDUCTOR ATLANTA OPERA DEBUT

|

TOMER ZVULUN PRODUCTION DIRECTOR ATLANTA OPERA DEBUT THE FLYING DUTCHMAN, 2009

cast&creative

Bruno Baker is an accomplished American/Brazilian multidisciplinary stage director. Recent seasons credits include assistant directing and revival directing Roméo et Juliette at Houston Grand Opera; revival directing Fellow Travelers at Opera Columbus; assistant directing a new production of Die Zauberflöte at the Metropolitan Opera; and completing his second season in The Atlanta Opera Glynn Studio Artist program. As an assistant director, he has left his mark at prestigious institutions such as Houston Grand Opera, The Atlanta Opera, Boston Lyric Opera, Madison Opera, and he spent four summers on the staging staff at Santa Fe Opera. In early 2021, Mr. Baker produced and was associate director for a film adaptation of La bohème for Hong Kong-based More Than Musical. The film had its Japanese cinematic release in October 2023. He is a recipient of the 2021 OPERA America Robert L.B. Tobin Director Prize. With NYU, he has directed The Glass Menagerie, Thyestes, Strange Interlude. Previously, he has been on the staging staff with Park Avenue Armory, Guerilla Opera, Boston Conservatory at Berklee, and LoftOpera. Upcoming directing projects include Le nozze di Figaro at Opera Columbus. Beyond directing, Mr. Baker was a respected guest teaching artist at Pace University and a valued resident artist at the Attic Theater Company. Over the past eight years, he has contributed significantly to NM Studio, a NY production design firm, specializing in opera, theatre, film, and immersive production design, with a focus on enhancing audience experience and dramaturgy where he has worked on over 30 productions internationally. He is a proud member of both AGMA and SDC.

Steven C. Kemp is a set designer for opera, theatre, and events. Originally from Houston, Texas, he received his M.F.A. from U.C. San Diego. He has designed for more than 40 opera companies and over 50 productions in NYC as well as for a multitude of regional theatres, cruise ships and international tours. His design for Candide at Des Moines Metro Opera recently won Honorable Mention at the 2021 Golden Trezzini Awards for Architecture and Design. Off-Broadway his designs include the revivals of Ordinary Days; Tick, Tick…Boom!; John and Jen; and Marry Me a Little counted among 11 productions for Keen Company as well as designs for Second Stage Theater, The Duke on 42nd Street, York Theatre Company, Mint Theater Company, and The Playwright’s Realm. For Opera San Jose his 26 designs include the acclaimed production of Idomeneo presented by the Packard Humanities Institute as well as the West Coast Premieres of Anna Karenina, Silent Night, and the American premiere of Alma Deutscher’s Cinderella. His opera designs have been presented by more than 20 acclaimed opera companies in Los Angeles, New Orleans, Omaha, St. Louis, Pittsburgh, Chicago, and the Lyric Opera of Kansas City, Florida Grand Opera, and Utah Opera. His opera design for Falstaff was selected as a finalist in the World Stage Design 2017 exhibit in Taipei, Taiwan. His work was featured in the USA exhibit in the 2007 Prague Quadrennial and he was the 2008 USITT Rose Brand Scenic Design award winner. Steven has presented lectures at many universities and was the 2013 Live Design Broadway Master Class speaker for associate set design. He specializes in 3-D rendering, animation and previsualization.

23 encoreatlanta.com |

STEVEN C. KEMP SCENIC DESIGNER ATLANTA OPERA DEBUT CANDIDE, 2023 BRUNO BAKER STAGING DIRECTOR ATLANTA OPERA DEBUT THE BIG TENT SERIES, SPRING 2021

Nicholas Hussong is a designer for live (and now digital) performance and events. Creative Producer at Dwight Street Book Club. Broadway: Skeleton Crew (Tony Nomination). Off-Broadway: Skeleton Crew, These Paper Bullets (Atlantic, Drama Desk Nom); Wet Brain (Playwrights Horizons); On That Day in Amsterdam (Primary Stages, Drama Desk Nom); White Guy on the Bus (59E59); Chick 6 (LaMama); Until the Flood (Rattlestick). Other credits include: The Wizard of Oz (Geva); Rent (Paper Mill Playhouse); Vietgone (The Guthrie); To the Yellow House (Lajolla); Kleptocracy (Arena); Until the Flood (15 regional and international locations); Haint Blu, Hair & Other Stories (Urban Bush Women); Woman’s Party (Clubbed Thumb); Grounded (Alley); Arden Theater, Playmakers Rep, Berkshires Theatre Group Other work includes: The Atlanta Opera, Virginia Museum of Art, David Zwirner Gallery, Marc Jacobs, Mass MoCA, Complex Magazine, AMC+, San Diego Shell, San Diego Symphony, Nashville Symphony, Hartford Symphony, Tony Awards (CBS), Ask Ronna Podcast. He also designed in England, Scotland, Ireland, Germany, China, Canada, and Vienna. Co-Creator of FEAST, an immersive dining experience with Listen&Breathe (Nantucket, Ireland). Adjunct Lecturer NYU Tisch. Yale M.F.A. UAW and USA829. www.nickhussong.com

REGIONAL - The Atlanta Opera: The Threepenny Opera, Cabaret, As One; The Glimmerglass Festival: The Cunning Little Vixen, La bohéme, Ariadne in Naxos, Odyssey, The Jungle Book, Trouble in Tahiti; Chicago Opera Theatre: The Nose; Opera Southwest: Lohengrin; New Orleans Opera: Hansel and Gretel. Opera San Antonio: Hansel and Gretel; Fingerlakes Opera: The Elixir of Love; The Center for Puppetry Arts: Stellaluna, Ruth and the Green Book WASHINGTON D.C. - Washington National Opera: The Lion, The Unicorn, and Me; Signature Theatre: Ragtime, Rent, Blackbeard. Wolf Trap Opera: The Touchstone; The Kennedy Center: The Mortification of Fovea Munson, Acoustic Rooster, Goldilocks and the Three Dinosaurs; Constellation Theatre: Master and Margarita, The Wild Party, Equus; Synetic Theater: The Tell-Tale Heart, The Phantom of the Opera, Titus Andronicus, Sleepy Hollow, The Hunchback of Notre Dame. AWARDS—one Helen Hayes, two Suzy Bass Awards. www.erikteaguedesign.com

atlantaopera.org | @theatlantaopera 24 | cast&creative

NICHOLAS HUSSONG PROJECTIONS DESIGNER ATLANTA OPERA DEBUT CABARET, 2022 ERIK TEAGUE COSTUME DESIGNER ATLANTA OPERA DEBUT THE BIG TENT SERIES, SPRING 2021

Thomas C. Hase is an internationally recognized lighting designer who is known for dynamic designs in opera, new theatrical productions and avant-garde dance. His design for the Tony-Award winning revival of Company on Broadway received critical acclaim. His work has been described as “superb” by The New York Times. Hase’s designs have been featured at many of the major opera companies in the United States, Europe, Canada, South America, and Asia. As resident lighting designer for Stadttheater Giessen in Germany, Has produced more than 100 designs for theater, opera, and ballet. His work can be seen in several productions recorded for broadcast and distribution. Recordings of Company on Broadway and The Rise and Fall of the City of Mahagonny at LA Opera have been released on DVD. Concurrent with his many freelance projects, Hase is the resident lighting designer and director for the Cincinnati Opera Summer Festival.

Melanie Steele is proud to be joining The Atlanta Opera once again for this production. Previously she designed wigs and makeup for our productions of The Shining, Rigoletto, and Candide. In addition to her work with The Atlanta Opera, she designs wigs and makeup at companies around the country. Her next design can be seen at Austin Opera’s production of Cruzar De La Luna Ms. Steele fell in love with this job interning at Santa Fe Opera and has been designing around the country ever since. In addition to her designs in opera, Melanie’s work can be seen in film, television, Broadway musicals, and print. She thanks her amazing crew here in Atlanta for all of their beautiful work!

Sean Nguyen-Hilton danced professionally for nearly 20 years and worked in higher education for almost five years. He has been on the faculty of The Northwest Florida Ballet, Ballet Tennessee, The Lou Conte Dance Studio, River North Dance Chicago, Thodos Dance Chicago, Atlanta Ballet Center for Dance Education, Kennesaw State University, and Immerse ATL. He is a co-founder and team member of Fly On A Wall, an artist platform that presents and supports the creative process and performance. Nguyen-Hilton invests in care, awareness, sensation, and love, all of which he practices through the lens of queer stamina, movement, and evolution.

encoreatlanta.com | 25

MELANIE STEELE WIG & MAKEUP DESIGNER ATLANTA OPERA DEBUT THE GOLDEN TICKET, 2011 SEAN NGUYEN-HILTON CHOREOGRAPHER ATLANTA OPERA DEBUT THOMAS HASE LIGHTING DESIGNER ATLANTA OPERA DEBUT ROMEO AND JULIET, 2016

ATLANTA OPERA DEBUT LA TRAVIATA, 2013

Maestro Rolando Salazar has a truly expansive operatic and symphonic repertoire, including over forty productions with The Atlanta Opera as conductor, assistant conductor, and chorusmaster. He recently made his Opera Columbus debut in 2023 conducting Astor Piazzolla’s Maria de Buenos Aires, which he also assisted with at The Atlanta Opera. Conducting credits with The Atlanta Opera include Pagliacci, The Barber of Seville (MainStage debut), Kurt Weill’s The Seven Deadly Sins, and student matinees of La bohème and Don Pasquale. Maestro Salazar has also been featured as pianist in Love Letters to Atlanta, performing alongside singers Morris Robinson, Jamie Barton, Ryan McKinny, and Kevin Burdette. Recent conducting credits include Die Zauberflöte with Atlanta’s Harrower Summer Opera, Ned Rorem’s Our Town with Georgia State University School of Music, Handel’s Messiah with the Atlanta Concert Opera, Le Nozze di Figaro with Red River Lyric Opera, Tosca with Permian Basin Opera, and other guest conducting engagements with the Georgia State University Symphony Orchestra, The Atlanta Ballet, Rome Symphony Orchestra, Johns Creek Symphony Orchestra, as well as collaborations with Opera Louisiane, Madison Opera, and the Atlanta Symphony Orchestra. Rolando has served as Associate Conductor and Chorusmaster for The Atlanta Opera, where he has studied and worked alongside his mentors Arthur Fagen and Walter Huff, in addition to a long and distinguished list of conductors and directors. He keeps an active coaching and collaborative piano schedule in Atlanta, preparing numerous singers for major engagements with orchestras and opera houses worldwide. Rolando is represented by Marvel Arts Management.

Heralded as the “… embodiment of classical clarity” (Minnesota Star Tribune), Aaron Breid is rapidly garnering acclaim as an operatic and symphonic conductor. He is distinguished as a sought-after guest conductor and an integral collaborator. Highlights among recent guest conductor engagements include Virginia Symphony Orchestra, Mid-Atlantic Symphony Orchestra, Omaha Symphony, Minnesota Opera, Miami Music Festival, and Orchestra Seattle. The 2023-24 season will see Breid’s Kennedy Center debut with Washington National Opera; he will conduct Hänsel und Gretel at Miami Music Festival, and join San Francisco Opera, Los Angeles Opera, and Spoleto Festival USA collaborating on productions of The (R)evolution of Steve Jobs, Il barbiere di Siviglia, and Vanessa. Breid has stepped in to conduct more than a dozen performances of Turandot, Carmen, Il trovatore, Gianni Schicchi, Suor Angelica, Il barbiere di Siviglia, Così fan tutte, and The Ballad of Baby Doe with Minnesota Opera, Central City Opera, Opera Santa Barbara, Opera Omaha, and Virginia Opera. Known for his contributions to the German and French grand repertoire, recent performances include Tannhäuser (Los Angeles Opera), Elektra (Washington National Opera, Des Moines Metro Opera), Samson et Dalila (Washington National Opera, North Carolina Opera), Wozzeck (Des Moines Metro Opera), Faust (Washington National Opera), Arabella (Minnesota Opera), Der Freischütz (Virginia Opera), Cendrillon (Miami Music Festival), and Siegfried Act III in concert (North Carolina Opera). Past seasons have seen Breid collaborate on productions with San Francisco Opera’s Merola Opera Program, St. Paul Chamber Orchestra, The Atlanta Opera, Sarasota Opera, and Palm Beach Opera.

atlantaopera.org | @theatlantaopera 26 | cast&creative

ROLANDO SALAZAR CHORUSMASTER AARON BREID ASSISTANT CONDUCTOR ATLANTA OPERA DEBUT THE (R)EVOLUTION OF STEVE JOBS, 2022

ATLANTA OPERA DEBUT, EUGENE ONEGIN, 2019

Megan Marino is genre-adventurous and driven by a deep-rooted need to communicate, mixed with pure moxie whether she’s on stage, screen, under a big tent, performing standard fare repertoire, a forgotten gem or work in progress. She’s a true believer that a good song is a good song, regardless of its genre or origin. In the 2023-24 season, Marino returned to Opera Delaware and Opera Baltimore to debut as Maddalena (Rigoletto). Her role as Puck in this production qualifies as a “bucket list” entry for Marino. She makes her mainstage debut with the Houston Grand Opera as Elsa Schraeder (The Sound of Music), premieres Jake Heggie and Gene Scheer’s Before It All Goes Dark with Music of Remembrance and returns to Santa Fe Opera as Annina (Der Rosenkavalier). Marino’s eclectic 2022-23 season included returns to the Metropolitan Opera as Flora (La traviata) and Second Lady (The Magic Flute) and to Santa Fe Opera as Meg Page in Falstaff. She joined the Artist faculty of the Taos Opera Institute and lead a second season as Executive Director of the Creede Musical Arts Collective. She recently made her directorial and company debut with Shreveport Opera on The Barber of Seville, an opera that launched her career as a sought-after interpreter of Rosina. “It’s You I Like,” an album of classically anchored children’s music, with pianist John Arida, was released in the spring of 2023.

Iestyn Davies, countertenor, studied at the Royal Academy of Music, London after reading Archaeology and Anthropology at St John’s College, Cambridge. An esteemed Handelian, he has delighted audiences globally with his vocal agility and supreme musicianship in roles such as Bertarido, Orlando, Rinaldo, Ottone Agrippina, and David Saul. Committed also to contemporary music, his intelligent and considered interpretations have led to fruitful collaborations with Thomas Adés, George Benjamin and Nico Muhly. On the opera stage, he has appeared at the Metropolitan Opera; the Lyric Opera of Chicago; Teatro alla Scala Milan; the Royal Opera House, Covent Garden; English National Opera; Glyndebourne Festival Opera; Welsh National Opera; Teatro Real Madrid; Salzburg Festival; and in Munich, Vienna, and Zurich. Recent appearances include Arsace Partenope in Madrid, Ottone Agrippina in Hamburg and Munich, Bertarido Rodelinda for the Metropolitan Opera, and Ottone L’incoronazione di Poppea in Versailles. In the 2023-24 season, opera highlights include Tolomeo (Giulio Cesare) at Opéra National de Paris and Oberon (A Midsummer Night’s Dream) at Garsington Opera. In concert he joined Les Violons du Roy for Bach’s Christmas Oratorio, Finnish Radio Symphony Orchestra for George Benjamin’s Written on Skin conducted by Benjamin, the English Concert for Bertarido (Rodelinda) on tour to the United States and Asia, and the Australian Chamber Orchestra for a solo Bach program on tour in Australia. An outstanding recitalist, he has performed in Vienna, Tokyo, Paris, and New York in repertoire ranging from Dowland to Clapton. He is a regular favorite at London’s Wigmore Hall and Kings Place where he has curated residencies. His recital discs have won three Gramophone Awards, and he performed on the Grammy-winning recording of Thomas Adès’ The Tempest. He is the recipient of a Royal Philharmonic Society Award and was nominated for an Olivier Award for his singing role in Farinelli and the King opposite Mark Rylance (premiered at London’s Sam Wanamaker Playhouse and transferring to the West End and Broadway). In 2017 he was awarded an MBE by the Queen for his services to music.

27 encoreatlanta.com |

IESTYN DAVIES OBERON ATLANTA OPERA DEBUT MEG MARINO PUCK

Liv Redpath, soprano, will make debuts during the 202324 season at the Royal Opera House Covent Garden in the title role of Lucia di Lammermoor; Berliner Philharmoniker in Schoenberg’s Die Jakobsleiter under the baton of Kirill Petrenko; the Metropolitan Opera singing Oscar in Un Ballo in Maschera led by Carlo Rizzi and Pamina in Julie Taymor’s production of The Magic Flute; Auditorio Nacional De Musica (Madrid) and Palau de la Música (Barcelona) in Monteverdi’s L’incoronazione di Poppea with The English Concert led by Harry Bicket; Orchestre Philharmonique de Radio France to sing Barber’s Knoxville: Summer of 1915 conducted by Barbara Hannigan; and Wigmore Hall for a recital with pianist Harry Rylance. Redpath returns to The Santa Fe Opera to sing Zerlina (Don Giovanni) directed by Stephen Barlow and Sophie (Der Rosenkavalier) under the baton of Karina Canellakis; The Cleveland Orchestra for Mahler’s Symphony No. 4, and a Betsy Jolas world premiere with Daniel Harding on the podium; and Carnegie Hall for Bach’s Christmas Oratorio with Orchestra of St. Luke’s and Bernard Labadie. Recent engagements have included projects with the Bayerische Staatsoper, Los Angeles Philharmonic, Glyndebourne Festival, Komische Oper Berlin, Deutsche Oper Berlin, Bregenzer Festspiele, Seattle Symphony, Festival d’Aixen-Provence, and La Monnaie/De Munt. Ms. Redpath has collaborated with conductors Gustavo Dudamel, Yannick Nézet-Séguin, Fabio Luisi, Vasily Petrenko, Vladimir Jurowski, James Gaffigan, Andrés Orozco-Estrada, Alain Altinoglu, Alan Gilbert, William Christie, Emmanuel Villaume, Marie Jacquot, Dalia Stasevska, Thomas Hengelbrock, and Christophe Rousset. She appears on the Chandos label recording of Thaïs, with the Toronto Symphony Orchestra conducted by Sir Andrew Davis, which won a 2021 Juno Award for Classical Album of the Year. Ms. Redpath is a graduate of Harvard University and The Juilliard School.

LYSANDER

Kameron Lopreore, tenor, returns to The Atlanta Opera as a Glynn Studio artist for the 2023-24 season. He opened the year performing in The Shining (Bill Watson/Lloyd the Bartender), as the Tenor Soloist in Shapiro’s Frankenstein: The Movie Opera, and in the company’s production of Verdi’s Rigoletto (Mattea Borsa). He has appeared with the Santa Fe Opera’s prestigious young artist program. Additionally, he sang The Magic Flute (Tamino) and in the world premiere of Songbird (Panatellas) at The Glimmerglass Festival. He performed in Bizet’s Carmen (Le Remendado) and in Donizetti’s L’elisir d’amore (Nemorino) with Pensacola Opera. In November of 2019, Lopreore travelled with The Glimmerglass Festival to perform the role of the Marquis in the culmination of Corigliano’s The Ghosts of Versailles at the Château de Versailles in France. He is a prominently-featured artist with the Louisiana Philharmonic Orchestra where he regularly performs major works such as Handel’s Messiah, Bach’s Christmas and Easter Oratorios, and Rossini’s Stabat Mater. He has enjoyed a two-year resident artist position with Shreveport Opera where he performed roles such as Tamino in Mozart’s The Magic Flute, Ferrando in Mozart’s Così fan tutte, and Motel the tailor in Fiddler on the Roof. He holds both Bachelor’s and Master’s degrees in voice from Loyola University New Orleans and he is the recipient of the first Italian American Scholarship Award as well as two Metropolitan Opera National Council district winner awards. In the summer of 2017, he performed in Chautauqua Opera’s studio artist program. Recent performances have included Offenbach’s The Tales of Hoffman (E.T.A. Hoffman), Gounod’s Roméo et Juliette (Romeo), Puccini’s Gianni Schicchi (Rinuccio), and in the title role of Bernstein’s Candide

atlantaopera.org | @theatlantaopera 28 | cast&creative

LIV REDPATH TYTANIA ATLANTA OPERA DEBUT KAMERON LOPREORE GLYNN STUDIO ARTIST ATLANTA OPERA DEBUT THE SHINING, 2023

Melody Wilson, mezzo-soprano, has quickly made a name for herself in the U.S. and Europe with her warm, richly timbred voice. In 2023-24, she makes important debuts at Carnegie Hall with Mozart’s Requiem as well as with the Lyric Opera of Chicago as Mary (The Flying Dutchman). She also performs Rossweisse in Die Walküre in an opera-in-concert version with Dallas Symphony and Sanctuary Road at the Bach Festival in Orlando. Last season, she returned to Seattle Opera for Fricka (Das Rheingold). She also performed a staged version of Sanctuary Road at the Penn Square Music Festival and Fenena (Nabucco) with Washington Concert Opera. Concert appearances included the world premiere of Bodies On the Line by Martin Rokeach with the Oakland Symphony and Ludwig van Beethoven’s Symphony No. 9 with the Brooklyn Chamber Orchestra. In 2022, she appeared with San Francisco Symphony in Johannes Brahms’ Alto-Rhapsody, with Dallas Symphony under Maestro Fabio Luisi as Olga in Eugene Onegin, with Oakland Symphony in a recital, with Baltimore Concert Opera as Principessa di Bouillon (Adriana Lecouvreur), with the Princeton Festival as Mrs. Herring, and with Union Avenue Opera as Meg Page (Falstaff). Previous engagement highlights include her company debuts with Seattle Opera (Olga), Indianapolis Opera (Suzuki), and Cincinnati Opera (Mercédès) as well as with State Opera Budapest (Maddalena), Wiener Festwochen (Flowermaiden) and the Berliner Festspiele (Flowermaiden).

Luke Sutliff, baritone, is a current member of the Houston Grand Opera Studio. This season at HGO, Sutliff will sing the role of Harvey in Dame Ethel Smyth’s The Wreckers, Brühlmann (as well as cover Albert) in Werther, Sciarrone (Tosca), and A Cappadocian (Salome). He made his house debut as El Dancaïro in Rob Ashford’s production of Carmen and later performed the roles of Thierry and M. Javelinot (Dialogues of the Carmelites) and Mercutio (Roméo et Juliette). Past summers at The Santa Fe Opera, Sutliff performed the role of El Dancaïro (Carmen) and Demetrius in Britten’s A Midsummer Night’s Dream. He also covered the role of Jon Seward in John Corigliano and Mark Adamo’s world premiere of The Lord of Cries. The Denver native graduated from The Shepherd School of Music at Rice University with his Master of Music in the studio of Stephen King and received his Bachelor of Music from The Juilliard School under the tutelage of the late Sanford Sylvan. In 2022 he was a recipient of the Sara Tucker Study Grant from the Richard Tucker Foundation and the first-place winner from the seventh annual Saengerbund Awards. In 2021 he was a finalist in the 33rd annual Eleanor McCollum Competition at Houston Grand Opera, as well as a district winner in the Metropolitan Opera National Council Auditions.

29 encoreatlanta.com |

MELODY WILSON HERMIA ATLANTA OPERA DEBUT LUKE SUTLIFF DEMETRIUS ATLANTA OPERA DEBUT

SUSANNE BURGESS

HELENA

ATLANTA OPERA DEBUT THE THREEPENNY OPERA, 2021

Susanne Burgess, British-American soprano described as “a unique combination of precision and wonder” (Opera Wire) with “lyric splendor, and a rich, even legato” (Parterre Box), returned to the Metropolitan Opera as Frasquita (Carmen) and performed at the Larson Performing Arts Center as Musetta (La bohème). She made her Metropolitan Opera debut as Countess Ceprano (Rigoletto), also joining the company in Cherubini’s Medea. Susanne spent the summer of 2022 at Des Moines Metro Opera to debut the role of Helena in Britten’s A Midsummer Night’s Dream. She returns to the Metropolitan Opera this season for Carrie Cracknell’s new production of Carmen. She began the 2021-22 season performing the leading role of Mabel in Gilbert and Sullivan’s classic The Pirates of Penzance at The Atlanta Opera. Shortly thereafter, Burgess made a role debut as Gilda (Rigoletto) with La bohème Opera NJ. An accomplished performer on the competition circuit this year, Burgess was awarded first prize at the National Opera Association’s Argento Competition, second prize at Opera Mississippi’s John Alexander Competition, and Winner of the Georgia district in both 2021 and 2022 Metropolitan Opera National Council Auditions. In the 2020-21 season, Burgess joined The Atlanta Opera for the Big Tent series singing Lucy Brown (The Threepenny Opera). Earlier in 2020, she performed the role of Violetta Valéry (La traviata), starring in eight performances of the USA Tour with Teatro Lirico d’Europa. No stranger to concert and oratorio performances, Burgess has performed at Carnegie Hall in roles from Gabriel Faure’s Requiem, John Trotta’s The Seven Last Words of Christ, and Jubilate Deo and Requiem for the Living by Dan Forest.

Andrew Potter, bass, has garnered increasing demand across the country for his larger-than-life stage presence and voice to match. This season is set to establish Potter as one of the premier basses in the opera world today, with major house débuts at Dallas Opera as Angelotti (Tosca), Detroit Opera as Harašta (The Cunning Little Vixen), and the Santa Fe Opera for both Der Rosenkavalier and the world premiere of The Righteous, in which he covers Greer Grimsley’s lead role of Paul. Additionally, Potter returns to Opera Santa Barbara as Ferrando (Il trovatore) and Vero Beach Opera as Il Commendatore (Don Giovanni). He also joins the Fort Worth Symphony as Hunding in Act I of Die Walküre and Pacific Symphony as Colline (La bohème). Last season included several important house debuts: joining Seattle Opera as Abimelech (Samson et Dalila) and in their world premiere of A Thousand Splendid Suns, as well as Portland Opera as Vodnik (Rusalka). Additionally, Potter joined Livermore Valley Opera as Belcore (L’elisir d’amore), performed Scarpia in Indianapolis Opera’s Tosca, Don Pizarro (Fidelio) with Mid-Ohio Civic Opera, returned to Opera Grand Rapids as The Pirate King (The Pirates of Penzance) and to Pacific Opera Project as Don Basilio (Il barbiere di Siviglia) as well as for their unique take on Mozart’s Die Zauberflöte: Superflute Other recent engagements for Andrew include Simone (Gianni Schicchi) for Tulsa Opera, Sarastro (The Magic Flute) for Eugene Opera, Sparafucile (Rigoletto) for Opera Orlando, Commendatore (Don Giovanni) with Indianapolis Opera, and René (Iolanta) with Pacific Opera Project. Concert engagements include W.A. Mozart’s Mass in C Major for Mid-Ohio Civic Opera, and Giuseppi Verdi’s Requiem for Michigan State University.

atlantaopera.org | @theatlantaopera 30 | cast&creative

ANDREW POTTER QUINCE ATLANTA OPERA DEBUT

DISCOVER THE SPIVEY DIFFERENCE Tickets on Sale Now SPIVEYHALL.ORG

Malofeev,

Sunday, March 17

Alexander

piano

Ax,

Sunday, April 14 Our audience is your audience. Advertise with Encore and reach a targeted group of performing arts lovers. CONTACT: Hila Johnson (305) 978-2922 hila@encorecharlotte.com

Emanuel piano

ATLANTA OPERA DEBUT RIGOLETTO, 2023

Jason Zacher, bass-baritone, is a native of New Jersey and is quickly gaining attention on a national level as a rising new talent and versatile performer. This season, Zacher was selected as a Glynn Studio Artist at The Atlanta Opera. For the 2022-23 season, Zacher joined the acclaimed Barbara and Halsey Sandford Studio Artist Program at Kentucky Opera. While in Kentucky, Zacher was featured in roles such as Colline (La bohème), Alidoro (La Cenerentola), and Henry (The Gift of the Magi). In the summer of 2023, he joined The Glimmerglass Festival where he covered the roles of Pangloss/Voltaire in Candide, as well as Argante in Rinaldo. In the summer of 2022, Zacher returned to Des Moines Metro Opera, singing the role of Jimmy in the Midwest premiere of American Apollo (Geter/Palmer), as well as covering Bottom and Theseus in Britten’s A Midsummer Night’s Dream. Zacher was recently named a NY District Winner for the Metropolitan Opera Laffont Competition. In addition, he has earned top accolades from the Jensen Foundation, Annapolis Opera, James Toland Vocal Arts, Rochester Oratorio Society, Opera Birmingham, National Opera Association, among others. Equally at home on the concert stage, Zacher has performed as the bass soloist in Mozart’s Requiem alongside The Masterwork Chorus. Other notable credits include bass soloist in Handel’s Messiah, Bach’s Hercules at the Crossroads (BWV213), Mendelssohn’s St. Paul, Mozart’s Coronation Mass, Britten’s Rejoice in the Lamb, and Ralph Vaughan Williams’ Songs of Travel. Zacher currently holds degrees from both the University of Houston (M.M. Vocal Performance) and Montclair State University (B.M. Music Education).

With his “imposing bass-baritone” (Opera Today) and “perfect timing” (Washington Classical Review), Nashville native Andrew Gilstrap is quickly establishing himself as a versatile artist known for his musical sophistication and stage presence. He is an alumnus of the respective apprentice programs of the Bayerische Staatsoper, Des Moines Metro Opera, Minnesota Opera, and Wolf Trap Opera. Career highlights include the roles of Leporello in Don Giovanni with Wolf Trap Opera, Antonio in Le nozze di Figaro and Il padre di Nencio in L’infedeltà delusa with the Bayerische Staatsoper, Basilio in Il barbiere di Siviglia and Immigration Officer in Flight with Minnesota Opera, and Sourin in Pique Dame with Des Moines Metro Opera. This season, he performed the roles of Horace Derwent in The Shining and Masetto in Don Giovanni with The Atlanta Opera. He also made multiple concert debuts this season, namely in Frankenstein with The Atlanta Opera, Messiah with the Chattanooga Symphony and Opera, and will perform Brahms’ Ein deutsches Requiem with the Georgia Tech Symphony Orchestra. He made his house and role debuts with Arizona Opera’s Il barbiere di Siviglia as Fiorello. Gilstrap holds degrees from the University of Houston’s Moores School of Music, where he studied with Timothy Jones. He graduated with a Bachelor of Music in 2016 and a Master of Music in 2018.

atlantaopera.org | @theatlantaopera 32 | cast&creative

JASON ZACHER GLYNN STUDIO ARTIST SNUG ANDREW GILSTRAP STARVELING ATLANTA OPERA DEBUT MADAMA BUTTERFLY, 2022

BRIAN FRUTIGER FLUTE

BARRY BANKS FLUTE

ATLANTA OPERA DEBUT SALOME, 2020

ATLANTA OPERA DEBUT

Brian Frutiger, tenor, has appeared as an actor and singer across the United States in over 100 roles in opera, operetta, music theater and theater for more than 25 years. Since 2008 he has regularly returned to the Metropolitan Opera where he has appeared in such roles as Poisson (Adriana Lecouvreur), Scaramuccio (Ariadne auf Naxos), Benvolio (Romeo et Juliette), and several roles as a part of the Ensemble of William Kentridge’s critically acclaimed production of Shostakovich’s The Nose. In addition to his roles at the Metropolitan Opera, Frutiger has sung many of the great character and spieltenor roles at opera houses across the United States. The 2019-20 season saw company debuts with Dallas Opera (Monostatos), The Atlanta Opera (2nd Jew), and Fort Worth Opera (Frosch). Other career highlights include El Remendado (Carmen) at San Francisco Opera; Guillot de Morfontaine in the EMMY award winning production of Manon at DMMO; Goro (Madama Butterfly) at Sarasota Opera, Opera Memphis and Opera Coeur d’Alene; Tanzmeister (Ariadne auf Naxos) at Sarasota Opera; Bardolfo (Falstaff) at Opera Omaha; Pang (Turandot) at DMMO, Connecticut Opera, Sacramento Opera, and Wichita Grand Opera; Abolitionist Tappan (Amistad) at Spoleto Festival USA; Don Basilio and Don Curzio (Le Nozze di Figaro) with Wichita Grand Opera; and Major General Stanley (The Pirates of Penzance) at Wichita Grand Opera. A classically trained actor and at home on the concert stage, Frutiger has appeared with San Francisco Symphony, Fresno Philharmonic, Oratorio Society of Minnesota, St. Olaf College, and others, as soloist.

In a prestigious career built on impeccable technique and innate musicality, Grammy nominated tenor Barry Banks’ early career in a core repertoire of bel canto and classical roles took him to the major stages of the world including appearances as Don Narciso (Il turco in Italia) and the title role in Mitridate, re di Ponto at the Bayerische Staatsoper, Ernesto (Don Pasquale) at the Royal Opera House, Covent Garden, Count Almaviva (Il barbiere di Siviglia) at Staatsoper Unter den Linden, Idreno (Semiramide) at the Teatro di San Carlo in Naples, Arnold (Guillaume Tell) at Welsh National Opera, Tamino (Die Zauberflöte) at the Salzburg Festival, and the title role of Candide in his US stage debut at Chicago Lyric Opera. In a relationship with the Metropolitan Opera spanning more than 25 years, key roles have included Nemorino (L’elisir d’amore), Ramiro (La Cenerentola), Tonio (La fille du régiment), Elvino (La sonnambula), Lindoro (L’italiana in Algeri), and Italian Tenor (Der Rosenkavalier). Banks’ triumphant return to the Metropolitan Opera in the 2021-22 season as Hades in Matt Aucoin’s acclaimed new opera Eurydice, earned him the highest of praise from audiences and critics alike, the Washington Post writing “His tenor is white-hot, piercing through the orchestra, threatening to burst into flames as Hades.” Further paving the way into a new territory of repertoire, other recent appearances include a return to Los Angeles Opera in Rhiannon Giddens and Michael Abel’s new opera Omar conducted by Kazem Abdullah, and his role debut as Mime in Das Rheingold for Dallas Opera under the baton of Emmanuel Villaume. Barry Banks joins the Peabody Conservatory as adjunct professor of vocal studies for the 2023-24 academic year.

ATLANTA OPERA DEBUT

Described by Opera News as a “standout,” Wayd Odle is a tenor whose voice has been described as “ingratiatingly smooth” (bachtrack.com) and “fierce” (KC Independent). He has performed roles such as Don Jose, Rodolfo, and Nemorino with various companies throughout the United States. In the 2023-24 season, he will perform with Opera Mississippi (The Magic Flute) and return to Santa Fe Opera as a second year Apprentice Artist (Der Rosenkavalier). Odle recently recorded the role of Delbert Grady (The Shining) for the world premiere cast recording under the baton of Gerard Schwarz. This lyric tenor has been a last-minute step-in as Don Jose on two different occasions with Varna international and for Lyric Opera of Kansas City. He also was a featured soloist with The National Symphony Orchestra, Knoxville Symphony Orchestra, and Utah Philharmonic Orchestra, and is an alumnus of Wolf Trap Opera. Odle’s 2022-23 season was spent with Santa Fe Opera as an Apprentice Artist and with Lyric Opera of Kansas City. He performed Remendado and covered Don José (Carmen) and Gastone and covered Alfred (La traviata). He’s performed King Kaspar (Amahl and the Night Visitors), as well as Spoletta (Tosca), as Beadle Bamford (Sweeney Todd), and with Knoxville Opera as a Resident Artist, including Don José in their Carmen on the Lawn, a featured soloist in their PBS special Knox Opera for All! and many outreach performances. He is a winner of the John Alexander National Vocal competition and Audience Choice Award. He won the 2021 American Prize award and earned accolades from the Metropolitan Opera Laffont competition, Houston Saengerbund awards and Orpheus Competition. Odle holds a Bachelor of Music from Brigham Young University and his Master of Music from University Tennessee Knoxville.

33 encoreatlanta.com |

WAYD ODLE SNOUT

33 encoreatlanta.com |

ATLANTA OPERA DEBUT WAYD ODLE SNOUT

KEVIN BURDETTE BOTTOM

ATLANTA OPERA DEBUT THE PIRATES OF PENZANCE, 2016

An alumnus of the Juilliard Opera Theater and the University of Tennessee, Kevin Burdette is a former member of the Opéra National de Paris Young Artists’ Program and San Francisco’s Merola Opera Program. He was featured as Stefano in Adès’ The Tempest with the Metropolitan Opera, the DVD of which, on Deutsche Grammophon, was awarded the Grammy Award for “Best Opera Recording” and a French Diapason d’Or. An exciting 2022-23 season began with Kevin’s debut at Milan’s Teatro alla Scala, reprising the role of Adès’ Stefano. Elsewhere in the season, he debuted as Sondheim’s Sweeney Todd with both Austin Opera and the Chautauqua Opera Company, and returned to The Atlanta Opera as Voltaire/Pangloss in Bernstein’s Candide. During the 2021-22 season, Burdette made returns to the Metropolitan Opera as the Police Officer in Boris Godunov, to Seattle Opera as Bartolo in Le nozze di Figaro, and Santa Fe Opera for Bartolo in Il barbiere di Siviglia, and Manuel Toulon/The Judge in the world premiere of M. Butterfly. Recent operatic engagements include Candide with Barcelona’s Gran Teatre del Liceu (Pangloss/Martin/Cacambo) and Santa Fe Opera (Voltaire/Pangloss/Martin/Cacambo); a return to The Metropolitan Opera as Señor Russell in Adès’s The Exterminating Angel and Spinelloccio in Gianni Schicchi, further engagements with Santa Fe Opera for Quince in Britten’s A Midsummer Night’s Dream and Sulpice in La fille du régiment; Beck Weathers in the world premiere of Everest at The Dallas Opera; and his role debut as Claggart in Britten’s Billy Budd with Central City Opera.

Bass-baritone Cory McGee opened his 2022-23 season performing the role of Caspar in Weber’s Der Freischützwith Wolf Trap Opera and Dottore Grenvil in Verdi’s La traviata with Houston Grand Opera. This season, he will portray the roles of Johann in Massenet’s Werther, Fifth Jew in Strauss’ Salome, and Jailer in Puccini’s Tosca all with Houston Grand Opera. Cory made his debuts as Colline (La bohème with Detroit Opera) and Basilio (Il barbiere di Siviglia with Opera on the James). He was also seen as Theseus in Britten’s A Midsummer Night’s Dream with the Santa Fe Opera. While part of the HGO Studio, Mr. McGee performed in The Houston Grand Opera’s Studio Showcase and Rienzi Recital Series, producing a full recording of Schubert’s Schwanengesang. He was also seen in Lawrence Brownlee’s Giving Voice concert and The Snowy Day documentary, both with Houston Grand Opera. Recently, McGee was a finalist in both the Pasadena Vocal Competition and the Houston Grand Opera’s 32nd annual Eleanor McCollum Competition. Mr. McGee joined Santa Fe Opera as an Apprentice Artist for the 2019 season, portraying the role of the Gardener (The Thirteenth Child). In 2018, he was seen with Wolf Trap Opera as a Studio Artist, performing the role of La Voce (Idomeneo), and Ranger Nat (Listen with Wilhelmina!). Cory was also seen as a soloist in Bernstein at 100: A Celebration, at Wolf Trap’s Filene Center.

atlantaopera.org | @theatlantaopera 34 | cast&creative

CORY MCGEE THESEUS ATLANTA OPERA DEBUT

Rehanna Thelwell, mezzo-soprano, is quickly becoming known for her magnetic performances and expressive vocal power in a wide variety of repertoire. She recently made her mainstage debut at San Francisco Opera performing in the premiere of Rhiannan Gidden’s Omar She appears later this season as Forester’s Wife (The Cunning Little Vixen) with Detroit Opera. She sang the title role of Carmen at Washington National Opera onstage at The Kennedy Center with performances hailed as “stupendous” by Parterrebox.com. A recent graduate of the Washington National Opera Cafritz Young Artist program, Thelwell’s busy 2022-23 season included her debut at Dutch National Opera as Girlfriend/Congregant 3 in Jeanine Tesori’s Blue, roles which she reprised later in the season at Washington National Opera. She also made her role debuts as Dinah/Anna I in Madison Opera’s doublebill of Trouble in Tahiti and The Seven Deadly Sins, returned to South Florida Symphony for Bruckner’s Te Deum, joined Bangor Symphony for Beethoven’s Symphony No. 9, debuts with The Washington Chorus for Undine Smith Moore’s Scenes from the Life of a Martyr and the Duruflé Requiem, and reprises Scenes from the Life of a Martyr with Exigence Ensemble (Detroit, MI). She also appeared with Lyric Opera of Chicago as Ruby/Sinner Woman in Fire Shut Up in My Bones, a role she premiered with Opera Theatre St. Louis in 2019, for which Opera News praised her as a “standout” among the supporting cast. Thelwell began her studies in 2009 at Northern Arizona University under the instruction of Deborah Raymond. In 2014, she was accepted into the graduate program at the University of Michigan and in 2016 returned for her specialist degree.

35 encoreatlanta.com |

REHANNA THELWELL HIPPOLYTA ATLANTA OPERA DEBUT

ATLANTA

OPERA DEBUT LA TRAVIATA, 2019

Raised in Jonesborough, Tennessee, Gwynn Root Wolford received her dance training at Johnson City Ballet/ CYB in East Tennessee, CPYB in Carlisle, PA, and various intensives. She studied privately under Pat Holden, Christina Fagundes Turner, Marvin Askew, and others. She has danced professionally with the Louisville Ballet, Columbia Classical Ballet, the Atlanta Ballet, and with Festival Ballet Providence, where she performed in such works as The Firebird, The Nutcracker, Romeo and Juliet, Cinderella, The Little Mermaid, Balanchine’s Allegro Brillante and Rubies, Rite of Spring, in Christopher Wheeldon’s The American, in Up Close on Hope productions and in Viktor Plotnikov’s House of Bernarda Alba, The Widow’s Broom, The Soldier’s Tale and Carmen. Her repertoire includes Coppelia, Giselle, The Nutcracker, La Bayadere, Swan Lake, Etudes, and also works by Tudor, Limon, Helen Pickett, and Val Caniparoli. She’s performed in various projects and music videos by Atlanta artists, including EarthGang. She has danced with The Atlanta Opera for the last three seasons in the productions of Candide, Rigoletto, Cabaret, La traviata, Pagliacci, The Kaiser of Atlantis, The Threepenny Carmen, The Threepenny Opera, and was an original cast member of Tomer Zvulun’s Salome. She is based in Woodstock, Georgia where she lives with her musician husband and fluffy dog, Mrs. Wolford continues to freelance, teach and choreograph along the east coast.

Bailey Jo Harbaugh has been active in Atlanta arts for six years amidst earning her Bachelor of Arts in Dance from Kennesaw State University in 2019. She has had the privilege of collaborating and originating roles in process with artists local and abroad. Numerous creations include work in Atlanta and New York City with Tomer Zvulun, Amir Levy, Ricardo Aponte, George Staib, Donald Byrd, and Omar Román de Jesús. Bailey Jo is thrilled to be in her eighth production with The Atlanta Opera, and continually grateful to previous and current creatives who have influenced her artistry so deeply.

atlantaopera.org | @theatlantaopera 36 | cast&creative

BAILEY JO HARBAUGH DANCER ATLANTA OPERA DEBUT SALOME, 2020 GWYNN ROOT WOLFORD DANCER

AYANA DUBOSE

DANCER

ATLANTA OPERA DEBUT LA TRAVIATA, 2019

BRANDON

NGUYEN-HILTON

DANCER

ATLANTA OPERA DEBUT

OUT OF DARKNESS: TWO REMAIN, 2018

DANCER

ATLANTA OPERA DEBUT

Ayana DuBose is so thrilled to perfrom with The Atlanta Opera again. Previous theater credits include La traviata (Dancer, The Atlanta Opera); West Side Story (The Atlanta Opera); Mamma Mia! (City Springs Theatre Company); Hairspray (City Springs Theatre Company); Rachel in On Your Feet (Aurora Theatre); Lisa in Mamma Mia! (Arkansas Repertory Theatre); Alice in Alice in Wonderland (Flying Foot Forum); Passing Through Pig’s Eye (Park Square Theatre). Concert dance credits include No One Will See (TU Dance); Panorama (Martha Graham) “Thank you to my family for your support.”

Brandon was born in Fort Worth Texas and discovered his love for dance at Margo Dean School of Ballet. He furthered his training at Houston Ballet Ben Stevenson Academy where he was awarded a full scholarship. Brandon has danced professionally with Houston Ballet, Orlando Ballet, Atlanta Ballet, and Cirque du Soleil. He has performed in The Atlanta Opera’s productions of Out of Darkness: Two Remain, Carmen, The Threepenny Opera, Cabaret, Julius Caesar, and Candide. He is thrilled and honored to take part in this performance of A Midsummer Night’s Dream

Jimmy Joyner is an Atlanta based dancer, teacher, maker, and supporter of fellow artists. Joyner is interested in the intrinsic healing quality of performance, specifically for queers in the South. Jimmy is a 200 hour certified yoga instructor, a Distinguished Fellow with Hambidge Center for Arts and Sciences, a 2020 MINT Studio Artist, a cofounder of Nashville Design House, and a team member with Fly on a Wall, a platform for innovative performance that supports artists working in the realm of performance. Jimmy is a recent graduate of University of the Arts and holds an M.F.A. in Dance. Jimmy has danced with Nashville Ballet, BNC, glo, and staibDANCE.

37 encoreatlanta.com |

JIMMY JOYNER

glynnstudioartists

About the Program

Joining The Atlanta Opera are singers

Aubrey Odle, Amanda Sheriff, and Jason Zacher. Kameron Lopreore was selected for a second season as a Studio Artist continuing from the 2022-23 season. Joining the vocalists will be stage director Nora Winsler

Each of the Studio Artists is an early career professional with significant training and stage experience, some with lead performances and major concert appearances on their resumé. The program builds on The Atlanta Opera’s commitment to provide opportunities for performers at all stages in their careers.

Throughout the season, these artists will have the opportunity to work with established performers and coaches

to improve their skills in all aspects of their field. Master Vocal Teacher Laura Brooks Rice has been part of the Studio Artist program since 2021 and is an acclaimed performer and voice teacher and acting coach.

An experienced group of coaches and clinicians are engaged in the training and support of the Glynn Studio Artists.

The Atlanta Opera is grateful for the support of the young artist program from Beth and Gary Glynn. Significant support is also provided by the Donald and Marilyn Keough Foundation, John and Yee-Wan Stevens, and Jerry and Dulcy Rosenberg.

atlantaopera.org | @theatlantaopera 38 |

AUBREY ODLE mezzo-soprano KAMERON LOPREORE tenor AMANDA SHERIFF soprano NORA WINSLER stage director JASON ZACHER bass-baritone

TOGETHER, LET’S MAKE A DIFFERENCE IN THE LIVES OF OUR NATION’S HEROES

The Home Depot Founda tion is proud to partner with The Atlanta Opera to honor our U.S. militar y, veterans and their families.

CHILDREN’S CHORUS MASTER

Rolando Salazar

CHILDREN’S CHORUS

Phoebe Rose Claeys

Eloise Fleck

Emilia Fortson

Liam Freund

Aliana Gisele Hawkins

Violet Montague

Elise Myers

Adrienne Ocfemia

Hensley Peters

Maria Ramirez Garcia

Ava Trojanowski

Max Walls

CHILDREN’S CHORUS WRANGLER

Alexandra Svirshch

40

| theatlantaoperachorus

COSTUME RENDERINGS: ERIK TEAGUE

VIOLIN

Peter Ciaschini

The Loraine P. Williams

Orchestra Concertmaster Chair*

Helen Kim

Acting Concertmaster

Lisa Morrison

Acting Assistant

Concertmaster

Fia Durrett

Prinicipal Second Violin

Jessica Stinson

Acting Assistant Principal Second Violin

Kevin Chaney†

Edward Eanes

Felix Farrar

Sally Gardner-Wilson

Robert Givens

Patti Gouvas

Shawn Pagliarini

Virginia Respess-Fairchild*

Patrick Ryan

Angèle Sherwood-Lawless*

Rafael Veytsblum

James Campbell†

Kathryn Koch†

Kim Padgett†

VIOLA

William Johnston

Principal

Catherine Allain

Assistant Principal

Ryan Gregory

Julie Rosseter

Karl Schab

Joli Wu*

Megan Yost†

41 theatlantaoperaorchestra |

CELLO

Charae Krueger

Principal

Cynthia Sulko

Acting Assistant Principal

Mary Kenney

David Hancock

BASS

Daniel Tancredi

Principal

Emory Clements

Samuel Dugo

FLUTE

James Zellers

Principal

Kelly Bryant RECORDER

Jody Miller

Principal†

Jonathan DeLoach†

OBOE

Christina Gavin

Principal

CLARINET

David Odom

Principal

John Warren

BASSOON

Carlos Clark

Principal

Debra Grove*

FRENCH HORN

David Bradley

Principal*

Jason Eklund

Acting Principal

Eric Hawkins†

TRUMPET

Yvonne Toll-Schneider Principal

Alexander Freund*

TROMBONE

William P. Mann

Principal*

Richard Brady

Acting Principal

TIMPANI

John Lawless Principal

PERCUSSION

Michael Cebulski

Courtney MacDonald-Bottoms†

HARP

Susan Brady

Ellen Foster†

CELESTE/HARPSICORD

Bin Yu Sanford†

PERSONNEL MANAGER

James Zellers

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

*Core Musician On Leave

†Non-Core Musician

Legacy of Passion: A Gift Blossoms

A lifelong music lover, Caroline Hardin’s first gift to support opera was a bouquet she carried to the singers onstage after a performance in Orlando when she was six years old. Her mother, Sally Pace, was deeply involved in the local opera guild. Caroline fondly recalls when renowned tenor Richard Tucker called his wife from their home to share the audience’s enthusiasm for his latest performance, a cherished memory from Caroline’s childhood.

Caroline’s early exposure to opera in her hometown of Orlando left a lasting impression. She remembers how her mother would take her to New York City to attend performances at the Metropolitan Opera, further nurturing her passion for the art form.

After studying at Oglethorpe and finishing her undergraduate degree from Boston University, Caroline settled in Atlanta, where she met, married, and established a loving family with Jack Hardin. Dedicated to serving others, she enrolled at Emory, earned her master’s, and began a twenty-year career as an anesthesiology Physician Assistant. After her retirement, Caroline has remained active as a volunteer at Grady Hospital. She has helped numerous charities including ARCS Foundation (Achievement Rewards for College Scientists), CARE, Gateway LLC, and several refugee organizations.

Opera has always been important to Caroline. She and her husband, Jack, have been loyal subscribers and annual donors to The Atlanta Opera for thirty years. Caroline recently joined The Barbara D. Stewart Legacy Society with a bequest in her will, showcasing her deep passion for opera and her commitment to the Opera’s future. When asked about her inspiration for this gift, Caroline shared, “The beauty of opera and its profound impact on our community have moved me to ensure the enduring strength of this vital organization for future generations.”

To learn more about the Barbara D. Stewart Legacy Society, please contact Jonathan Blalock at 336-512-6832 or jblalock@atlantaopera.org

Caroline’s decision to include The Atlanta Opera in her estate plans is a testament to her love for opera and her desire to support its continued success. Her legacy gift will safeguard the transformative power of opera to bloom for future generations, just like her beautiful bouquet on the opera stage decades ago

atlantaopera.org | @theatlantaopera 42

COURTESY CAROLINE HARDIN

| giving&support

Caroline and Jack Hardin at the Grady Health Foundation’s 2023 White Coat Gala.

encoreatlanta.com

We are grateful for the following donors’ generous support. This list reflects gifts and annual pledges to unrestricted operating expenses, special projects, and/or endowment made between Jul 1, 2022 and Dec 31, 2023.

$200,000+

Harold Brody & Donald Smith†

John & Rosemary Brown†

Dr. Frank A. Critz & Dr. Ann Critz†

Beth & Gary Glynn

Mr. Howard W. HunterGramma Fisher Foundation†

Mr. & Mrs. Michael L. Keough

*Mr. & Mrs.

Carl W. Knobloch, Jr.†

Jerry & Dulcy Rosenberg†

Katherine Scott

*Mrs. Lessie B. Smithgall

$100,000+

*Sylvia Halleck, MD

Mr. James B. Miller, Jr.†

John & Yee-Wan Stevens†

Rhys & Carolyn Wilson†

$50,000+

Cathy & Mark Adams†

The Antinori Foundation†

Mr. & Mrs. Paul Blackney†

Laura & Cosmo Boyd

Connolly Family Foundation

The Gable Foundation, Inc†

Mr. John L. Hammaker

Alfredo & Beau Martin†

Mary Ruth McDonald

Mr. William F. Snyder†

Ms. Bunny Winter & Mr. Michael Doyle†

$25,000+

Bryan & Johanna Barnes†

Mr. Robert P. Dean & Mr. Robert Epstein†

Dr. & Mrs. Alexander Gross†

Mr. John Haupert & Mr. Bryan Brooks†

Talia & John Murphy

Victoria & Howard Palefsky†

*Mr. William E. Pennington

Ms. Janine Brown & Mr. Alex J. Simmons, Jr.

Judith & Mark Taylor

Carol B. & Ramon Tomé†

Patron’s Circle

$15,000+

Mr. & Mrs. James Anderson

*Mrs. Elizabeth Bair

Julie & *Jim Balloun†

Mr. David Boatwright†

Dr. Donald J. & Janet Filip†

*Ms. Anne Marie Gary

Mr. & Mrs. Edward J. Hardin

The Hilbert Law Firm

Slumgullion Charitable Fund†

Stephanie & Gregor Morela†

Sandra & Peter Morelli†

Mr. & Mrs. Richard P. Nicholas III†

Christine & Mark St.Clare†

Larry & Beverly Willson†

Gold $10,000+

Elizabeth & Jeremy Adler†

Mrs. *Phillip E. Alvelda†

John & Wendy Anzalone†

Dr. & Mrs. Asad Bashey

Mr. & Mrs. C. Duncan Beard

Mr. & Mrs. Dante Bellizzi

Natalie & Matthew Bernstein

Anonymous

Mr. Frank H. Butterfield†

Mr. & Mrs. Kate Cook

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

Mr. Tomer Zvulun & Mrs. Susanna Eiland

Dieter Elsner†

Ms. Ariana B. Fass

Deborah & Paul Harkins

Roya & Bahman Irvani

*Mary & *Wayne James

Dr. & Mrs. David Kavtaradze

Mr. & Mrs. Steve Paro†

Mr. & Mrs. Michael E. Paulhus†

Norm & Shannon Prestage

Ms. Ana M. Rountree & Mr. Mason Rountree

Mr. Milton J. Sams†

Thomas R. Saylor

Charles T. & Donna Sharbaugh†

Mr. & Mrs. Timothy E. Sheehan

Triska Drake & G. Kimbrough Taylor†

Wadleigh C. Winship Charitable Fund

Silver $5,000+

Mr. & *Mrs. Shepard B. Ansley

Dr. R. Dwain Blackston

Drs. Eda Hochgelerent & Bruce Cassidy†

John W. Cooledge†

Mr. & Mrs. Ron L. Cundy

Dr. Jeannette Guarner & Dr. Carlos del Rio

Mr. & Mrs. Robert G. Edge

Dr. & Mrs. Todd D. Ellis

Mr. & Mrs. Reade Fahs

Sally & Hank Fielding†

Ms. Rebecca Y. Frazer & Mr. Jon Buttrey

Mr. Ethan Garonzik

Kevin Greiner & Robyn Roberts

Judge Adele P. Grubbs

Gena & Joey Gyengo

Ms. Lynn Hanna

Dr. Thomas High

Donna & *Richard Hiller

Mr. L. D. Holland†

Billy Huger

Gail G. Johnson

Mr. & Mrs. Gert Kampfer

Ms. Anne Morgan & Mr. James Kelley

Ms. Elizabeth Klump

Mrs. Dale Levert & Mr. George W. Levert

Mr. & Mrs. Andrew Long

Mr. Nicholas Marrone

Dan D. Maslia & Mimi Shetzen Maslia

Belinda & Gino Massafra

Robert & Creel McCormack

Erica McVicker

Clara M. & John S. O’Shea†

Lib & Neal Quirk

Lynn & Kent Regenstein

Mr. James L. Rhoden

Morton & Angela Sherzer

Baker & Debby Smith†

Lynne & Steven Steindel

George & Amy Taylor†

Mr. & Mrs. William E. Tucker

Dr. & Mrs. Nicholas Valerio III†

Benny & Roxanne Varzi

Thurman Williams

Bob & Cappa Woodward

Charitable Fund

Bronze $2,500+

Scott & Betsy Akers

Mr. James L. Anderson

Ms. Casey Armanino

Atlanta Neurology

Catherine A. Binns

Mr. & Mrs. Earl Blair

Mr. Jonathan Blalock

Ms. Donna Burchfield

Ms. Mary Calhoun

Mr. & Mrs. Charles Cohn

T. Dennis Connally

Jean & Jerry Cooper

Jim & Carol Dew

Danica & Milton Dilligard

Mr. Mark du Mas

Drs. Morgan & Susan Horton Eiland

Mr. Thomas Emch

Mark & Mary Eppert

Mr. & Mrs. Lance Fortnow

Mr. Michael D. Golden & Dr. Juliet Asher

Director’s Circle

The Mary & Charlie Yates Family Fund | 43

Dr. Thomas N. Guffin, Jr.

Ms. Laura Heery

Mr. Brian Henry

Douglas Hooker & Patrise Perkins Hooker

Mr. & Mrs. Jeffrey R. Hoopes

Mr. & Mrs. David C. Huffman

Mr. Christopher Kell

Mr. Alfred D. Kennedy & Dr. Bill Kenny

Mr. & Mrs. Larry Kurlander

Ms. Brenda O. Lambert

Ms. Constance B. Lewis

Linda L. Lively & James E. Hugh III

Dr. & Mrs. Ellis L. Malone

Samantha & William Markle

John S. Metz

Philip & Caroline Moïse

Mrs. Agnes Nelson

Denis Ng & Mary Jane Panzeri Ng

Lucy S. Perry

Mr. Joshua Peyton

Mrs. Betsy Pittman

Red Eft Mapping

Margaret & Bob Reiser

Jeanne Roberson

Mr. & Mrs. J. Barry Schrenk

Beverly & Milton Shlapak

Mr. & Mrs. E. Kendrick Smith

Mr. & Mrs. Richard Sproul

Gail & Barry Spurlock

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

Mr. Tarek Takieddini

Mr. Johnny Thigpen & Mr. Clay Martin

Cynthia Widner Wall

Mr. Mark Westfall

Thomas R. Williams Family

*Dr. & Mrs. R. Craig Woodward

Friend’s Circle

Investor $1,000+

Mr. Paul Anderson, Jr.

Ms. Hope M. Barrett

Christine M. Beard

Mr. Walter Carter Bland

Mrs. Jane Blount

Dr. & Mrs. Jerry Blumenthal

Raphael Bostic

Mr. Sean Bowen

Ms. Martha S. Brewer

Mr. Nelson C. Chu

Ms. Alice Sue Claeys

Mrs. Carol J. Clark

Mr. N. Jerold Cohen & Ms. Andrea Strickland

Ms Lillianette Cook & Ms. Carol Uhl

John & Linda Cooke

Jeremy & Audrey Critz

John & Melissa Critz

Mr. & Mrs. Edward S. Croft III

Ann & Jim Curry

Dr. & Mrs. F. Thomas Daly Jr.

Mr. & Mrs. Harold T. Daniel Jr.

Mr. James M. Datka & Ms. Nora P. DePalma

Mr. Trey Duskin & Ms. Noelle Albano

Anonymous

Mrs. Anne J. Ederington

Micah Fortson & Georgia Jarman

Dr. Richard Goodjoin

James C. Goodwyne &

Christopher S. Connelly

Helen C. Griffith

Ms. Louise S. Gunn

Felicia & Isaiah Hale

George L. Hickman III

Richard & Linda Hubert

Cliff Jolliff & Elaine Gerke

Mrs. Cecile M. Jones

Mrs. Peter G. Kessenich

Wadih & Ali Khayat

Ms. Carla Knobloch

Chris & Jill Le

Tim & Angela Leveridge

Mr. & Ms. Larry Anderson

Dr. Jill Mabley

Jennifer & Chad Mann

Dr. & Mrs. Steven Marlowe

Mrs. Erin Martin

Mr. Stedman C. Mays Jr. & Mr. Charles Bjorklund

Barbara & Mark Murovitz

Carol S. Niemi

Kathie & Charles Palmer

Mr. Darryl-Christopher Payne†

Dr. & Mrs. Lawrence S. Phillips

Dr. & Mrs. Donald Reitzes

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

Sidney & Phyllis Rodbell

Ms. Hazel Sanger

Stewart & Mary Searle

Adhishesh Sood

Mr. & Mrs. Robert Stansfield

Kay Summers

Ms. Virginia S. Taylor

Mr. Michael Tushman & Mrs. Marjorie Williams

Eldred Veira

Ms. Betsy K. Wash

Alan & Marcia Watt

Rae & George Weimer

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

Mr. & Mrs. Mark Westfall

Ms. Kathy J. White

Dr. & Mrs. Hamilton Williams

Supporter $500+

Judith M. Alembik

Dr. Catherine Allard

Martha Allday

Dr. Raymond Allen

Paula Stephan Amis

Mr. John Baker

Mr. & Mrs. Robert O. Banker

Mr. Albert E. Bender, Jr.

Mrs. Marilee F. Betor

Mr. Matt Blackburn

Jill Blair & Fay Twersky

Ms. Mary D. Bray

Stanford M. Brown

Craig & Brenda Caldwell

Mr. Pete Ciaschini

Dr. Lawrence M. Cohen

Mrs. Jan W. Collins

Julianna M. Critz

Maureen & Michael Dailey

Mr. Joseph V. Dawsey & Mr. Frank D. Kubanek

Ms. Ellen J. Evans

Dr. & Mrs. Richard D. Franco

Dr. & Mrs. David J. Frolich

Mr. Glen Galbaugh

Col. & Mrs. Donald M. Gilner

John Greer

Mr. & Mrs. Richard P. Grodzicki

Mr. & Mrs. Sam Hagan

Debra M. Hulsey

Ms. Lynne Elliott Jones

Mr. J. Carter Joseph

Keith Kellum

Joan & Arnold Kurth

Mr. Scott Lampert

Mr. Sidney E. Linton

Livvy Kazer Lipson

Allan & Vaneesa Little

Dr. Jo Marie Lyons & Mrs. Betty C. Lyons

Jeanie & Albert Marx

Mr. Michael Mayes

Mr. M. Reynolds McClatchey Jr.

Mr. Bernard McGuinness

Mr. M Sean Molley & Ms. Heidi C. Pritchett

Ciaran Morris

Jane Morrison

Mr. Marvin Moss

Terri & Stephen Nagler

Mr. Allan & Mrs. Twinkle Nelson

Mr. Lawrence F. Pinson

*Sharon & Jim Radford

Mr. Stephen L. Rann & Ms. Dytre Fentress

Mr. & Mrs. James W. Robbins

Sandra & Ronald Rousseau

Dr. & Mrs. William M. Scaljon

Mr. Fred B. Smith

Mr. Paul Snyder

Sharon Daniels Sullivan

Carolyn & Robert Swain

Stephen Swicegood

Dr. & Mrs. Michael Szikman

Mr. Stephen H. Thompson & Mr. Drew Mote

Ms. Juliana T. Vincenzino

Ms. Brenda D. Jennings

Kelly Weekes

Kiki Wilson

Contributor $250+

Christine Allen

Mr. Carl H. Anderson, Jr.

Stephan & Laura Anderson

Atlanta Opera Orchestra Players Association

Mr. & Mrs. David S. Baker

Claire & Bryan Benedict

Mr. Edward S. Berkoff

Dr. Stephen R. Brandt

James & Nancy Bross

Beau F. Brummett

Dr. & Mrs. Harold L. Chapman, Jr.

Don & Linda Coatsworth

Mr. David D’Ambrosio

Carol Comstock & Jim Davis

Mr. & Mrs. John Drucker

Mr. & Mrs. David R. Dye

Allison Fichter & Phillip O’Brien

Judy & Stan Fineman

Mary Anne & Bruce Gaunt

Ms. Pat Godbee

Vasily Goncharu

Drs. Nancy & Robert Griner

Admiral Jamael & Mrs. Rashidah Hester

Mr. & Mrs. Douglas M. Holly, Jr.

Ms. Jan W. Hughen

Mr. Rolf Ingenleuf

atlantaopera.org | @theatlantaopera 44 | giving&support

Mr. & Mrs. Thomas E. Johnston

Mr. William Johnston

Matthew Katzmark

Mr. & Mrs. *David Keller

John & JoAnn Keller

Dorothy Yates Kirkley

Mr. Roy Locklear III

Richard Lodise & Valerie Jagiella

Mr. Simon Miller

Mrs. George E. Missbach Jr.

Berthe & Shapour Mobasser

Mr. & Mrs. George T. Munsterman

The Honorable & Mrs. George A. Novak

Rita Omark

Mr. John Owens

Mrs. Polly N. Pater

Mr. & Mrs. John Payan

The Reverend Neal P. Ponder, Jr.

Misty Reid

Virginia Rolfes

Mr. Barry F. Ross & Mrs. Jane M. Rooks Ross

Anne Schneider

Ms. Regina Schuber

Mr. Karin Schwerd

Dr. & Mrs. William E. Silver

Andrew J. Singletary, Jr.

Clayton & Holly Sparrow

Elizabeth Morgan Spiegel

Steve & Christine Strong

Dr. David E. Sutherland II & Mrs. Sarah F. Yates Sutherland

Mr. & Mrs. Frederick C. Taylor

Ms. Nancy A. Thomas

Ms. Mary Thorpe-Mease

Mr. & Ms. Wolfgang Tiedtke

Ms. Susan Wall

Ms. Jone Williams & Ms. Barbara Robb

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

CORPORATE PARTNERS

$100,000+

The Coca-Cola Company

The Home Depot Foundation

$50,000+

Gas South

Truist UPS $25,000+

Price Waterhouse Coopers

The Capital Group Companies Warner Bros. Discovery

$10,000+

Accenture LLP

Federal Home Loan Bank of Atlanta

The Hilbert Law Firm

Homrich-Berg, Inc. - Buckhead KPMG LLP

National Distributing Co., Inc.

Troutman Pepper

WestRock Company

$5,000+ EY

KaneTreadwell Law LLC

Anonymous

Wallace Graphics $2,500+

BNY Mellon

FOUNDATIONS & GOVERNMENT SUPPORT

FOUNDATIONS

$500,000+

Lettie Pate Evans Foundation

$225,000+

The Molly Blank Fund of The Arthur M. Blank Family Foundation

Mr. Howard W. Hunter - Gramma Fisher Foundation†

Donald & Marilyn Keough Foundation

$100,000+

Anonymous

The Coca-Cola Foundation† The Halle Foundation

Knobloch Family Foundation†

$50,000+

Atlanta Music Festival Association Fund of Community Foundation for Greater Atlanta

The Gable Foundation

Livingston Foundation†

Mary & EP Rogers Foundation, Inc.

The Sara Giles Moore Foundation

The Rich Foundation, Inc.

Truist Trusteed Foundations: Florence C. & Harry L. English Memorial Fund

The Zeist Foundation, Inc.

$20,000+

Connolly Family Foundation

The Jim Cox, Jr. Foundation

The Roy & Janet Dorsey Foundation

J. Marshall & Lucile G. Powell Charitable Trust

The Ray M. & Mary Elizabeth Lee Foundation

$10,000+

David, Helen, & Marian Woodward Fund

The George M. Brown Trust Fund

The Hertz Family Foundation, Inc. JBS Foundation

$5,000+

Camp-Younts Foundation

$1,000+

Atlanta Woman’s Club

The Hills Family Foundation, Mr. & Mrs. Thomas D. Hills, Trustees

Kiwanis Foundation of Atlanta

The Mary Brown Fund of Atlanta, Georgia

The Opera Guild for Atlanta

Frances Wood Wilson Foundation, Inc.

GOVERNMENT

City of Atlanta Mayor’s Office of Cultural Affairs

Fulton County Arts & Culture

Georgia Council for the Arts

National Endowment for the Arts

| 45

encoreatlanta.com

Official Beverage of The Atlanta Opera

BARBARA D. STEWART LEGACY SOCIETY

The Atlanta Opera established the Barbara D. Stewart Legacy Society to recognize donors who have designated The Opera as a beneficiary in their estate plan. In honor of Barbara D. Stewart’s many contributions to The Atlanta Opera, our planned giving division, the Encore Society, has been renamed the Barbara D. Stewart Legacy Society.

Cathy Callaway Adams & Mark Adams

Anonymous (5)

Mr. & *Mrs. Shepard B. Ansley

*Mrs. Elizabeth Ann Bair

Mrs. Wallace F. Beard

The Bickers Charitable Trust

Mr. Jonathan Blalock

*Jim & *Nancy Bland

Mr. Montague L. Boyd, IV

Mr. Robert Colgin

*Martha Thompson Dinos

The Roy & Janet Dorsey Foundation

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

Arnold & Sylvia Eaves

* Ms. Dorothy E. Edwards

*Heike & Dieter Elsner

Ms. Melodi Ford

Carl & Sally Gable

*Ms. Anne Marie Gary

Mr. & Mrs. Sidney W. Guberman

Ms. Judy Hanenkrat

*Sylvia Halleck, MD

Caroline Hardin

Richard & Fern Hartnig

The Hilbert Family Trust

Eda L. Hochgelerent, M.D. & Bruce A. Cassidy, M.D.

Mr. L. Don Holland

Mr. Hilson Hudson

*Mrs. Joseph B. Hutchison

Gail G. Johnson

Mr. J. Carter Joseph

*Mrs. Alfred D. Kennedy, Sr.

*Mrs. Isabelle W. Kennedy

*Donald & *Marilyn Keough

Mr. & Mrs. Michael L. Keough

Ms. Corina M. LaFrossia

Mr. & Mrs. John G. Malcolm

Mr. Robert L. Mays

Mr. & Mrs. Allen P. McDaniel

*Peggy Weber McDowell & *Jack McDowell

Mr. & Mrs. Craig N. Miller

*Miss Helen D. Moffitt

Mr. J. Robert Morring

Clara M. & John S. O’Shea

Mrs. Polly N. Pater

Mr. James Paulk

*Mr. William Pennington

*Mr. Bruce Roth

Ms. Hazel Sanger

Mr. D. Jack Sawyer, Jr.

Anita & J. Barry Schrenk

Katherine Scott

Elizabeth N. Shapiro

*Mrs. Lessie B. Smithgall

Elizabeth Morgan Spiegel

Christine & Mark St.Clare

*Ms. Barbara D. Stewart

*Mrs. Eleanor H. Strain

Mr. Tarek Takieddini

Sandra & *Tom Teepen

Dr. & Mrs. Harold Whitney

*Mrs. Jane S. Willson

Rhys & Carolyn Wilson

Ms. Bunny Winter & Mr. Michael Doyle

Mr. Charles R. Yates, Jr. & Mrs. Mary Mitchell Yates

*Mr. & *Mrs. Charles R. Yates, Sr.

Mr. Tomer Zvulun & Mrs. Susanna Eiland

*deceased

atlantaopera.org | @theatlantaopera

46 | giving&support

TRIBUTES & MEMORIALS

In Honor of The Staff of The Atlanta Opera

George & Rae Weimer

In Honor of Mr. Jonathan Blalock

Mr. John Thompson, II

Mr. William F. Snyder

Connor Howard

George & Rae Weimer

In Honor of Dr. Hal Brody & Mr. Don Smith

Jonathan Blalock

In Honor of John & Rosemary Brown

Mr. Barry F. Ross & Mrs. Jane M. Rooks Ross

In Memory of Maria Callas

Jesus Olivas Sierra

In Honor of Rebekah Clark Cooledge

Dr. John W. Cooledge

In Honor of Brother George Councill

Barbara Bonner

In Honor of Ann & Frank Critz

Brenda O’Neal Lambert

George & Rae Weimer

In Honor of Robert Dean & Robert Epstein

Jonathan Blalock

In Memory of Col. & Mrs. Edgar W. Duskin

Noelle Albano & Trey Duskin

In Honor of Mr. Robert G. Edge

Mrs. Eleanor Crosby

In Memory of Harriet Harris

Carlquist Harris

Freya Harris

Karen Rajczi

In Memory of Dr. James T. Lowman

The Family of Frank A. Thorpe

Ms. Mary Thorpe-Mease

Mr. Stephen Koger

John & Yee-Wan Stevens

In Honor of Mary Ruth McDonald

Jonathan Blalock

George & Rae Weimer

In Memory of Peggy McDowell

Mr. J. Carter Joseph

In Honor of Julie Meyer

Helen & Steven Kraus

In Memory of Ann Chamlee Payne

Darryl-Christopher Payne

In Memory of William Pennington

Jonathan Blalock

In Memory of Marietta Pompilio

Dan Pompilio & Lark Ingram

In Honor of Talia & John Murphy

Neal Quirk

In Memory of the Honorable George A. Novak

Jana M. Novak

In Honor of Howard & Victoria Palefsky

Mr. & Mrs. Kate Cook

Donna Burchfield & Penn Nicholson

In Honor of Jerome & Dulcy Rosenberg

Mr. & Mrs. Jay Davis

In Honor of Katherine Scott

Jonathan Blalock

In Honor of William F. Snyder

Jonathan Blalock

In Honor of Paul Warshauer

Helen & Steven Kraus

In Memory of Margaret Williams

Thurman Williams

In Memory of Marya Gabrielle Williams

Jone Williams & Barbara Robb

In Honor of Charlie & Mary Yates

Pitak Intrawityanunt

Mr. Joshua Peyton

Barry & Anita Schrenk

Dr. David E. Sutherland II & Mrs. Sarah F. Yates Sutherland

Dorothy Yates Kirkley

In Honor of Mr. Tomer Zvulun & Ms. Susanna Eiland

Sally & Hank Fielding

Mr. Michael D. Golden & Dr. Juliet Asher

Connor Howard

Ms. Elizabeth Klump

Emily Knobloch

Mr. & Mrs. Larry Kurlander

Mary Ruth McDonald

Katherine Scott

John & Yee-Wan Stevens

Mr. & Mrs. William E. Tucker

George & Rae Weimer

In Memory of Henry Zvulun

Mary Jane Burkhalter

Sally & Hank Fielding

Mr. Michael D. Golden & Dr. Juliet Asher

Katherine Scott

Ms. Elizabeth Klump

encoreatlanta.com | 47

EXECUTIVE COMMITTEE

Board Chair

Mr. Rhys T. Wilson

Vice-Chair

Mr. John L. Hammaker

Vice-Chair | Development Committee

Co-Chair

Mr. Charles R. Yates, Jr.

Secretary

Mr. John Haupert

Treasurer | Finance Committee Chair

Ms. Bunny Winter

Audit Chair

Mr. Bryan H. Barnes

Community Engagement Committee Chair

Mr. Alex Simmons, Jr.

Development Committee Co-Chair

Mrs. Talia Murphy

Equity, Diversity & Inclusion Committee Chair

Mrs. Stephanie Morela

BOARD OF DIRECTORS

MEMBERS

Mrs. Cathy Callaway Adams

Mrs. Elizabeth Adler

Ms. Susan M. Anderson

Mr. Bryan H. Barnes

Mr. Dante Bellizzi

Mr. Montague L. Boyd, IV

Dr. Harold J. Brody

Mrs. Rosemary Kopel Brown

Mr. Frank H. Butterfield

Dr. Frank A. Critz

Mr. Robert Dean

Dr. Todd Ellis

Mr. Dieter Elsner

Dr. Donald J. Filip

Mr. Kevin Greiner

Mrs. Joanne Chesler Gross

Mr. John Haupert

Mr. John L. Hammaker

Mr. Jamael Hester

Facilities Task Force Chair

Mr. Howard Palefsky

Investment Committee Co-Chair

Mr. Frank Butterfield

Investment Committee Co-Chair

Mrs. Sandra S. Morelli

Nominating & Board Engagement Committee Chair

Mr. Kevin Greiner

Strategic Planning Committee Chair

Mrs. Christine St.Clare

At-Large Member, Immediate Past Chair

Mrs. Cathy Callaway Adams

At-Large Member

Mr. Howard W. Hunter

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

Mr. Tomer Zvulun

Mr. Howard W. Hunter

Mr. Andrew R. Long

Mr. Alfredo Martin

Mr. James B. Miller, Jr.

Mrs. Stephanie Morela

Mrs. Sandra S. Morelli

Mrs. Talia Murphy

Mr. Howard Palefsky

Mr. Michael E. Paulhus

Dr. Carlos del Rio

Mr. Herbert J. Rosenberg

Mr. Thomas Saylor

Mr. Alex Simmons, Jr.

Mrs. Christine St.Clare

Mr. William E. Tucker

Mr. Rhys T. Wilson

Ms. Bunny Winter

Mr. Charles R. Yates, Jr.

Mr. Tomer Zvulun, ex-officio

ADVISORY COUNCIL

Mr. Andrew J.M. Binns

Mr. Kenny L. Blank

Mrs. Inge Bledel

Ms. Mary Calhoun

Ms. Sally Bland Fielding

Ms. Julia Filson

Mr. Roger Fleming

Mr. Lance Fortnow

Mrs. Beth W. Glynn

Dr. Thomas N. Guffin, Jr.

HONORARY MEMBERS

Mr. Ronald Antinori

The Very Reverend Samuel G. Candler

Mr. Robert G. Edge

Mr. Carl I. Gable, Jr.

Mrs. Nancy Hall Green

Mr. Gregory F. Johnson

Mr. Carter Joseph

Mr. Alfred Kennedy, Jr.

Mr. Michael Keough

Mrs. Emily C. Knobloch

Mr. George Levert

Mr. J. Barry Schrenk

Mr. Timothy E. Sheehan

Mr. G. Kimbrough Taylor, Jr.

Mr. Mark K. Taylor

Mr. Thomas R. Williams

Mr. Robert G. Woodward

Mr. Douglas Hooker

Mrs. Erin Quinn Martin

Mr. Robert G. Pennington

Mr. Paul Snyder

atlantaopera.org | @theatlantaopera 48 | leadership

EXECUTIVE

Carl W. Knobloch, Jr.

General & Artistic Director Tomer Zvulun

Managing Director

Micah Fortson

Executive Assistant & Board Liason Misty Reid

Special Projects Manager

ARTISTIC / MUSIC

Nancy Kritikos

Carl & Sally Gable Music Director Arthur Fagen

Director of Artistic Administration.. Meredith Wallace

Artistic & Operations Manager

Megan Bennett

Chorus & Orchestra Manager Chris Bragg

Orchestra Librarian Phil Parsons

PRODUCTION

Director of Production

Robert Reynolds

Assoc. Director of Production Meggie Roseborough

Production Manager Amy Smith

Production Finance Coordinator Robbin Anderson

Calling Stage Manager Peter Nictakis

Assistant Stage Manager Caitlin Denney-Turner

Assistant Stage Manager. . . . . . . . . Aletha Saunders

Technical Director

Lighting Supervisor

Rick Combs

Matthew Peddie

Props Supervisor & Artisan Paige Steffens

COSTUME

Costume Director Sarah Burch Gordon

Show Coordinator Paula Peasley-Ninestein

Master Draper / Tailor

First Hand

Lead Stitcher

Mary Cruz Torres

Gibron Shepperd

Fiona Leonard

Stitcher Allison Hines

Wardrobe Supervisor Kelly Chipman

Overhire Stitcher Jenn Rogers

COMMUNITY ENGAGEMENT & EDUCATION

Director of Community Engagement & Education ..................... Jessica Kiger

Education Manager Amy Williams

Community Engagement & Education Coordinator Jonesia Williams

DEVELOPMENT

Development Managing Director Jessica Langlois

Director of Development

—Individual Giving

Associate Director of Development Operations

Jonathan Blalock

Katy Gardner

Institutional Giving Manager Marisol Deus

Annual Giving & Events Coordinator . . . . Gloria Lin

Development Coordinator Aaron Walker

FINANCE

Chief Financial Officer

Toula Argentis

Controller Inga V. Murro

Staff Accountant

Bookkeeper

Camelia Johnson

David Tubbs, Jr.

Ruth Strickland

Accountant Ben Imbert

ADMINISTRATION

Chief Administrative Officer Kathy J. White

Director of Human Resources Kenneth R. Timmons

MARKETING, COMMUNICATIONS, & AUDIENCE DEVELOPMENT

Director of Sales & Marketing

Creative Services Manager

Marketing Project Manager

Sales & Marketing Manager

Rebecca Brown

Matt Burkhalter

Emily Crisp

Ashley May King

Senior Manager, Ticketing Services Renee Smiley

Ticketing Services Coordinator Chauncey Sims

COMMUNICATIONS & PUBLIC RELATIONS

Director of Communications & Public Relations

Michelle Winters

THE ATLANTA OPERA FILM STUDIO

Director of The Atlanta Opera Film Studio

Film Associate

Short-Form Video Editor

GLYNN STUDIO

Master Teacher

Felipe Barral

Amanda Sachtleben

Brittany Fontis

Laura Brooks Rice

Studio Artists Kameron Lopreore, Aubrey Odle, Amanda Sheriff, Nora Winsler, Jason Zacher

LA BOHÈME LIVESTREAM

Director Felipe Barral

Executive Producers Tomer Zvulun, Felipe Barral

Director of Photography Felipe Barral

Producer Felipe Barral, Amanda Sachtleben, Mallory Ivy

Camera Operator Amanda Sachtleben

Gioconda Barral-Secchi, Christina Massad, Valeriia Luhovska, Carlee Sonder, Darvensky Louis, Adam Khan

Sound Capture & Live Mixing Tim Whitehead

Sound Monitor

Preston Goodson

Switcher Felipe Barral, Amanda Sachtleben

Livestream Operator Gerald Griffith, Felipe Barral Graphics Matt Burkhalter

Pre-show Content Video Editor Amanda Sachtleben, Brittney Fontus, Felipe Barral, Diana Diaz

Editor Amanda Sachtleben, Brittney Fontus

Pre-show Podcast Audio Editor Preston Goodson

TAO Film Studio Sonic ID Felipe Barral

49 staff |

Stagehands employed in this production are represented by the International Alliance of Theatrical Stage Employees—Local 927 The Wardrobe Department employed in this production is represented by the International Alliance of Theatrical Stage Employees—Local 859 The Make-up Artists & Hair Stylists employed in this production are represented by the International Alliance of Theatrical Stage Employees—Local 798

CONCESSIONS

Concession stands are located in the center of the lobbies on all three levels. Food and beverage items are prohibited inside the theater. Thank you for your cooperation.

RESTROOMS

Restrooms are located on house right and house left of all three lobbies. Family restrooms are also located on house right of all three lobbies. Mobility-impaired patrons may use any of our restrooms.

PREPAID PARKING

On the performance page on the Cobb Energy Centre website there is a link to purchase parking in advance. Day of parking is available for $15 (credit or debit card only). There are 1,000 on-site parking spaces; 700 in a four-level deck and 300 more in a surface lot.

EMERGENCY INFO

In the event of an emergency, please locate the nearest usher who will direct you to the appropriate exit.

ELEVATORS

Elevators are located on each side of the lobbies on all levels.

LOST & FOUND

Items are turned into the Synovus Box Office on the day of a performance. To

inquire about a lost item, please call Public Safety at 770-916-2911.

SMOKING

Smoking is prohibited inside the building.

SPECIAL ASSISTANCE

Persons requiring access assistance are asked to contact the Ticketmaster at 800-982-2787 for advance arrangements.

Audio clarification devices are available to our hearing impaired guests at no charge. This is on a firstcome, first-served basis and are available at the main desk in the lobby.

Wheelchairs are available upon request. 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. Closed-circuit monitors are provided in the lobby as a courtesy to

latecomers.

• Please turn off all cellphones prior to the beginning of each performance.

• Please limit conversation during the performance.

• Cameras (including use of cellphone camera) and audio and video recording devices are strictly prohibited at all times.

• Leaving while the show is in progress is discourteous and we ask that you refrain from doing so.

• Please unwrap all candies and cough drops before the performance.

atlantaopera.org | @theatlantaopera 50

|

housepolicies

Turn static files into dynamic content formats.

Create a flipbook

The Atlanta Opera: A Midsummer Night's Dream, March 2024