March 2012 The Atlanta Opera ARIA The Golden Ticket

dennis hanthorn - Zurich General Director

MARCH 3,6,9,II 2012

©2011 The Coca-Cola Company. “Coca-Cola,” “open happiness” and the Contour Bottle are registered trademarks of The Coca-Cola Company.

6

keeping people connected

The arts have the ability to connect people around the world. At AT&T that’s something we work hard to do—always.

That’s why we’re a proud sponsor of the Atlanta Opera.

© 2012 AT&T Intellectual Property. All rights reserved.

APR 28, M AY I , 4 , 6 2OI2

COBB ENERGY CENTRE • ATLANTAOPERA.ORG • 404.881.8885

7

TABLE OF CONTENTS SYNOPSIS

CAST

12

26

©Opera Theatre of St. Louis

Daniel Okulitch, Willy Wonka

Program Notes

Opera In The Community

18

40

Photograph by Felicity Dahl © Roald Dahl Nominee Ltd.

8 10 11 12 18 26 38 39 40 42 44

Message from the Zurich General Director Season Sponsors Credits Synopsis Program Notes Meet the Cast The Atlanta Opera Chorus The Atlanta Opera Orchestra The Atlanta Opera In Pictures Volunteers Education and Outreach

Photo credit: Tim Wilkerson

46 48 50 52 54 56 57 58 60 62

The Society for Artistic Excellence Corporate Partners / Saks Men of Style Annual Fund / Individual Giving Community Partners Tributes and Memorials The Encore Circle The Verdi Society The Atlanta Opera Board of Directors House Policies The Atlanta Opera Staff Cover Artwork: TOKY Design ©2012 ARIA is published by The Atlanta Opera

8

MESSAGE FROM THE ZURICH GENERAL DIRECTOR I am very pleased to announce that The Atlanta Opera has partnered with American Lyric Theater to record these landmark Atlanta performances. This live recording of The Golden Ticket will be the Atlanta Opera’s first opera recording. I am sure that the familiar story line will help bring many new audience members to opera.

(J.D. Scott)

W

elcome to the Atlanta Opera’s Southastern premiere of Peter Ash and Donald Sturrock’s The Golden Ticket, a comic opera based on the book Charlie and the Chocolate Factory by Roald Dahl. The Golden Ticket will delight you with all the wonderful, eye-popping treats you remember from the book, including chocolate rivers, inflating blueberries, and magic elevators.

The Golden Ticket was commissioned by American Lyric Theater and Felicity Dahl, and received its world premiere at Opera Theatre of Saint Louis in 2010. The opera was then performed later that year at Wexford Festival Opera in Ireland. Atlanta’s production marks only the third time this new opera has been produced, and it is the first time that composer Peter Ash has conducted it. The role of Willy Wonka is quickly becoming a signature role for bass-baritone Daniel Okulitch. The role of Charlie will be a shared role sung by two very talented boys, Atlanta native Ruben Roy and Benjamin P. Wenzelberg. We welcome Daniel, Ruben, Benjamin, and the rest of the stellar cast to the Atlanta Opera stage.

The Golden Ticket is only one of several wonderful opportunities this season that Atlanta audiences have to witness the growth of opera in our community and beyond. The Atlanta Opera’s unique 24-Hour Opera Project and our newly commissioned children’s opera, Rabbit Tales, remind us that opera is a vibrant, creative activity that appeals to audiences of all ages.

The Atlanta Opera would never be able to present programs such as these without the vital support of our friends and patrons. Your financial support funds opera mainstays, blockbusters, and unique new offerings such as The Golden Ticket. For whatever role you play in supporting The Atlanta Opera, whether it be as subscriber, donor, single ticket buyer, or volunteer, we thank you for your ongoing support.

Enjoy The Golden Ticket, and please share your opera experience with family and friends!

Dennis Hanthorn, Zurich General Director The Atlanta Opera P.S. Watch for the announcement of our exciting 2012-2013 season later this month!

10

2011 - 2012 SEASON SPONSORS Opening Night Performance Sponsor The Coca-Cola Company Production Sponsor Atlanta Music Festival Association Norfolk Southern Foundation Conductor & Composer Peter Ash Mr. and Mrs. Carl I. Gable, Jr. Stage Director Michael Shell Jerry and Dulcy Rosenberg Artist Sponsors The appearance of Daniel Okulitch: John & Rosemary Kopel Brown The appearance of Ruben Roy & Benjamin P. Wenzelberg: The Laura & Montague Boyd Foundation The appearance of Keith Jameson: Dr. Alexander Gross & Mrs. Joanne Chesler Gross The appearance of Andrew Drost: Mr. & Mrs. William J. Hayes, III The appearance of Ashley Emerson: Mr. William F. Snyder & Mr. Louis A. Peneguy The appearance of Abigail Nims: Mrs. Dorothy Yates The appearance of Gerald Thompson: Rhys and Carolyn Wilson

11

a comic opera based on the book Charlie and the Chocolate Factory by roald dahl Music Peter Ash

Libretto Donald Sturrock

Commissioned by American Lyric Theater, Lawrence Edelson, Producing Artistic Director; and Felicity Dahl World Premiere Co-Production by Opera Theatre of Saint Louis, American Lyric Theater and Wexford Festival Opera Loretto-Hilton Center for the Performing Arts, June 13, 2010 Developmental Support for The Golden Ticket was provided in the United Kingdom by the Royal National Theatre Studio and The National Endowment for Science Technology and The Arts Presented by arrangement with American Lyric Theater Center, Inc., in partnership with Music Link International, copyright owner.

Peter Ash, Conductor

Michael Shell, Director

Approximate Running Time: 2 hours, 30 minutes There will be one 25-minute intermission.

Charlie (Fri., Mar. 9 and Sun., Mar. 11)................................. Ruben Roy Charlie (Sat., Mar. 3 and Tues., Mar. 6).............. Benjamin P. Wenzelberg Willy Wonka/Mr. Know................................................. Daniel Okulitch Grandma Georgina/Mrs. Gloop...................................... Kristin Clayton Grandma Josephine/Mrs. Teavee......................................... Jamie Barton Grandpa Joe...................................................................... Keith Jameson Grandpa George/Mr. Beauregard......................................... Jason Hardy Mike Teavee................................................................ Gerald Thompson Candy Mallow/Squirrelmistress........................................... Krista Costin Veruca Salt.......................................................................... Abigail Nims Lord Salt............................................................................David Kravitz Violet Beauregard............................................................Ashley Emerson Augustus Gloop.................................................................Andrew Drost Chorus of Gargoyles, Factory Workers, Townsfolk, Oompa Loompas and Turkish Squirrels Original stage direction by James Robinson* Choreographed by Seán Curran* Scenery designed by Bruno Schwengl* Costumes designed by Martin Pakledinaz* Video designed by Greg Emetaz*

Lighting by Christopher Akerlind* Chorus prepared by Walter Huff Wigs and Makeup by Rick Jarvie Supertitles by Ellen Chamberlain Pianos provided by England Pianos

*original creative team

“Happy Birthday To You” (Mildred J. Hill and Patty Smith Hill) ©1935 (Renewed) Summy-Birchard Company (ASCAP). All Rights Reserved. Used by permission.

Performer flying effects created by Hall Associates Flying Effects, a division of Nunnally Enterprises, Inc.

12

©Opera Theatre of St. Louis

SYNOPSIS

T

he Golden Ticket is a two-act opera based on Roald Dahl’s classic children’s story Charlie and the Chocolate Factory.

It is set in an unknown but familiar city, some time in the recent past, when factory automation was less commonplace and technology more haphazard than it is today.

Before our story begins, Willy Wonka, the secretive confectionary wizard, has sacked all the workers in his factory because one of them was stealing his recipes.

The factory, however, mysteriously still continued to function. Now, twenty years later, Wonka has suddenly announced that he will reveal all its secrets to the winners of five golden tickets he has hidden under the wrappers of five ordinary bars of chocolate. As the action of the opera begins, three of these tickets have already been discovered.

ACT I opens outside Wonka’s factory. It is winter. Atop the walls, as in a medieval castle, a line of gargoyles stands guard.

Embedded in a gigantic buttress is a candy store, run by the eccentric Mr. Archie Know.

A tiny boy, aged about 9 years old, questions him. He is Charlie Bucket, the hero of our story. The scene shifts to the interior of the hovel where Charlie lives alone with his four grandparents. Three of them are bedridden, but the fourth, Grandpa Joe, is still able to walk. Charlie does his best to look after them, but all they can ever afford to eat is cabbage soup. They dream each day of eating something more delicious, but Grandpa Joe is the only one who truly believes that one day their situation will change.

Charlie, still obsessed by Wonka’s factory, switches on their broken-down television to see who has won the first three tickets. In

14

SYNOPSIS (continued) the television studio, the presenter, Candy Mallow, is having problems. The first winner, Mike Teavee, when asked about what he has imagined, tells her that he does not dream.

He only watches TV. Bored by her questions, he starts to vandalize the studio equipment.

Inside the headquarters of Wonka’s greatest rival, Veruca Salt, the spoiled daughter of candy tycoon Lord Salt, is obsessed with winning a golden ticket. Her henpecked father tells her that every one of his employees is now opening Wonka bars as fast as they can in order to find her one. Veruca is unimpressed.

Back in the television studio, Candy Mallow interviews the other two winners, a greedy boy called Augustus Gloop, and an ambitious child actress called Violet Beauregard. Once again, the interview gets out of control. In their respective homes, Charlie and Veruca are going to bed. Both long for a golden ticket.

One of them, however, is dreaming of magic and adventure, the other only of ownership and power. Night passes into a new day: Charlie’s birthday. It is the one day each year he gets a chocolate bar. Expectantly, he opens the wrapper. He knows this is his only chance to win. But there is no ticket. On his way to school, he passes Mr. Know’s shop and the two of them talk. Mr. Know encourages Charlie to invent a new chocolate recipe and assures him that his luck will change. Charlie cannot see that it ever will.

Inside Lord Salt’s factory, the exhausted workers have failed to locate a golden ticket.

Veruca is beside herself with rage. Suddenly, someone finds one. Veruca is ecstatic. At last she has what she wanted. For Charlie, however, things have turned from bad to worse. Caught in a bitter snowstorm on his way home from school, he is knocked to

the ground by a bunch of marauding bullies outside Mr. Know’s shop. Then, hidden in the snow, he finds a dollar bill. He hesitates for a moment before going to buy another Wonka bar. As he opens it he sees – glittering beneath the wrapper – his golden ticket.

A bright new day has dawned. A huge crowd is gathered outside the chocolate factory to see Willy Wonka. The first four winners appear, each with one of their parents. Charlie arrives last, with Grandpa Joe. Candy Mallow, trying to interview Charlie, is upstaged by Wonka when he sails over the wall of his factory in a hot-air balloon. Summoning the five children, Wonka warns them that his factory is an unpredictable place, and that – if they are to visit it in safety – they must always do exactly what he says. As they enter the factory, the crowd wonders what excitements lies ahead for the lucky winners.

©Opera Theatre of St. Louis

APR. 4 – MAY 13 BUY NOW! 404.733.5000

alliancetheatre.org/ghostbrothers

discover us. discover you.

Series on the Hertz Stage

16

Synopsis (continued) ACT II opens inside the chocolate factory.

There, Wonka reveals the first of his factory’s wonders: a vast candy field and a gigantic subterranean chocolate river. Augustus Gloop cannot resist drinking from it and falls in. His panic-stricken mother begs Wonka to do something because Augustus cannot swim, but Wonka cannot prevent the boy from being sucked into one of the factory’s pipes. Wonka then explains how he has kept his factory going. He has imported special workers: Oompa Loompas. Wonka instructs some of them to take Mrs. Gloop and look for Augustus. He hopes the boy has not been turned into fudge.

More Oompa Loompas arrive in a large pink boat made out of an enormous boiled sweet and the remaining passengers all get aboard.

Wonka takes them on a hair-raising ride in total darkness down the chocolate rapids. The boat pulls up outside the inventing room.

There, Wonka demonstrates a machine he has developed to make three-course-meal chewing gum. Though he assures the children that the gum is not yet ready for consumption, Violet Beauregard cannot resist trying it.

It is a big mistake. Very soon the terrified Violet finds herself turning into a gigantic blueberry and is taken away to be juiced.

Wonka then takes his guests into a curious television studio. There he is experimenting with sending chocolate around the world by television. Despite Wonka’s warnings, Mike Teavee leaps into the complex apparatus and is instantly miniaturized. Wonka tells his nervous mother that if she wants her son back, she has only one option: to stretch him. Grandpa Joe, moved by her plight and convinced that Charlie is safe in Wonka’s hands, gallantly decides to stay with her.

Wonka takes the two remaining children into an oriental bazaar, where specially trained squirrels are helping to make Turkish Delight by sorting out the good nuts from the bad ones. Veruca demands to take a squirrel home and, when Wonka refuses, she tries to grab one. Deciding that she is a bad nut, the squirrels take hold both of Veruca and her father and flush them both down the factory’s rubbish chute.

Wonka and Charlie are now alone in the factory. Wonka shows Charlie his magical glass elevator and Charlie presses the Up and Out button. The elevator smashes through the roof of the factory, stopping only when it is hovering high in the sky over the city. Wonka tells Charlie that he is retiring and that he has chosen him to take over. He gives Charlie the key to the factory. Charlie presses another button and the elevator falls out of the sky. It crashes straight through the roof of his home.

The grandparents are astonished when Charlie tells them what has happened.

Initially reluctant to leave their little home, they agree to move when Charlie tells them they will now be able to eat as much as they want. Charlie goes to tell Mr. Know what has happened and is surprised to find that his little sweetshop has closed. He is perplexed. For a moment he wonders what to do. Suddenly however, the gates of the factory open. The grotesque children and their parents appear, accompanied by a host of Oompa Loompas and squirrels. Together with Wonka and Charlie’s grandparents they acclaim Charlie and celebrate his imagination. All look forward to a future filled with love and laughter. n Courtesy of American Lyric Theater

18

PROGRAM NOTES

Photograph by Felicity Dahl © Roald Dahl Nominee Ltd.

Charlie and the Chocolate Factory is one of the most life-enhancing children’s stories ever written. Yet it was written during a time of great personal sadness for its author.

Dahl started work on it in 1961, shortly after his 6-month-old son, Theo, had been crushed against the side of a bus by a New York cab, and during the course of writing it, his eldest daughter, Olivia, only 7, was to die of measles.

Theo had eight major cranial operations over a period of two and a half years.

Conventional medicine at the time offered no reliable solution to the problem. So Dahl, always something of an amateur inventor, took matters into his own hands.

He brought together Kenneth Till, Theo’s neurologist, and Stanley Wade, an eccentric engineer who made tiny motors for model airplanes. Under Dahl’s leadership, the trio designed a valve that functioned perfectly.

It was manufactured for no profit and remained in use around the world for more than 20 years before it was finally superseded. It probably saved the lives of thousands of children.

The real world for Dahl was consequently filled with a host of practical difficulties.

Chief among them was how to drain the excess fluid that the trauma had created around the brain of his young son. In all,

Writing the book was a form of escape for Dahl. In the middle of an orchard in the English countryside, with the curtains of his writing hut tightly drawn, Roald could – at least for a few hours at a time – elude

The Geriatric Child Roald Dahl and the Evolution of Charlie and The Chocolate Factory

Helping our communities can make the world a better place.

Š2012 Zurich American Insurance Company

Zurich believes that supporting the arts makes a difference in any community. It is in much the same spirit we’re committed to making a positive difference in your world with insurance solutions.

We are pleased to be a sponsor of The Atlanta Opera and salute the great music it makes accessible to all. www.zurichna.com

20

PROGRAM NOTES (continued)

©Opera Theatre of St. Louis

the distractions of the real world and travel to happier, more fantastical realms where no unpleasant surprises were likely to disturb him. The character of Willy Wonka – the superhuman inventing genius with an ability to create the most outlandish and exciting sweets the world had ever seen – became, in some respects, his alter ego. This extravagant magician – whose name Dahl had refashioned from a boomerang called the Skilly Wonka that his half brother Louis had once made for him – possessed a personality that was much like his creator’s. He was capricious, entertaining, dogged, and brilliant. He was an adult, but one with the sensibilities of a child.

He was devoid of sentimentality. He was funny. He was private. He was elusive. And he had a dark side. Bad children would get stretched, transformed into giant blueberries or turned into fudge if they stepped out of line in his inventing-rooms. It was also particularly reassuring that Wonka’s imaginary kingdom was focused on one of Roald’s most favorite items: chocolate.

Ever since he was a child, Roald had been fascinated by the stuff. Each year, at his boarding school, he had received a cardboard box containing six bars of new chocolate.

The box came with a checklist from the

manufacturers on which its recipient was invited to write comments and award marks to each new variety. Even as a teenager, Roald was a discerning critic –“too subtle for the common palate” had been one of his observations. He fantasized, too, about the extraordinary place where these new recipes were devised, and pondered the excitements of being one of the chocolate inventors. The passion continued into adulthood. One of the talismanic objects he kept beside him in his writing hut was a big silver ball made out of wrappers taken from the chocolate bars he ate for lunch each day when he was working at his office at Shell in London in the 1930s.

Somewhere between a golf ball and a tennis ball in size, it was so unexpectedly heavy that, when he brought it out and showed it to visitors, few could guess what it was. Most reckoned it was some sort of cannonball.

Roald’s own taste in chocolate was eclectic.

Sometimes it was high-brow. During the war, while he was working in Washington DC, he arranged for regular boxes of milk and bittersweet chocolate to be sent across the Atlantic to his mother and each of his siblings in England from a high-end New York chocolatier called Rosemarie de Paris.

This little bit of luxury helped relieve the

A A MeMbership MeMbership Group Group for for YounG YounG professionAls professionAls The The Atlanta Atlanta Opera Opera Comprimarios Comprimarios enjoy enjoy benefits benefits such such as as specially specially priced priced tickets tickets and and seating, seating, an an intermission intermission lounge, lounge, a a season season listing listing in in the the ARIA ARIA for for Young Young Professionals, Professionals, invitations invitations to to special special events events and and more! more!

For For more more information information about about event event listings, listings, pick pick up up a a copy copy of of the the ARIA for ARIA for Young Young Professionals Professionals in in the the lobby lobby or or follow follow us us online: online: facebook.com/TheAtlantaOperaComprimarios facebook.com/TheAtlantaOperaComprimarios twitter.com/TheAtlantaOpera twitter.com/TheAtlantaOpera

OPerA FAMily DAy

Opera Opera Family Family Day Day isis aa fun fun event event for for young young children children (PreK (PreK -- 3rd) 3rd) and and families families to to learn learn about about and and celebrate celebrate opera. opera.

Saturday Saturday May May 19, 19, 2012, 2012, 10:00AM 10:00AM – – 2:00PM 2:00PM The Atlanta Opera Center The Atlanta Opera Center •• Performances Performances of of Rabbit Rabbit Tales Tales •• Interactive Interactive costume costume shop shop •• Instrument •• Stage Instrument petting petting zoo zoo Stage combat combat demonstrations demonstrations •• Stage Stage makeup makeup demonstrations demonstrations •• Crafts Crafts For For more more information, information, visit visit www.atlantaopera.org. www.atlantaopera.org.

Children's Opera The Atlanta Opera is pleased to present Rabbit Tales, a world premiere Atlanta Opera commission, for the 2011-2012 season. Based on the Br’er Rabbit stories by Joel Chandler Harris, this production is a contemporary, light-hearted opera that combines several story lines from Native American, African and Cajun Folklore.

Rabbit Tales is written and composed by Atlanta-based artists.

Rabbit Tales Community performances • Wednesday, March 21, 10am & 1pm at The Atlanta Opera Center • Saturday, March 24, 11am at The Southwest Arts Center Tickets: $6 • Visit www.AtlantaOpera.org or email education@AtlantaOpera.org

22

PROGRAM NOTES (continued) miseries of rationing. But his real enthusiasm was always for classic commercial massmarket chocolates. Meals at his home always concluded with a selection of familiar brands – produced from a small red plastic box while he waxed lyrically about the seven miraculous years between 1930 and 1937 when many of them first appeared.

“In this glorious and golden decade,” he wrote, “all the great classic chocolates were invented: the Crunchie, the Whole-Nut Bar, the Mars Bar, the Black Magic Assortment, Tiffin, Caramello, Aero, Malteser, Quality Street Assortment, Kit Kat, Rolo, and Smarties. In music the equivalent would be the golden age when compositions by Bach and Mozart and Beethoven were given to us. In painting it was the equivalent of the Renaissance in Italian art and the advent of the impressionists towards the end of the 19th century. In literature it was Tolstoy and Balzac and Dickens. I tell you, there has been nothing like it in the history of chocolate and there never will be.”

Charlie and the Chocolate Factory went through six rewrites, and many aspects of the story were transformed from first to final draft. At the beginning there were no Oompa Loompas or factory workers and no Grandpa Joe. Nor were any of the child grotesques present in their final form.

Characters who were eventually eliminated from the adventure or substantially altered included Elvira Entwistle (the prototype of Veruca Salt), Miranda Grope (who fell into the chocolate river), Tommy Troutbeck (who disobeyed Wonka and ended up in the “Pounding and Cutting Room”), Bertie Upside (who overheats after eating too many warming candies), Marvin Prune, Violet

Strabismus, and Herpes Trout. The plot, too, was quite different: It was a detective story in which Charlie strayed from Wonka’s gaze long enough to be accidentally coated in quick-drying chocolate. Mistaken for one of Wonka’s giant “chocolate boys,” he is delivered as an Easter present to Wonka’s son Freddie. Trapped inside his chocolate shell, Charlie is left overnight in Wonka’s home, where he witnesses a burglary. The following morning, when he has been liberated from his cocoa prison, Charlie helps identify the thieves and is rewarded by Wonka with a huge sweet shop of his own, which occupied a whole block in the center of the city and was nine stories high.

In one draft, Dahl even drew a little picture of Charlie, describing him as “the tiniest 7-year-old that you could ever find anywhere ... as bright and clever as any other boy of his age in the town, and as brave as a lion and as kind and nice and cheerful as anyone you could meet.” In another, Charlie confronted Wonka with the issue that innumerable educationalists would ponder in future years.

What actually happened to the children who were juiced, stretched, minced, flushed down a rubbish chute, or cooked in a fudgeboiler? Shocked that Charlie should think anyone might actually have been hurt in his domain, Wonka tells the boy indignantly: “I run a chocolate factory, you know, not a butcher’s shop.” In bringing The Golden Ticket to the lyric stage, Peter and I have fleshed out Charlie and Mr. Wonka with material drawn from some of these earlier drafts and briefly rescued Marvin, Miranda, and Herpes from literary oblivion. Wonka’s alter ego, the ancient sweet-shop owner Mr. Know, however, is entirely our own creation.

NOW SHOWING: AMERICA’S MASTERPIECES Masterpiece Lighting proudly presents the unique quality of America’s leading lighting and architectural hardware designers and manufacturers. Visit our spacious showrooms now for distinctive lines and decorative touches you simply can’t find anywhere else, inside or outside the USA.

LIGHTING

DESIGN

HARDWARE

VINTAGE

FANS

PLUMBING

ACCESSORIES

Atlanta Showroom -- 558 Fourteenth Street • 404.897.9977 Roswell Showroom -- 580 E. Crossville Road @ Mansell Village • 678.578.6400 Open 8-5 Monday through Friday and 9-5 Saturday • www.masterpiecelighting.com

24

PROGRAM NOTES (continued) When Dahl finally submitted the story to his editor at Alfred Knopf Inc., she had no idea whatsoever that a classic tale had landed in her lap. She liked the book, but had reservations about the literary conventions that it broke and felt that parts of it were vulgar and in bad taste. “This world of children’s books has its own set of rules,” she told Dahl, “ignoring these rules does cause unnecessary difficulties for a book.” Her boss Bob Bernstein viewed it differently, however. He sensed at once he was dealing with something out of the ordinary.

“It is a wonderful, wonderful children’s book,” he enthused, recounting how his three sons had received it with rapture. So did Alfred Knopf himself, who found the book “miraculous,” and immediately predicted it would become “a classic,” largely because it appealed to adults as well as children. His wife, Blanche, agreed. “Children should adore it,” she told Roald, “and – judging by myself – old ladies too.” The venerable Knopfs and Bob Bernstein’s children were among the first to appreciate that, beyond the story’s coarse humour and madcap violent morality, lay a fantasy underpinned by powerful emotional ingredients. A child, starved of opportunities and avenues of selfexpression, finds an unexpected soul-mate, who believes in him and empowers him to succeed. It was a potent recipe. Willy Wonka may be a confectionery wizard, but he is also the “special friend” that most children long for – the one who recognizes their worth and talent and with whom they can share their vulnerabilities. Many years later Dahl himself would jokingly admit that his child hero always had always been a “rather boring little bugger” and that it was really Wonka “who makes the stories.”

Charlie and the Chocolate Factory, which was eventually published on 30 December, 1964, inhabits that hinterland between the world of the child and that of the adult – territory that Dahl himself was ideally equipped to explore. At the end of the final version of the book, Wonka (now unmarried and childless) acknowledges his vulnerability, giving his factory to Charlie because he needs an heir. He could pass his kingdom onto a grown-up, Wonka tells the lad. But he doesn’t want to. “A grown-up person won’t listen to me; he won’t learn. He will try to do things his own way and not mine. So I have to have a child.” Dahl himself, who in later life often described himself as a “geriatric child,” will always be remembered as a Mr. Wonka figure – garrulous, exotic, rambunctious and unpredictable. But a part of him, a vulnerable, hidden part, remained the child. He found it easy to see the point of view of children and sometimes saw himself as their ambassador in an adult world. As his alter ego Willy Wonka put it in an early draft of Charlie and the Chocolate Factory: “In my factory I make things to please children. I don’t care about adults.” n - Donald Sturrock

©Opera Theatre of St. Louis

26

MEET THE CAST

Peter Ash Composer / Conductor Atlanta Opera Debut Peter Ash was born in Iowa, USA and studied at the Guildhall School of Music in London.

As a conductor, he has worked with many orchestras in Europe and America, including the Royal Philharmonic Orchestra, London Sinfonietta, Scottish Chamber Orchestra, St. Petersburg Camerata, Kammerphilharmonie Berlin, Estonian State Symphony and the National Orchestra of Latvia. Opera work includes Los Angeles Opera, Lisbon Opera, Istanbul State Opera and English Bach Festival. His taste is eclectic and ranges from baroque opera to contemporary music. The Hungarian Cultural Centre recently awarded him their Bartók prize for his performances of the composer’s music and in particular for a performance of Duke Bluebeard’s Castle.

Career highlights include the world premiere of Tobias Picker’s opera Fantastic Mr. Fox for the Los Angeles Opera, several premieres at the Salzburg Festival with Scharoun Ensemble (members of the Berlin Philharmonic), three Haydn operas at Garsington Opera (UK), and The Minpins – his own arrangement of orchestral music by Sibelius in St. Petersburg.

He also has composed two operas. Keepers of the Night was first presented by the Los Angeles Children’s Chorus in 2007. He is developing his third opera project. Ash resides in London where he is Artistic Director of the London Schools Symphony Orchestra. He has led the orchestra for more than 10 years and has taken it on tour all over Europe, as well as to Turkey and Japan.

Donald Sturrock Librettist Atlanta Opera Debut Donald Sturrock was born in 1961 and grew up in England and South America.

After studying Modern History at Oxford University, he joined BBC Television’s Music and Arts Department, where he worked as both a producer and director from 1983 to 1992. After leaving the BBC, he wrote and directed “The Graham Greene Trilogy” for BBC2’s ARENA series. Sturrock also directed a four-part series for the BBC, “Plácido Domingo’s Tales at the Opera,” and two award-winning television series for IMG Artists and Idéale Audience, “The Art of Singing” and the Grammy® Awardnominated “The Art of Piano,” as well as, “An Awfully Big Adventure and The Human Face” (with John Cleese). In collaboration with an international team of composers, including Paul Patterson, Eleanor Alberga, Georgs Pelecis, Tobias Picker, Vladimir Tarnopolski, Peter Ash, and Kurt Schwertsik, Sturrock has adapted and directed a series of musical versions of Roald Dahl’s children’s stories.

In 1995, he wrote and directed a TV film version of “Little Red Riding Hood” with Danny DeVito, Ian Holm, and Julie Walters with choreography by Matthew Bourne. It was broadcast to a UK television audience of more than 6 million viewers. Sturrock is also an accomplished stage director. In 1998, he directed the world premiere of Tobias Picker’s opera Fantastic Mr. Fox. In 2006, Sturrock was commissioned to write the official biography of Roald Dahl. Storyteller was published by Simon and Schuster in the fall of 2010.

28

MEET THE CAST (continued)

Michael Shell Stage Director Atlanta Opera Debut After making his directorial debut in 2006, Mr. Shell has gone on to direct for Virginia Opera, Piedmont Opera, Opera Tampa, Opera Omaha, The A.J. Fletcher Opera Institute, Virginia Opera, Opera Theatre of Saint Louis and Wexford Festival Opera. He made his international directing debut at the Wexford Festival Opera in 2010 with a production of Winners, by American composer Richard Wargo. He has worked as assistant director at Glimmerglass Opera, Opera Omaha, Portland Opera, Dallas Opera, Wexford Festival Opera and Opera Theatre of Saint Louis (OTSL). He has worked on three world premieres, including OTSL’s production of The Golden Ticket. He has written and directed three cabarets, including All About Love and The Glamorous Life – A group therapy session for Opera Singers, both for OTSL. Mr. Shell has been a guest faculty member at the North Carolina School of the Arts and Webster University St. Louis, teaching Opera Workshop and directing Undergraduate Opera Workshop performances. He was the 2009 honoree of the OTSL Charles MacKay Career Development Fund.

Future engagements include directing Così fan tutte for OTSL this spring.

Daniel Okulitch Willy Wonka/ Mr. Know Atlanta Opera Debut Canadian bass-baritone Daniel Okulitch has performed in some of the most prestigious opera companies and orchestras throughout Europe and North America, including Paris, La Scala, Teatro Colón, Dallas, Washington, and Los Angeles. He is lauded as much for his powerful stage presence and dramatic abilities as for his “focused, resonant bass-baritone that he wields with power and sensitivity” (NJ Star-Ledger). Mr. Okulitch opened the 2010-2011 season with his return to the Los Angeles Opera as Figaro in Mozart’s Le nozze di Figaro. He then made his Theatre Wielki in Warsaw debut as Mozart’s Figaro, performed Beethoven’s 9th Symphony with the Vancouver Symphony, returned to Opera Hamilton for its Opera Gala and then made his New York recital debut at Weill Hall.

In the summer of 2011, he made his Santa Fe Opera debut as Abdul in Menotti’s The Last Savage. Future engagements include his return to Teatro alla Scala as Swallow in Peter Grimes, a return to Santa Fe Opera as Mozart’s Count, Don Giovanni with Vancouver Opera and Portland Opera, and Haydn’s The Creation in Vancouver.

Engagements in the 2009-2010 season included his New York City Opera debut and his Palm Beach Opera debut in Don Giovanni, his return to Vancouver Opera as Mozart’s Figaro, Calgary Opera as Frederick Bhaer in Little Women and his Opera Theatre of Saint Louis debut as Willy Wonka in the world premiere of The Golden Ticket.

29

MEET THE CAST (continued)

Ruben Roy Charlie (3/9 & 3/11) Atlanta Opera Debut Fourteen-year-old Ruben Roy has been singing for almost half of his life. His operatic experience includes the role of Amahl in Menotti’s Amahl and the Night Visitors, and singing as one of the street boys in Bizet’s Carmen, both with the Georgia State University Opera Department. He also has appeared as a soloist in Gabriel Faure’s Requiem at Peachtree Road United Methodist Church. Ruben is a founding member of the Georgia Boy Choir, conducted by David R. White. He began singing under Mr. White’s direction when he was 9 years old. With the Georgia Boy Choir, he has performed in the Musikverein in Vienna, St. Paul’s Cathedral in London, the Glinka Capella in St. Petersburg, Peking University Hall in Beijing, and in various locations throughout England, China, Austria, the Czech Republic, Russia, Ukraine, and the United States. Ruben is an eighthgrader at The Heiskell School, where he not only excels academically and musically, but also is a valued member of the school’s basketball, cross-country, and track and field teams. Science is his favorite subject. He also studies the piano, and enjoys playing the guitar. For three consecutive years, Ruben has been elected by his fellow choristers in the Georgia Boy Choir to receive its highest award, the Tradition Award, presented to the boy who most embodies all of the qualities inherent in a good chorister: Leadership, Excellence, and Character.

Benjamin P. Wenzelberg Charlie (3/3 & 3/6) Atlanta Opera Debut Benjamin P. Wenzelberg recently performed the role of Amahl in Amahl and the Night Visitors at Avery Fisher Hall with the Little Orchestra Society and was a featured soloist in Measure for Measure at Shakespeare in the Park with the Public Theater. He was a soloist in Mendelssohn’s Elijah with the New York Philharmonic under the baton of Alan Gilbert, and was also a soloist in Mary Shelley with New York City Opera VOX. Benjamin has appeared in numerous opera productions with the Metropolitan Opera as well as concert performances with Chelsea Opera. He studies composition at the pre-college division of the Juilliard School, is a jazz piano scholarship student at the 92nd Street Y School of Music in New York, and has achieved high honors for classical piano performance at the Princeton Piano Festival. Benjamin has received awards for his compositions and, in 2011, made his conducting debut at the Crested Butte, [Colo.] Performing Arts Center.

(left to right) Composer/conductor Peter Ash, Benjamin P. Wenzelberg, Ruben Roy, principal coach Michael Spassov, and stage director Michael Shell win a “golden ticket” to a local chocolate factory. Photo: Michael Shell.

30

MEET THE CAST (continued)

Kristin Clayton Grandma Georgina / Mrs. Gloop Atlanta Opera Debut American lyric soprano Kristin Clayton created a sensation when she sang the world premiere of Jake Heggie and Terrence McNally’s At the Statue of Venus for the grand opening of Denver’s Caulkins Opera House. This performance is a reprise of the role of Grandma Georgina/ Mrs. Gloop, which she premiered with Opera Theatre of Saint Louis in 2010. Most recently, Ms. Clayton created the role of Beatrice in Heggie’s Three Decembers with the Houston Grand Opera and the San Francisco Opera, sang Street Scene with Opera Theatre of Saint Louis and Don Giovanni for Festival Opera of Walnut Creek. Ms. Clayton made her 1994 San Francisco Opera debut singing in the world premiere of Susa’s The Dangerous Liaisons, I Pagliacci, Ariadne auf Naxos, Three Decembers, Das Rheingold, Herodiade (recorded and released by Sony Classical). She has sung in productions of La bohème, La traviata and La rondine with the Chautauqua Opera and Don Pasquale, Faust and La tragédie de Carmen with Festival Opera in Walnut Creek. As a member of San Francisco Opera’s Merola Program and Western Opera Theater, she sang Rosalinda in Die Fledermaus, as well as title roles in Zaïde, Suor Angelica, Le nozze di Figaro, Carmen, L’incoronazione di Poppea, Louise, and Rusalka. Ms. Clayton is featured on a recording of songs by American composer Jake Heggie titled The Faces of Love (RCARed Seal), and has performed with the San Francisco Symphony, the Sarasota Orchestra, the Oakland East Bay Symphony and the San Mateo Masterworks Chorale.

Jamie Barton Grandma Josephine / Mrs. Teavee Atlanta Opera Debut A winner of the 2007 Metropolitan Opera National Council Auditions and a Grammy® nominee, American mezzo-soprano Jamie Barton has been described by Opera News as “a rising star” with a “sumptuous voice.” Ms. Barton is a recent graduate of the Houston Grand Opera Studio. The 2011-2012 season sees her debut at the Lyric Opera of Chicago in productions of Les contes d’Hoffmann (voice of the Mother), Boris Godunov (Nurse), and Ariadne auf Naxos (Dryade), followed by 2nd Norn in Götterdämmerung with the Bayerische Staatsoper. Recently, Ms. Barton returned to record Scarlatti’s La Dirindina with Ars Lyrica in Houston. Last season, Ms. Barton performed Second Lady in The Magic Flute with the Metropolitan Opera, and made her debut at the Bayerische Staatsoper as Mère Marie in Dialogues des Carmélites.

This past summer, she made her debut with the Santa Fe Opera in productions of Faust and Gian Carlo Menotti’s The Last Savage.

Concert appearances include Domenico Scarlatti’s rarely performed comic intermezzo La Dirindina with Ars Lyrica (Music of the Baroque), Mozart’s Requiem with Milwaukee Symphony Orchestra under Edo de Waart, Schubert’s Mass No. 6 with San Diego Symphony, and Beethoven’s Symphony No. 9 with the Omaha Symphony. She also appeared as a guest soloist in the Marilyn Horne Foundation Gala at Carnegie Hall.

Future engagements include returns to the Bayerische Staatsoper, and Houston Grand Opera in leading roles.

31

MEET THE CAST (continued)

Keith Jameson Grandpa Joe Atlanta Opera Debut: Turandot, 2007 Tenor Keith Jameson regularly appears on the major opera stages throughout the United States. He has been heard at the Metropolitan Opera, Lyric Opera of Chicago, Los Angeles Opera, New York City Opera, Dallas Opera and Santa Fe Opera. In the current season, he returns to Los Angeles Opera as Triquet in Eugene Onegin and continues his long relationship with Boston Baroque in performances of Haydn’s Creation, which will be recorded for future commercial release. He returns to Boston Baroque later in the season for performances of Handel’s Messiah and makes his debut with Arizona Opera as Goro in Madama Butterfly. Mr. Jameson returns to the Metropolitan Opera this season as the Novice in Billy Budd, a role for which he received critical acclaim in the summer of 2008 with Santa Fe Opera. At the Metropolitan Opera he has been heard as Remendado in Carmen, as Gherardo in Gianni Schicci, and as a Footman in War and Peace for his company debut. At the Lyric Opera of Chicago he has been heard as Flute in A Midsummer Night’s Dream, Triquet in Eugene Onegin, Beppe in Pagliacci, and Basilio in Le nozze di Figaro.

Other recent engagements of note include Pietro in Frank Schreker’s Die Gezeichneten, Valetto in L’incoronazione di Poppea, and Goro, all with Los Angeles Opera; and Remendado, Scaramuccio in Ariadne auf Naxos, Bob Boles in Peter Grimes, and the Novice with Santa Fe Opera.

Jason Hardy Grandpa George / Mr. Beauregard Atlanta Opera Debut: Andrea Chenier, 1998 Jason Hardy recently returned to New York City Opera as Leporello in a highly acclaimed production of Don Giovanni.

In the 2011-12 season, Jason once again performs Figaro in Le nozze di Figaro with Michigan Opera Theater. This past season, he made his debut with Madison Opera as Figaro in Le nozze di Figaro, returned to The Atlanta Opera as Don Alfonso in Così fan tutte, and sang Basilio in Il barbiere di Siviglia with the Bar Harbor Music Festival. In concert he was seen with the Richmond Symphony for Handel’s Messiah, Bach’s Mass in B minor with the Atlanta Sacred Chorale, Mozart’s Requiem and Bach’s Cantata #106 with the Handel Choir of Baltimore.

Mr. Hardy’s most recent operatic engagements include the title role in Le nozze di Figaro with Opera Cleveland, Opera Omaha, and Opera Birmingham, the Speaker in Die Zauberflöte with The Atlanta Opera, Cadmus and Somnus in Semele with Florentine Opera, a return to Connecticut Opera as Leporello in their production of Don Giovanni, and Colline in La bohème with the Nashville Opera. He was recently seen in recital under the auspices of the Marilyn Horne Foundation, and in concert for Verdi’s Requiem in Prague and Haydn’s Creation in Montreal with the Berkshire Choral Festival, and for Stravinsky’s Les noces with the New York City Ballet and the Los Angeles Philharmonic.

32

MEET THE CAST (continued)

Gerald Thompson Mike Teavee Atlanta Opera Debut Gerald Thompson began the 2011-12 season with a return to the Metropolitan Opera for the role of Bertarido in Rodelinda (cover) and later travels to Chicago Opera Theater for Teseo. He rounds out the season with his return to Europe for revival performances in Carl Heinrich Graun’s Montezuma at the Sanssousi Festival in Potsdam. Recent engagements included his debut at Pacific Opera Victoria as Bertarido. He returned to New York City Opera in the role of Hegai in Esther, and made his Royal Opera House, Covent Garden, debut in the role of The Dog in The Cunning Little Vixen, under the baton of Charles Mackerras. Previously, Mr. Thompson made his Lyric Opera Chicago debut in Giulio Cesare under the baton of Emmanuelle Haïm, and appeared at Glimmerglass Opera Festival in the role of Tolomeo. At Portland Opera, he sang Unulfo in Rodelinda and Endimione in La Calisto.

His role of Medoro in Orlando in Moscow was one of the first public appearances in Russia by a countertenor. In April 2007, Thompson made a double-barrelled New York debut performing with both New York City Opera as Guido in Flavio and the Metropolitan Opera as Tolomeo in Giulio Cesare. In 2005, he was the recipient of the prestigious Adler Fellowship at San Francisco Opera (SFO), and made his debut as Prince Go-Go in the American premiere of Ligeti’s Le Grand Macabre. This success led to further appearances at SFO as Unulfo and Prince Orlofsky in Die Fledermaus. He reprised the role of Unulfo for his European debut with Opera Barroca in Bilbao, Spain.

Krista Costin Candy Mallow / Squirrelmistress Atlanta Opera Debut Mezzo-soprano Krista Costin recently created the role of Agostina Segatori in the world premiere of Vincent by Bernard Rands at Indiana University Opera Theatre, conducted

by Arthur Fagen. Other Indiana University credits include Cendrillon (L’esprit six) and partial roles in The Consul (Secretary), Mignon (Mignon), Dido and Aeneas (The Sorceress), and Giulio Cesare (Cornelia). While pursuing undergraduate studies at Augsburg College in Minneapolis, Minn., Ms. Costin joined the Minnesota Opera chorus for the 2007-2008 season, appearing in Roméo et Juliette and the North American premiere of The Fortunes of King Croesus. In the summer of 2007, Ms. Costin was selected by the International Festivalensemble Bachakademie Stuttgart to join the chorus for Britten’s War Requiem under the baton of Helmuth Rilling. Ms. Costin resides in Bloomington, Ind., where she studies with Mary Ann Hart.

©Opera Theatre of St. Louis

33

MEET THE CAST (continued)

Abigail Nims Veruca Salt Atlanta Opera Debut Abigail Nims’ 2011-12 engagements include Handel’s Messiah with Masterwork Chorus; Octavian in Der Rosenkavalier with Quad City Symphony Orchestra; and a return to the roster of New York City Opera. Her 201011 season included her debut with Wexford Festival Opera as Veruca Salt, a role she created at the opera’s workshop performances in New York City; Despina in Così fan tutte with Palm Beach Opera; Bach’s Mass in B Minor with the San Francisco Symphony; Haydn’s Harmoniemesse with the St. Paul Chamber Orchestra; Mozart’s Requiem with Quad City Symphony Orchestra; Handel’s Messiah with the Providence Singers.

Ms. Nims also returned to the New York Philharmonic for its presentation of Janáˇcek’s The Cunning Little Vixen. Other highlights include Lazuli in L’étoile in her New York City Opera debut; Stravinsky’s Pulcinella and Crumb’s Night of the Four Moons with St. Paul Chamber Orchestra; Messiah with New Choral Society; Zerlina in Don Giovanni with Opera New Jersey; Despina in Così fan tutte with Opera Grand Rapids; Cherubino in Le nozze di Figaro and Meg in Little Women, both with Opera Delaware; Hermia in A Midsummer Night’s Dream with Princeton Festival; Zefka in Janáˇcek’s The Diary of One Who Disappeared with Gotham Chamber Opera; singing as soloist in Mahler’s Symphony No. 2 at Teatro Municipal de Santiago (Chile); Mozart’s Vespare solennes de confessore and Michael Haydn’s Requiem with Masterwork Chorus.

David Kravitz Lord Salt Atlanta Opera Debut In autumn of 2011, Mr. Kravitz made his debut with Florentine Opera as Ping in Turandot, and appeared with The Washington Chorus for Wachner’s Come My Dark Eyed One and Mozart’s Mass in C Minor. He continued the season as Melchior in Amahl and the Night Visitors with The Little Orchestra Society at Avery Fisher Hall; Dr. Falke in Die Fledermaus with Opera Memphis; and Cosimo in John Musto’s The Inspector with Boston Lyric Opera. Future seasons will include an appearance with The English Concert, under the baton of Harry Bicket, and a return to Opera Theatre of Saint Louis. Recent highlights for the baritone include the role of the United Nations in world premiere performances of Tod Machover’s Death and the Powers at Opéra de Monte-Carlo, with subsequent productions at Chicago Opera Theater and the American Repertory Theater in Boston; Handel’s Messiah with The Philadelphia Orchestra and Baltimore Symphony Orchestra; the Provost Marshall and Gold Merchant in Hindemith’s Cardillac with Opera Boston; and the roles of Dr. Grenvil in La traviata and Mr. Kofner in The Consul with The Glimmerglass Festival.

©Opera Theatre of St. Louis

34

MEET THE CAST (continued)

Ashley Emerson Violet Beauregard Atlanta Opera Debut Fast-rising soprano Ashley Emerson has been praised for her beautiful singing and her charismatic personality onstage.

A graduate of the Metropolitan Opera’s prestigious Lindemann Young Artist Development Program, Ms. Emerson has appeared at the Met in productions of Le nozze di Figaro, Macbeth, La rondine, Il tabarro, and Die Zauberflöte. This season she appeared at the Met as the Dew Fairy in Hänsel und Gretel and as a Quartet Singer in the world premiere of The Enchanted Island.

Further performances this season include the title role in the American premiere of Unsuk Chin’s Alice in Wonderland for Opera Theatre of St. Louis, where she won high acclaim for her performances as Marie in The Daughter of the Regiment. Also this season, she makes a company debut with Pittsburgh Opera as Blonde in The Abduction from the Seraglio. She finishes the season in her first performances as Adina in L’elisir d’amore with Opera North. Recent performances include Blonde with the Boston Symphony Orchestra at the Tanglewood Festival under the baton of Johannes Debus, Flora in The Turn of the Screw with Los Angeles Opera and James Conlon, Young Amelia in the world premiere of Amelia with Seattle Opera, Rosina in Il barbiere di Siviglia with Opera Grand Rapids, and Marie with PORTopera. On the concert stage she has been heard at the Missouri Chamber Music Festival and the White Mountain Musical Arts’ Bach Festival.

Andrew Drost Augustus Gloop Atlanta Opera Debut Tenor Andrew Drost made his Broadway debut in the cast of The Phantom of the Opera. In 2011, he appeared as Syme in Lorin Maazel’s opera 1984 at the Palau de Les Arts in Valencia, Spain, with Maestro Lorin Maazel conducting, Rodrigo in Donna del Lago, Belfiore in Viaggio a Reims, Pirelli in Sweeney Todd, Victorin in Die Tote Stadt. He also performed in the French Fête Gala in the Trio Patriotique: La Belle Helene at the NYCO. He performed the roles of Count Liebenskof in Viaggio a Reims at the Rossini Festival, Pesaro, Italy; Prunier in La rondine, Sarasota Opera; and in the Bernstein on Broadway Concert at Caramoor International Music Festival.

©Opera Theatre of St. Louis

35

MEET THE CAST (continued) Christopher Akerlind Lighting Designer Atlanta Opera Debut Christopher Akerlind has designed lighting, and occasionally scenery, for more than 600 productions at theater, opera and dance companies across the country and around the world. Recent work includes The Gershwin’s Porgy and Bess on Broadway, Martha Clarke’s new work Angel Reapers (Joyce Theater, NYC), Ariadne auf Naxos for the Opera Nationale de Bordeaux, Hubicka, The Golden Ticket, and Virginia for Ireland’s Wexford Festival, Franco Dragone’s KDO! (Foret Nationale, Brussels), Orpheus X (Theatre for a New Audience/ Hong Kong & Edinburgh Festivals), the San Francisco Opera’s world premiere of Philip Glass’ Appomattox, and Kafeneion at the Athens/Epidaurus Festival. His work on Broadway includes The Piano Lesson, Seven Guitars (Tony nomination), Reckless, The Light in the Piazza (Tony, Drama Desk, Outer Critics Circle awards), Awake and Sing (Tony nomination), Rabbit Hole, Shining City, 110 in the Shade (Tony nomination), Top Girls, and Superior Donuts, among others. His extensive credits in opera include productions at the Opera Nationale de Bordeux, Boston Lyric, Chicago Lyric, Dallas, Glimmerglass, Hamburgische Staatsoper, Houston Grand, Los Angeles, Metropolitan, Minnesota, New York City Opera, Nissei, San Francisco, Santa Fe, Seattle, and Washington National operas and more than 45 productions for Opera Theater of Saint Louis, where he has been Resident Lighting Designer for 14 years.

He is the recipient of an Obie Award for Sustained Excellence, the Michael Merritt Award for Design and Collaboration, two Chicago-area Joseph Jefferson Awards, as well as numerous nominations for the Drama Desk, Lucille Lortel, Outer Critics Circle, and Tony awards.

Seán Curran Choreographer Atlanta Opera Debut Seán Curran began his dance training with traditional Irish step dancing as a young boy in Boston, Mass. He went on to become a leading dancer with the Bill T. Jones/Arnie Zane Dance Company. He received a New York Dance and Performance (“Bessie”) Award for his performance in Secret Pastures.

A graduate and guest faculty member of New York University’s Tisch School of the Arts, Curran was an original member of the New York City cast of the off-Broadway percussion extravaganza Stomp. Recent projects for Curran include productions of Much Ado About Nothing and A Midsummer Night’s Dream for The Shakespeare Theater, the 20th anniversary production of Nixon in China and Street Scene at Opera Theatre of Saint Louis; choreography for the New York City Opera productions of L’etoile, Alcina, Turandot, Haroun and the Sea of Stories, Capriccio, and Acis and Galetea; the Playwrights Horizons’ production of My Life With Albertine; and Shakespeare in the Park’s As You Like It. He made his Metropolitan Opera debut choreographing Romeo and Juliette and, most recently, directed Salome for Opera Theatre of Saint Louis and San Francisco Opera. Curran’s work also appeared on Broadway in James Joyce’s The Dead for Playwrights Horizons and The Rivals at Lincoln Center Theater.

He has created works for Trinity Irish Dance Company, ABT II, Denmark’s Upper Cut Company, Sweden’s Skänes Dance Theater, Irish Modern Dance Theatre, Ririe Woodbury Dance Theater, and Dance Alloy.

36

MEET THE CAST (continued)

Walter Huff Chorus Master Atlanta Opera Debut: Tosca, 1988 Walter Huff has been Chorus Master for The Atlanta Opera for 23 years. Mr. Huff studied piano with Sarah Martin, Peter Takacs and Lillian Freundlich. He has performed with singers throughout Europe and the United States and served as coach with the Peabody Opera Theatre, Washington National Opera, and Baltimore Opera Company. Mr. Huff has performed in master classes given by renowned singers and pianists such as Sir Peter Pears, Licia Albanese, Eileen Farrell, Dalton Baldwin, Leon Fleisher, and Elly Ameling. In 1984, he received Tanglewood’s C.D. Jackson Master Award for Excellence, presented

by Seiji Ozawa and the Boston Symphony Orchestra. He has been musical director for The Atlanta Opera Studio, Georgia State University Opera, and Actor’s Express.

Also, Mr. Huff was one of four Atlanta artists chosen for the first Loridans Arts Awards, given to Atlanta artists who have made exceptional contributions to the arts life of Atlanta over a long period of time. In 2008, The Atlanta Opera Chorus under Mr. Huff ’s direction sang critically acclaimed performances of Porgy and Bess at Opéra-Comique in Paris and on tour in Granada, Normandy, and Luxembourg.

Last spring, Mr. Huff serveed as Chorus Master for Faust and Der Rosenkavalier with San Diego Opera.

American Lyric Theater Commissioner of The Golden Ticket Based in New York City, American Lyric Theater (ALT) was founded in 2005 by Lawrence Edelson to build a new body of operatic repertoire for new audiences by nurturing composers and librettists, developing sustainable artistic collaborations, and contributing new works to the national canon. At the heart of all of ALT’s programs is the Composer Librettist Development Program (CLDP), the only full-time mentorship initiative for emerging operatic writers in the United States. Almost every opera company in the country has a Young Artist Program to mentor emerging singers, and over the past 25 years, these programs have proven immensely successful at improving both the artistic level and the career success of American singers around the globe. ALT is dedicated to providing comparable mentorship for operatic writers.

The CLDP is a tuition-free initiative for emerging operatic writers selected through an open, competitive application process.

The program includes a core curriculum of classroom training and hands-on workshops with some of the country’s leading working artists, including composer/librettist Mark Adamo, composer Anthony Davis, librettist Michael Korie, and dramaturg Cori Ellison.

In addition to the CLDP, ALT commissions and develops new operas with the specific goal of developing repertoire to attract new audiences to opera. Currently, ALT is developing five new operas by alumni of the CLDP, including The Poe Project, a trilogy of one-act works inspired by the fiction of Edgar Allan Poe, and La Reina, an electro-acoustic opera with text in Spanish and English that explores the violence and dynamics of the drug war between Mexico and the United States. For additional information, please visit www.altnyc.org.

Benefits tailored for you.

Premiering in the 2012-2013 season at The Atlanta Opera

38

THE ATLANTA OPERA CHORUS Chorus Master Walter Huff Beverly Blouin Rebecca Blouin Melissa Fontaine Jennifer Hamilton Lara Longsworth Megan Mashburn

Brishelle Miller Laura Porlier Rebecca Shipley Amanda Smolek Elizabeth Stuk Laurie Tossing

Chorus Chase Davidson Michael Gaare Grant Jones Michael Jones

Stephen McCool Nathan Munson Jason Royal Ivรกn Segovia

Oompa Loompas Michael Arens Kyle Barnes Zachary Brown

Gabriel Couret C. Augustus Godbee Zachary Heath

Brandon Odom Marc Porlier Stuart Schleuse

Soloists Floor Manager.......................... Gabriel Couret Camera Man..........................Nathan Munson Herpes Trout..............................Michael Jones Mrs. Trout............................. Lara Longsworth Marvin Prune......................... Chase Davidson Miranda Grope.......................Rebecca Shipley Salt Worker...........................Megan Mashburn Oompa Loompa............................ Marc Porlier Dancers David Gonsier Jelani Jones

Seth Heideman Rick Twombley

AtlAntA OperA SpOnSOrShip OppOrtunitieS The Atlanta Opera offers a variety of advertising and sponsorship opportunities that provide exceptional visibility for your company.

Options include print and online media as well as onsite options.

For more information, email sponsorship@atlantaopera.org.

39

THE ATLANTA OPERA ORCHESTRA Violin Peter Ciaschini, Concertmaster Helen Kim, Assistant Concertmaster Viola William Johnston, Principal Cello Charae Krueger, Principal Bass Lyn DeRamus, Principal Flute James Zellers, Principal, Piccolo/Alto Jeana Melilli, Piccolo/Alto Kelly Bryant, Piccolo/Alto/Bass Oboe/Oboe d’amore Dane Philipsen, Principal Clarinet/Saxophone David Odom, Principal John Warren, Bass Clarinet Jan Baker, Alto/Baritone Saxophone Bassoon/Contrabassoon Mike Muszynski, Principal

Trumpet Yvonne Toll, Principal Hollie Lifshey Jonathan Swygert, Trumpet/Flugelhorn Trombone/Euphonium Mark McConnell, Principal Richard Brady, Bass Trombone Tuba Donald Strand, Principal Percussion Michael Cebulski, Principal Jeff Kershner Timpani John Lawless, Principal Harp Susan Brady, Principal Piano/Celeste/Harpsichord Michael Spassov Personnel Manager Mark McConnell

Horn David Bradley, Principal

our sponsors:

40

The Atlanta Opera: Community

24 Hour Opera Project – January 2012

©Tim Wilkerson

MAINSTAGE S LUCIA IMAGE

Rabbit Tales

The Atlanta Opera: social Events

Saks Men of Style – January 2011

©Austin Holt

Opera Ball – September 2011

The Atlanta Opera: On The Mainstage

Lucia Di Lammermoor – November 2011

©Tim Wilkerson

41

World Premiere - October 2011

©Tim Wilkerson

Holiday Concert – December 2011 ©Tim Wilkerson

COMMUNITY IMAGES ©Jim Fitts

Cartier Party – November 2011

©Ben Rose Photography

SOCIAL IMAGES

Lucia Opening Night Party – November 2011

©Tim Wilkerson

42

THE ATLANTA OPERA VOLUNTEERS

T

he Atlanta Opera thanks its volunteers for all their help during the 2011-2012 season.

Volunteers play a major role, participating in service activities ranging from education events and community initiatives, to production work behind the scenes, to office work such as mass mailings – and more! If you would like to volunteer, please call The Atlanta Opera at 404.591.2918, or go to www.atlantaopera.org/volunteer.aspx

Denise Andersen Erin Bailess Joan Baskin Sanford Baskin Charley Burney Jessica Callaham Lucie Cartaya Antoinette Collier Noreen Conort Jean Cornn Brittany Dalton Lorie Davis Chris Deutschler Kevin Dew Richard Dodder Brad Dorfman Rabiah A. Elisa Anna Filardi

Pete Fujimoto Anne Marie “Peg” Gary Maxi George Aaron Gilliam Debra Gray Anne Hayes Lauren Hayes Suzanne Hayes Frances Holland Cardine R. Johnson Kathi Johnson W.C. Jones Paula Kocher Patty Kramer-Lake Helen and Steve Kraus Virginia J. Lam Ryan Lee Sonny Letak

Peg and James Lowman Mary Ruth McDonald Lorrain and Joseph Mills Fatimah Mustafaa Robert Nemo Vernon Norris Kim Ong Sonia Oxman Priya Patel Polly Pater Glenda Pearson Tandi Reddick Nancy Reed Zabrina Rios Diana Robinson Otis Salliey Cherylene and John Sands Joyce Schechter

Gail Shattah Dan Shumate Verna Slade Pat Smith Cruzita Soto Eleanor and Jim Strain Beth Suryan Sandy Taffel Carol and Donald Thurman Katherine Toppin Ruth Vaught Mark and Tricia Vogelgesang Alice Wade Alana C. Walker Hilary Wayne Harold Whitney Branalyn Williams Laura Chris Wright

Your Trusted

A

Strategic Partner

s a full-service surety and insurance brokerage firm, Sterling Risk Advisors is dedicated to becoming trusted strategic advisors, offering a personalized touch to our commercial, professional and personal clients. Our services include: Commercial Business Insurance Construction Insurance Medical Malpractice Insurance Surety Bonds Liability Insurance for Professionals Employee Benefits Personal Insurance Home-Auto-Boat/Yacht-Umbrella-Valuable Articles

Unwavering Principles.

Trusted Strategic Advice. www.SterlingRiskAdvisors.com • 678.424.6500

Old Edwards Inn and Spa In Scenic Highlands, NC, Atlanta’s Closest Full Resort Mountain Escape With Acclaimed Dining, Shopping, Live Arts, Galleries, Golf and Adventure www.oldedwardsinn.com

828.787.2625

44

EDUCATION AND OUTREACH

F

or more than 30 years, The Atlanta Opera has been committed to producing operas of the highest caliber, and presenting to audiences all over the metro Atlanta area. An integral part of our organizational mission is our commitment to educating the community about the opera art form through enjoyable performances and creative programs.

This winter, The Atlanta Opera was pleased to produce the 2nd annual 24-Hour Opera Project. Composers, lyricists, stage directors, and opera singers from all over the country applied and participated. The Project started with a Friday evening kickoff event, where participants met each other and were paired randomly into creative teams. Composers and lyricists worked together for 12 hours to compose an opera scene. Stage directors, music directors and singers began rehearsing early Saturday morning, and the public enjoyed a free performance Saturday evening.

Opera fans outside of Atlanta were able to tune in to participate via live webcast and vote for their favorite composition.

Not to worry if you missed the fun, video highlights of the 24-Hour Opera Project are available for your viewing pleasure on

our website at www.atlantaopera.org. We’re already cooking up plans for the next 24Hour Opera Project, and hope you will join us next year! The Atlanta Opera 24Hour Opera Project was made possible by generous support from Turner Broadcasting System, Inc. and Turner Voices.

We are happy to be back out on the road with our new opera for children, Rabbit Tales, again this spring. Written and composed by Atlanta-based artists, the opera has strong regional ties, and is based on the Br’er Rabbit stories of Georgia author Joel Chandler Harris. In addition to school performances, The Atlanta Opera will host a special opera workshop for area Girl Scouts on Saturday, March 17th, which will include performances of Rabbit Tales, crafts, and opera makeup and costume demonstrations. We also are pleased to present several community performances of Rabbit Tales at The Atlanta Opera Center on March 21, at the Southwest Arts Center on March 24, and at Atlanta Opera Family Day on May 12.

For more information on our education and outreach programs, please contact Emmalee Iden, Director of Education, at 404.881.8883, or eiden@atlantaopera.org.

46

THE SOCIETY FOR ARTISTIC EXCELLENCE

M

embership in the Atlanta Opera’s Society for Artistic Excellence represents a minimum pledge of $20,000 over a three-year period. These vital gifts help The Atlanta Opera improve its capacity both artistically and financially while building on a tradition of worldclass opera in the Atlanta area. Below is a list of patrons who made three-year commitments ending 2011-2012.

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

Donors also are listed online at www.atlantaopera.org.

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

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

Conductor Patron $20,000+ Shepard & Boyce Ansley Mr. & Mrs. Jim Balloun Bryan & Johanna Barnes Mr. & Mrs. Andy Berg Mr. Mario Concha Mr. & Mrs. David Dorman Heike & Dieter Elsner John L. Hammaker Mr. & Mrs. John Michael Hancock Mr. & Mrs. Michael L. Keough Mr. John O. King Peggy & Jack McDowell Mr. & Mrs. C. David Moody, Jr. Clara M. & John S. O’Shea Mr. William E. Pennington Edward W. Phares Mr. James D. Powell Mr. Charles Sharbaugh Mr. & Mrs. Timothy E. Sheehan Baker & Debby Smith Mr. & Mrs. William E. Tucker Thomas R. Williams Family Additional Multi-Year Gifts $15,000+ Ms. Cathy C. Adams $7,500+ Mr. & Mrs. Robert Edge Tom & Sandy Teepen

48

Corporate Partners $100,000 AT&T The Coca-Cola Company Zurich American Insurance Company

$5,000+ KPMG, LLP Moroccanoil The 680 Group at UBS Financial Services, Inc.

$50,000+ Delta Air Lines, Inc.

$2,500+ Anonymous Boston Consulting Group – Michael Deimler C.D. Moody Construction – Mr. C. David Moody, Jr. GUCCI Inmark Inc.

$15,000+ Cartier $10,000+ Fidelity Bank Wilmington Trust

$1,000+ Atlanta Opera Guild Barclays Wealth – Mr. Jamie Weeks, III Mr. Matthew A. Lieberman

SAKS Men of Style

O

n Thursday, October 27, 2011, The Atlanta Opera celebrated its Men of Style at Saks Fifth Avenue, hosted by The Atlantan and Men’s Book Atlanta. Generous friends of The Atlanta Opera contributed funds totaling $2,500 in honor of these gentlemen.

In Honor of George Levert Linda Anthony Jamie Arthur Benjamin Barnes Richard Bennett Louellen Berger Norma Box Michael Bryan Mary Call Frank Carter Steve Cavanaugh Nelson Chu Francis Crosby Felix de Golian Patrick Dye Olivia Evans Ms. Barbara Faherty Diane Festa Mr.& Mrs. Eli Flint Patricia Fryer Ed Hales Judith Hales Anno Hardage Patrick Haynes Cecilia Houston-Torrence John Huntz Dana Jefferson Susan Kimmey

Patrick Lacey William Laforge Maureen& John Lengyel Mrs. & Mr. Dale Levert William Linkous Richard Llorens Joe Marino Richard Matheny Mel McAllister Gloria McAvoy Susan Missbach Brendan O’Connell Wendy Pero Ellen Prendergast Mary Rogers James Sanford Mary Schaefer Kimberly Schulman Jamie& Ed Schweens Mark Steele Mr. & Mrs. George B. Taylor, Jr. Rocco Testani Kristi Thelen John Watson Jennifer Webb Rae Weimer Mr. & Mrs. Lloyd T. Whitaker Colleen Witt John Wright

In Honor of Alexander Gross Kathy Davis Ms. Betsey Chesler Mrs. Joanne Chesler Gross Maxine Hyland Corrie Johnson Su So Longman In Honor of Sachin Shailendra Robert Ashe Laura Boone Dipti Khanna Ellen Pilcher Amanda Shailendra Alan Whitaker In Honor of Brad Champion Jeff Asell Scott Champion Rebecca Flick Marilyn Krone Kathy Davis Maxine Hyland Su So Longman

In Honor of Michael Paulhus Melanie Brawley Julian Burdette Emily Burns Paul Greenspan David Long Barbara Muirhead Lys, Caroline & Camille Paulhus Ray Paulhus Betty Paulhus Meghan Stawasz Susan Timmerman

Dinner. theatre.

Before the curtain rises on your favorite performance, entertain your tastebuds with show-stopping cuisine at Medici, located inside the renaissance® atlanta Waverly hotel. Just minutes from the Cobb energy Performing arts Centre, experience the flavors of tuscany as you sample the best of italy and California from our extensive wine list. Come discover this stylishly warm and casually elegant tuscan Grill, and uncover culinary masterpieces worthy of a standing ovation.

MeDiCi 2450 Galleria Parkway, atlanta, Ga 30339 t: 770.953.4500 • renaissancewaverly.com © 2011 Marriott International, Inc.

MHAL-151_mediciAd_r1.indd 1

2/3/11 1:24 PM

50

ANNUAL FUND

T

he following names represent gifts from individuals, family foundations, The Atlanta Opera Board of Directors, staff, chorus and orchestra. We express our most sincere thanks and appreciation to every donor. The ongoing support you provide allows The Atlanta Opera to continue building on a tradition of excellence, and makes possible quality productions just like you are experiencing now! For a full list of donors, including gifts under $350, visit us online at www.atlantaopera.org.

Listed on the following pages are friends who contributed $350 or more to The Atlanta Opera between January 1, 2011 and January 5, 2012. $25,000+ Mr. & Mrs. Richard H. Anderson Mrs. Olga Casteleiro Goizueta Don & Marilyn Keough Mary Ruth McDonald Composer • $10,000+ Mrs. Elizabeth Tufts Bennett Mr. David Boatwright Chris & Merry Carlos Peg Simms Gary Mrs. Dale Lavert & Mr. George W. Levert Conductor • $5,000+ Cathy & Mark Adams Mr. & Mrs. Ronald R. Antinori R. Dwain Blackston Carl & Sally Gable Nancy & Holcombe Green Mrs. Joseph B. Hutchison James M. Kane & Andrea Braslavsky Kane Mr. & Mrs. Michael A. Klump Darrell J. Mays Mrs. Polly N. Pater Carol & Jorge Pisarello John & Barbara Ross Thomas & Katherine Stevenson Triska Drake & G. Kimbrough Taylor, Jr. Mark & Judith Taylor Thomas & Loraine Williams Foundation Principal • $2,500+ Mr. & Mrs. Phillip E. Alvelda Cathy Cooper & Brad Champion Jean & Jerry Cooper Mr. & Mrs. Stephen E. Crowley Col. & Mrs. Edgar W. Duskin Mr. & Mrs. Robert G. Edge Ms. Rebecca Y. Frazer & Mr. Jon Buttrey Mr. & Mrs. Harry L. Gilham Jr. Mr. & Mrs. Douglas Hantula Mr. & Mrs. Edward J. Hardin Mr. & Mrs. Harry C. Howard Mr. & Mrs. Gert Kampfer Mr. James M. Kane & Andrea Braslavsky Kane Mr. Bert W. Huffman

Linda L. Lively & James E. Hugh III Mr. James Kane Dr. & Mrs. James Lowman Robert & Suzanne Minarcine Main Street America Group - NGM Charitable Foundation Carol & Jorge Pisarello Dr. & Mrs. Richard M. Robinson Morton & Angela Sherzer Johannah Smith Yee-Wan & John Stevens The Devereaux F. & Dorothy M. McClatchey Foundation William McDaniel Charitable Foundation Mr. W. C. Wyatt, Jr. Chorus • $1,000+ Mr. Charles Ackerman Marlene Alexander Elizabeth & Carl Allen Lisa & Joe Bankoff Dr. Joseph C. Barnett & Dr. Florence C. Barnett Mr. & Mrs. Harris P. Baskin Mr. Joe E. Bates Mr. & Mrs. Duncan Beard Michael L. & Valerie W. Benoit Mrs. Enrique E. Bledel Ginny & Charles Brewer Dr. & Mrs. W. Scott Brooks Chris Casey & Doug Weiss Mr. Lawrence Clarkson Dr. John W. Cooledge Mr. & Mrs. Jerome Cooper Mr. & Mrs. Randy Craven Stuart Culpepper Coxe, Curry & Associates Dr. & Mrs. F. Thomas Daly Jr. Mr. & Mrs. Tom DeBra Mr. Robert S. Devins Mr. Kevin Dew & Mr. Hal Platt Dr. & Mrs. H. Allen Ecker Cynthia & John C. Ethridge Jr. Ms. DeeAnn E. Evans Rita Evans Dr. & Mrs. Arnoldo Fiedotin

Dr. Mary M. Finn Heather & Eli Flint Mr. & Mrs. Philip Folger Calvin Fong R. Derril Gay, Ph.D. Jason and Mimi Godwin Kristen & Duncan Gibbs Mr. Thomas Gregory Mr. & Mrs. George Gundersen Kyle Hanschke Harald Hansen Steven & Caroline Harless Ms. Donna Hiller Mrs. Ezra & Mrs. Ann Howington Mr. & Mrs. David C. Huffman Frank & Maxine Hyland Francis Jack Wayne & Mary James Mr. & Mrs. Kenneth D. Johnson Mr. Charles A. Johnston & Mr. Frank M. Monger Mr. Doyle P. Jones Mr. Alfred D. Kennedy & Dr. Bill Kenny Mr. & Mrs. Peter G. Kessenich Mr. Lewis H. Larson Mrs. Treville Lawrence Mr. & Mrs. G. Boyd Leake, III Lucy R. & Gary Lee, Jr. Mr. Matthew A. Lieberman Mather & Annie Lindsay Mr. & Mrs. Al & Su Longman Ms. Elizabeth Dupree Lynch & Dr. William Helvie Dr. & Mrs. Ellis L. Malone Mr. & Mrs. Albert Marx Dan D. Maslia Margaret & Hank McCamish Sally & Allen McDaniel Shelley McGehee in memory of Sylvia Debenport Mr. & Mrs. John McMullan Mr. Gene Milner & Dr. Rhonda D. Milner Mr. & Mrs. Frank Muckler

51

ANNUAL FUND Chorus (continued) Terri & Stephen Nagler Mr. & Mrs. Robert Nemo Mr. & Mrs. John L. O’Neal Victoria & Howard Palefsky Mr. & Mrs. William A. Parker, Jr. Dr. & Mrs. Donald A. Paul Lucy S. Perry Dr. & Mrs. Lawrence S. Phillips George & Libba Pickett Dr. Michael F. Pratt & Nancy Peterman David W. Pylate Diane & Nicolas I. Quintana James L. Rhoden, Jr. Dr. & Mrs. Richard M. Robinson Mr. Fred Rodriguez Mr. & Mrs. George P. Rodrigue Milton J. Sams Dr. Michael Sanseviro Sharon Schachter Chip & Sharon Shirley Dr. & Mrs. Edwin Slappey Ms. Johanna Smith Dr. & Mrs. Patton P. Smith Dr. Paul Rispiegl & Ms. Leigh Ann Wilder Ms. Martha B. Stephens & Ms. Linda B. August Dr. Jane T. St. Clair & Mr. James E. Sustman Dot Stoller Mr. James M. Todd, Jr. & Mr. Albert D. Park Mrs. Newell B. Tozzer Constance W. Treloar Ms. Carol Uhl Dr. Nicholas Valerio III Luis & Diane Vásconez Cindy & Bill Voyles Mr. & Mrs. Jamie Weeks III Rae & George Weimer Mrs. Wadleigh C. Winship Mr. & Mrs. Kevin Wojcik Gregory H. Worthy Nicholas Valerio Dr. Martin York & Dr. Holly York Dr. & Mrs. Thomas J. Yuschok Sustainer • $500+ Ms. Jan P. Beaves Mr. Eugene Boeke, Jr. Ms. Martha S. Brewer Dr. Harold Brody Dr. J. Bricker Burns Dr. Bruce Cassidy & Dr. Eda Hochgelerent Mrs. Carol J. Clark Mr. & Mrs. Albert H. Conrad, Jr. June & James Crawford Mr. & Mrs. Michael J. Curry Mr. & Mrs. William D. Duckworth Mr. & Mrs. John Gam Dr. & Mrs. Joseph D. Giovinco

Ms. Louise S. Gunn Mr. L. D. Holland Mr. & Mrs. James Horgan Mr. & Mrs. Hugh Hosch Mr. Howard Hunter Julie & Jason Ingraham Mr. Speight Jenkins Ms. Salli LeVan Mr. & Mrs. J. David Lifsey Mr. John Trevor Lumb Dr. Jill Mabley Stanley & Elaine Mager Ms. Priscilla M. Moran Jane & Jim Murray John & Agnes Nelson Mrs. Amy Wynn Norman Ms. Nadeen Paul Ms. Beverley Paquette Mr. D. V. Pompilio & The Honorable S. L. Ingram The Reverend Neal P. Ponder, Jr. Ms. Barbara Rivenbark The Honorable Judge Dorothy A. Robinson Mr. Dustin B. Schneider Mr. Brenn Smith Gail & Barry Spurlock Dr. Marilyn Stockton Steve & Christine Strong Mr. & Mrs. Frederick A. Stuart Ms. Melinda R. Stuk Mr. & Mrs. Hugh M. Tarbutton Mr. Richard Thio Dr. & Mrs. James O. Wells, Jr. Larry & Beverly Willson Mrs. Frank Wilson, Jr. Dr. & Mrs. David Wingert Sherrilyn & Donn Wright Mr. & Mrs. John Zellner Supporter • $350+ Anonymous Mr. & Mrs. Steven M. Astriab Dr. & Mrs. Jerry Blumenthal Mr. & Mrs. Walter Bailey Dr. & Mrs. William Battles Mr. & Mrs. Wallace F. Beard Ms. Lauren Benevich Mr. & Mrs. Michael Blackwood Barbara S. Bruner, M.D. Mr. Robert Bunker Mrs. Karen Bunn Marissa A. Camrud, MD Mr. & Mrs. Raymond H. Chenault Mr. Michael Clutter Mr. Lawrence M. Cohen Ms. Marcia Cupery Mr. Philip D. Dawson Debra & Greg Durden Mr. Glen Galbaugh

Refrigiwear Dean & Vivian Haulton Mr. & Mrs. Nicholas C. Howard Mr. Scott Ingram Mrs. Gail G. Johnson Mr. & Mrs. Fred R. Keith Dr. Gail M. Kendall Mrs. Emma Lankford Dr. & Mrs. P. Mather Lindsay Livvy Kazer Lipson Dr. Robert & Judge Stephanie Manis Mr. Thomas L. McCook Ms. Elizabeth F. Meeker Mr. & Mrs. Norman Miller Ms. Sharon Mills Mr. M. Sean Molley Dr. Patricia S. Moulton Barbara & Mark Murovitz Ms. Carol Niemi Mr. Edward R. Nudd Jr. Mr. & Mrs. Guy Paschal Mr. & Mrs. Andreas Penninger Lynn & Kent Regenstein Mr. Hervey S. Ross Ludmila Schubert Mr. Stuart Siddons Ms. Janine Brown & Mr. Alex J. Simmons, Jr. Dr. Susan Y. Stevens Dr. Marilyn Stockton Judge & Mrs. Mike Stoddard Mrs. Sarah Tate Dr. Kenneth G. Taylor, M.D. Ms. Virginia S. Taylor Raymond C. Townsend Mrs. Ruth E. Trager Mr. & Mrs. Thomas W. Ventulett III Ms. Christina Wall Mr. & Mrs. Edus H. Warren, Jr. Dr. & Mrs. Sam Williams Emily Willingham & Dixon Adair

52

COMMUNITY PARTNERS Foundations $400,000+ The Goizueta Foundation

Local & Government Funding $30,000+ Georgia Council for the Arts

$100,000+ The Sara Giles Moore Foundation Wells Fargo

$5,000+ City of Atlanta Office of Cultural Affairs

$50,000+ Atlanta Music Festival Association

Gifts In Kind A Legendary Event Ann Roth Shoes $25,000+ Aria The George M. Brown Trust Fund Sari Bernstein J. Marshall & Lucile G. Powell Charitable Trust Batdorf & Bronson Coffee Roasters $10,000+ Bobi Dimond Creative Photography Bank of America Charitable Foundation Ms. Melanie Boltax JPMorgan Chase Foundation Melissa Fontaine & Frank Briscoe Opera America John & Rosemary Brown The Rich Foundation, Inc. Stephanie Cantillo Ms. Sona Chambers $5,000+ Brad Champion & Cathy Cooper The Atlanta Foundation Cirquelde The Camp-Younts Foundation The John & Mary Franklin Foundation, Inc. Condition Kettlebell Gym David Yurman Ann & Gordon Getty Foundation Eduard de Guardiola The Home Depot Foundation Federal Home Loan Bank Fraser-Parker Foundation Dunaway Gardens JBS Foundation Heike & Dieter Elsner Abraham J. & Phyllis Katz Foundation Ms. Elizabeth DuPree Lynch & Nordson Corporation Foundation Dr. William Helvie Norfolk Southern Foundation Turner Broadcasting System/Turner Voices Emly Benham Atlanta Eric S. Barr, Inc. $2,500+ Ermenegildo Zegna Price Gilbert, Jr. Charitable Fund Federal Home Loan Bank of Atlanta Herbert & Marian Haley Foundation Fendi North America Inc. Hills Family Foundation Flight Options The Ray M. & Mary Elizabeth Lee Foundation Heather & Eli Flint The Charles Loridans Foundation, Inc. Diane Gordon Publix Super Markets H. Stockton-Park Place Frances Wood Wilson Foundation, Inc. Ms. Donna Holdnak $1,000+ Bright Wings Foundation The Mary Brown Fund of Atlanta Lois & Lucy Lampkin Foundation

Mr. & Mrs. Peter Holliday Mrs. Maxine Highland Instead of Flowers IO Salon J. Thomas Designs Mr. & Mrs. Joseph W. Mills Kate Spade Kathy Davis Designs Kramer Protraits Lanier Parking Solutions Mrs. Dale Levert & Mr. George W. Levert Mr. & Mrs. Al & Su Longman Jeffrey McQuithy Mr. & Mrs. Paul Melroy Moroccanoil NBC Experience Store Mr. Jim McLaughlin, Olympus Media LLC Saks Fifth Avenue Mr. Don Sayles Shell Hospitality - Vino Bello Resort Baker & Debby Smith Ms. Susan Soper St. John Boutique St. Regis Atlanta Taverna Fiorentina The Cook’s Warehouse The Patty Burns Salon Theory Tim Wilkerson Photography Tony Brewer & Company, Inc. Tootsies Trinity Press Valentino Dr. & Mrs. W. Kingsley Weatherly Rae J. Weimer Wes Gordon Mr. & Mrs. Kevin P. Wojcik Wolford America, Inc Woodfire Grill

Our Professional Ensemble Bruce V. Benator, CPA, Managing Partner Kevin J. Hedrick, CPA, Partner Steven G. Horn, CPA, Partner Laura E. Speir, CPA, Partner Patricia A. Yeager, CPA, Partner

Certified Public Accountants and Consultants For over 25 years, the FIRM of CHOICE in Atlanta

NO rehearsals ONLY performances 1040 Crown Pointe Parkway, NE • Suite 400 • Atlanta, Georgia 30338 Phone: 770.512.0500 • www.wblcpa.com • Fax: 770.512.0200 Member of American Institute of Certified Public Accountants and Russell Bedford International

54

Tributes and Memorials In Honor of Marlene Alexander Monica Dioda Mr. & Mrs. Hilton H. Howell , Jr. Dr.* & Mrs. Hugh C. McLeod, III Mr. D. Jack Sawyer, Jr.

In Honor of Mr. & Mrs. Robert Edge Friends of Robert Edge Mr. & Mrs. David Lowance Julia & Gary Suters

In Honor of Dr. & Mrs. James W. Bland, Jr. Mrs. George Baird Mrs. Carol J. Clark Judy & Tinsley Ellis Mrs. Sally Hawkins Mr. & Mrs. Ben J. Tarbutton, Jr. Constance W. Treloar Dr. & Mrs. Thomas J. Yuschok

In Honor of Marc Graney Mrs. Christina L. Graney

In Memory of Mary Stuart Bland Anne & Doug Alexander Ms. Penny Barnett Mrs. Carol J. Clark Big Canoe Meadows Committee: Bert Loftman, Gordon Griffin, Fred Omundson,Lin Pollard & Teresa Hartz Mrs. Sally Hawkins Mr. & Mrs. Wayne James Judge & Mrs. John Langford Mr. Verne Newhouse Ms. Marianne O’Shields Dr. & Mrs. Carter Smith, Jr. Constance W. Treloar Mrs. W. Harry Willson In Honor of Doug & Donna Curling Jean Goffaux Judie Raiford & Jere Wood In Honor of Ann Curry Mrs. Rae Weimer In Memory of Sylvia Debenport Shelley McGehee In Honor of Dr. & Mrs. Hamilton Dixon Mr. & Mrs. William L. Morris

In Memory of Betsey Hansen Harald Hansen In Honor of Harriet Harris Ms. Freya Harris In Honor of Doug Holly Boris Bauer In Honor of Walter Huff Ms. Rina Rosenberg In Memory of Ms. Eileen Kent Mr. & Mrs. Richard H. Anderson In Memory of Dr. Marion Leathers Kuntz Tanya Bertsch Georgia State University Foundation Mr. William Porter Dennis Romano Mr. & Mrs. Jamison Shaw In Honor of Virginia Lam Debra & Scott Pyron In Honor of Joseph Lattanzi The Reverend Neal P. Ponder, Jr. In Memory of Rachel Lehmann Helen & Steven Kraus Jim & Eleanor Strain Ms. Bunny Winter & Mr. Michael Doyle In Honor of Madge & Philip F. L’Engle & Elizabeth L’Engle Tufts Mrs. Elizabeth Tufts Bennett In Honor of Paul Melroy Mr. & Mrs. Robert G. Schwartz In Memory of Robert W. Nordman Kara Koverman In Honor of Polly Pater Mr. Brian D. Beem Mr. & Mrs. Charles Slick Mr. Thomas B. Slick

In Honor of Don Schreiber Mrs. Margaret Dulin In Memory of Barbara Stewart Bill Gunter & Associates Mr. Cotton M. Cleveland & Mr. John B. Garvey Mr. & Mrs. Robert G. Edge Main Street America Group – NGM Charitable Foundation Sally & Allen McDaniel Elizabeth & James Morley Ms. Bonnie Rivers Tom & Sandy Teepen Mr. & Mrs. Edus H. Warren, Jr. Williams Benator & Libby, LLP Bob & Cappa Woodward In Memory of Nancy Taffel Cheryl & William Hadley Ms. Leslie Kennedy Mr. & Mrs. Howard L. Silvermintz Mr. Alan S. Yaillen & Ms. Laurie R. Dien In Memory of John Talmade & In Honor of Margaret Talmade Mr. & Mrs. John W. Wright In memory of Marya Gabrielle Williams Marilon Jone Williams In Honor of Bob & Cappa Woodward Ms. Sarah Story In Honor of Charlie & Mary Yates Dr. David E. Sutherland II & Mrs. Sarah F. Yates Sutherland

56

THE ENCORE CIRCLE

T

he Atlanta Opera established The Encore Circle to recognize donors who have designated the Opera as a beneficiary in their estate plan. Gifts from these individuals ensure our progress for generations to come.

Anonymous Mr. & Mrs. Shepard B. Ansley Mr. & Mrs. Wallace F. Beard Estate of Mr. & Mrs. Donald Sims Bickers Ms. Mary D. Bray Mr. Robert Colgin Estate of Mrs. Judy Darby Arnold & Sylvia Eaves Ms. Dorothy E. Edwards Mr. & Mrs. Dieter Elsner Dr. Emile T. Fisher Carl & Sally Gable Rebecca & Sidney Guberman Ms. Judy Hanenkrat Estate of Mr. Albert L. Hibbard Estate of Walter T. Heist Estate of Mr. Robert N. Hoehn, Jr.

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

Estate of Mr. Jack Poole Mr. & Mrs. Paul Sanger Kevin J. Saunders Mr. D. Jack Sawyer, Jr. Estate of Barbara D. Stewart Mr. & Mrs. Thomas H. Teepen Mr. Richard F. Tigner William E. Torres, M.D. Dr. & Mrs. Harold Whitney Estate of Mrs. Ruth D. Williams Ms. Bunny Winter & Mr. Michael Doyle Mr. & Mrs. Charles R. Yates, Sr. Mr. Charles R. Yates, Jr. & Mrs. Mary Mitchell Yates Ms. Mary L. Yost

SUPPORT THE ATLANTA OPERA

Support Tomorrow, Today!

Build a Legacy with The Atlanta Opera.

W

e at The Atlanta Opera sincerely appreciate your generous support and belief in our mission of bringing the highest quality opera productions and education to the greater Atlanta community. By building a legacy through the creation of a planned gift with The Atlanta Opera, you can help ensure that future generations of Atlantans are exposed to opera for generations to come.

Developing an estate plan requires advice from a professional, so we suggest you consult your personal advisor to make sure your gift will accomplish the intended goals for both The Atlanta Opera and you. A member of our development team will be happy to meet with and assist you in exploring the options that are most beneficial for everyone involved. Your planned gift can make a tremendous difference and help preserve the future of The Atlanta Opera! For more information visit www.atlantaopera.org or call 404.881.8801.

57

THE VERDI SOCIETY

T

he Verdi Society, the Atlanta Opera’s highest donor honor, is reserved for those who have provided philanthropic support and dedication at a transformative level. These dedicated friends have been instrumental in building a tradition of excellence at The Atlanta Opera. The Verdi Society is limited to those individuals, corporations and organizations whose gifts have accumulated to $100,000 and above. The current membership of the Verdi Society represents a staggering $31 million in cumulative giving over the years.

$1,000,000+ Atlanta Music Festival Association Dr. & Mrs. James W. Bland, Jr. Georgia Council for the Arts The Goizueta Foundation Sara Giles Moore Foundation Estate of Barbara D. Stewart* Mrs. W. Harry Willson The Robert W. Woodruff Foundation, Inc. $500,000+ Anonymous Anonymous AT&T The Coca-Cola Company Fulton County Arts Council Mrs. Alfred D. Kennedy, Sr.* Estate of Michael A. McDowell The Wachovia Wells Fargo Foundation Zurich American Insurance Company $250,000+ Anonymous Anonymous Atlanta Journal-Constitution** Charles Loridans Foundation Mrs. Olga Casteleiro de Goizueta Mr. & Mrs. Holcombe T. Green, Jr. Candy & Greg Johnson The Kendeda Fund Mr. Alfred D. Kennedy & Dr. Bill Kenny Mr. & Mrs. Donald R. Keough Mr. & Mrs. Carl W. Knobloch, Jr. Peggy & Jack McDowell Mr. & Mrs. Arturo Melosi The Rich Foundation StarEnterprise Ms. Alyce Toonk David, Helen & Marian Woodward Fund Bob & Cappa Woodward

$100,000+ American Color Graphics** Shepard & Boyce Ansley Mr. & Mrs. Ronald R. Antinori The Arthur M. Blank Family Foundation Atlanta Bureau of Cultural Affairs The Atlanta Foundation Bank of America Mr. Robert O. Breitling, Jr.* Ms. Janine Brown & Mr. Alex J. Simmons, Jr. John & Rosemary Brown The Coca-Cola Foundation Mr. & Mrs.* Robert Colgin Cumberland Community Improvement District Delta Air Lines, Inc.** Mr. Robert S. Devins Georgia Power Foundation, Inc. Georgia-Pacific Corporation Gertrude & William C. Wardlaw Fund Carl & Sally Gable Mr. & Mrs. John S. Gillfillan Mr. & Mrs. Emanuel Gluck* Mr. & Mrs. Joe D. Goodwin Mr. & Mrs. Henry D. Gregory, Jr. John L. Hammaker Mr. & Mrs. William J. Hayes III Mrs. Joseph B. Hutchison J. Marshall & Lucile G. Powell Charitable Trust The Jim Cox, Jr. Foundation The Junior League of Atlanta The Katherine John Murphy Foundation Mr. & Mrs. Michael A. Klump Livingston Foundation, Inc. Mr. & Mrs. John G. Malcolm The Mary Allen Lindsey Branan Foundation Sally & Allen McDaniel Mellon - Private Wealth Management Mr. & Mrs.* James B. Miller, Jr.

Mrs. O. Ray Moore National Endowment for the Arts Clara M. & John S. O’Shea Mrs. Polly N. Pater Mr. William E. Pennington Mr. Jack Poole The Price Gilbert, Jr. Charitable Fund PricewaterhouseCoopers The Residence Inn by Marriott** Jerry & Dulcy Rosenberg Mrs. Deen Day Sanders Mr. D. Jack Sawyer, Jr. & Dr. William E. Torres Mr. & Mrs. J. Barry Schrenk Mr. & Mrs. Stewart A. Searle Mr. William F. Snyder & Mr. Louis A. Peneguy Mr. & Mrs. Bruce Roth SunTrust Banks, Inc. Judith & Mark Taylor The Tull Charitable Foundation Turner Broadcasting System, Inc. Thomas & Loraine Williams Foundation Ms. Ruth Dimick Williams Jean & John Wilson Rhys & Carolyn Wilson Wadleigh C. Winship* Ms. Bunny Winter & Mr. Michael Doyle The Mary & Charlie Yates Family Fund Zeist Foundation *Deceased **Gift-In-Kind

58

THE ATLANTA OPERA BOARD OF DIRECTORS Chair Emeritus Mrs. Shepard B. Ansley OFFICERS Chair, William R. Tucker, Tucker, Midis & Associates, LLC Immediate Past Chair, Mr. Gregory F. Johnson, Republic National Distributing Company, Inc. Vice Chair, Mr. Charles R. Yates, Jr. Vice Chair, Mr. John L. Hammaker Treasurer, Mr. Rhys T. Wilson, Nelson, Mullins, Riley & Scarborough, LLP Secretary, Mr. Michael Keough, DMK International MEMBERS Ms. Cathy Callaway Adams, Federal Home Loan Bank Mr. Bryan H. Barnes, Deloitte & Touche, LLP Mr. Andy Berg, Homrich Berg Mrs. James W. Bland, Jr. Mr. Montague L. Boyd, III, UBS Financial Mrs. Rosemary Kopel Brown Ms. Sharon J. Byers, The Coca-Cola Company Mrs. John W. Calhoun, III The Very Reverend Samuel G. Candler, Cathedral of St. Philip Mr. Mario Concha, Concha Consulting, LLC Ms. Martha Thompson Dinos Mr. Robert G. Edge, Alston & Bird Mr. Dieter Elsner, Roedl Langford de Kock, LLP Mr. Eli Flint, Flight Options Mrs. Joanne Chesler Gross Mr. John Michael Hancock Mr. William J. Hayes, Bain & Company, Inc. Mr. Douglas R. Hooker, Atlanta Regional Commission Ms. Mary B. James, Attorney at Law Mr. John King, Breitland, LLC Mrs. Carl Knobloch

Mr. George Levert, Kinectic Ventures, LLC Mr. Richard McPhail, The Home Depot, Inc. Mr. Harmon B. Miller, III, MillerZell, Inc. Mr. James B. Miller, Fidelity Bank Mr. David Moody, C. D. Moody Construction Mr. William E. Pennington Mr. James D. Powell, KPMG, LLP Mr. Herbert J. Rosenberg III, National Distributing Company, Inc. Mr. Bruce A. Roth, Roth & Associates, Inc. Mr. J. Barry Schrenk, Taggarts’ Driving School Mr. Stewart A. Searle, Strategic Thought Partners Mr. Sachin Shailendra, S G Contracting Mr. Charles Sharbaugh, Paul, Hastings, Janofsky & Walker, LLP Mr. Timothy E. Sheehan, Mellon Private Wealth Management Mr. Baker A. Smith, BDO Consulting Corp. Advisors, LLC. Mr. G. Kimbrough Taylor, Jr., Kilpatrick Townsend & Stockton Mr. Timothy J. Walsh, Lanier Parking Solutions Mr. Thomas R. Williams Mrs. Harry W. Willson, Sunnyland Farms, Inc. Mr. Robert G. Woodward, King & Spalding HONORARY MEMBERS Ms. Dorothy E. Edwards Mr. Carl I. Gable Mr. John S. Gillfillan Mrs. Holcombe T. Green, Jr., WestPoint Stevens Mr. Carter Joseph, Empire Distributors Mrs. Jack C. McDowell Mr. Sam Olens, State of Georgia Mr. Mark K. Taylor, HT Group, LLC Mrs. John C. Wilson Ms. Bunny Winter EX-OFFICIO MEMBERS Mr. Dennis Hanthorn, Zurich General Director

60

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

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

Parking There are 1,000 parking spaces available at a $6 charge per car. Valet service is available for $10. Please be sure to allow enough time for travel to the theatre and parking as there is no late seating.

Special Assistance Persons requiring access assistance are asked to contact the box office at 770.916.2850 for advance arrangements.

Audio clarification devices are available to our hearing impaired guests at no charge.

This is on a first-come, first-served basis, or you may call the House Manager ahead of time to reserve one 770.916.2828. A limited number of booster seats are also available. All items require a form of identification to be held until the item is returned.

Cobb Energy Centre Rules & Requests • All patrons, regardless of age, must have a ticket in order to be admitted to the performance. Please be aware that not all performances are suitable for children.

ATM There is one Bank of North Georgia ATM located in the grand lobby.

• Infants will not be admitted to adult programs. Parents will be asked to remove children who create a disturbance.

Coat Check Coat check is available at the concierge desk.

• There is no late seating allowed. Closedcircuit monitors are provided in the lobby as a courtesy to latecomers.

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

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

Lost and Found Lost and Found items are turned into the concierge desk on the day of a performance.

To inquire about a lost item, please call the House Manager at 770.916.2828.

Smoking Smoking is prohibited inside the building.

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

• Please limit conversation during the performance.

• Cameras (including use of cell phone camera) and audio & 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.

62

THE ATLANTA OPERA STAFF Zurich General Director Dennis Hanthorn Managing Director Paul Melroy Artistic/Production Arthur Fagen, Carl & Sally Gable Music Director & Conductor Elecia Crowley, Artistic Administrator Walter Huff, Chorus Master Michael Benedict, Production Manager Michael Spassov, Principal Coach/Assistant Conductor Education Emmalee Iden, Director of Education Lauren Turner, Education Assistant Hannah Maloco, Arts Administration Intern Lene Sabin, Arts Administration Intern Development Bert Wesley Huffman, MPA, CFRE, Director of Development Rae Weimer, Associate Director of Development Kristin Boggs, Major Gifts Officer Greg Carraway, Foundations & Grants Manager Rebecca Bowden, Annual Fund Manager Amanda Wilborn, Event Manager Kimberly Grooms, CMP, Executive Assistant Finance/Administration Mike Hurdle, Controller Ashley Gilleland, Accounting Manager Stephanie Cantillo, Office Manager/Volunteer Coordinator Marketing/Communications Cristina Vรกsconez Herrera, Director of Marketing & Communications Laura Soldati, Communications Manager Lindsay Smith, Marketing Manager Matt Burkhalter, Creative Services Manager Alan Strange, Ticketing Services Manager Renee Smiley, Ticketing Services Associate Ellen Sturgill, Marketing & Communications Intern

The Atlanta Opera Costume Shop Patricia McMahon, Costume Shop Manager Joanna Schmink, Costume Coordinator Ken McNeil, Wardrobe Master Synithia Cochran, First Hand Brett Parker, Stitcher Mary Cruz Torres, Stitcher John Scott Hennessy, Stitcher Seasonal Staff John Beaulieu, Technical Director/Master Carpenter Kimberley Prescott, Production Stage Manager Shawn Rieschl Johnson, Assistant Stage Manager Amy Soll, Assistant Stage Manager Pamela K. Hickey, Properties Master Steve Dubay, Master Electrician Patricia Tuckwiller, Master Electrician Katrina Suhre, Wig & Makeup Crew Lead Aida Scuffle, Wig & Makeup Artist Monty Schuth, Wig & Makeup Artist Christina Whitaker, Wig & Makeup Artist Christian Ellesmere-Jones, Wig & Makeup Artist Tracy Swiatly, Wig & Makeup Artist Cobb Energy Performing Arts Centre Production Staff Johannes Pikel, Technical Director Bryan Huggett, Head Electrician Matt Harris, Head Carpenter/Rigger Chris Barber, Audio Engineer

“I was exercising and when my heart rate rose, my jaw went numb and I had some shortness of breath. I called my doctor and saw him the next day. After just a few minutes, he sent me to WellStar Cardiovascular Medicine. It was a huge shock to find that I needed a quintuple bypass. But Dr. Cooper and the whole cardiology team really listened and took care of me.

“This was a life-changing experience. I now serve on the WellStar Foundation Board of Directors. It’s important to me to give back and help raise money and awareness for the people that gave me my health, and my peace of mind.”

If you have heart, you can do just about anything.

Living well takes planning. It takes perseverance.

And most of all, it takes heart.

That’s why, every day, across five counties and five hospitals, WellStar is helping people like Tony with a world-class cardiac network. From prevention to catheterization and open-heart surgery to rehabilitation, we put our whole hearts into taking care of yours.

wellstar.org/heart

770-956-STAR Tony Britton

WellStar Cardiac Network includes: WellStar Cardiovascular Medicine WellStar Cobb Hospital * WellStar Douglas Hospital * WellStar Kennestone Hospital *

WellStar Paulding Hospital WellStar Windy Hill Hospital Cardiac Surgery Cardiac Anesthesia

Vascular Surgery Cardiac Rehabilitation

Wellness We believeCardiac in heart.

Cardiac Patient Support

Cardiovascular Imaging WellStar Medical Group

* Accredited Chest Pain Center

How is your heart? Cardiac Screenings are available for $99 per individual or $149 per couple*. Call 770-956-STAR (7827) for more information or to schedule your screening today. *

Prices and hours available for a limited time. Heart screenings are self-pay only and not covered by insurance.