aria: la traviata
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March 2, 5, 8 & 10, 2013
Giuseppe Verdi’s
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Italian Girl in Algiers (pg. 7)
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SYNOPSIS 12
PrOgram NOteS 14
meet the CaSt 22
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Dear Fellow Opera Lovers,
Thank you for joining us for our 2013
production of Verdi’s beloved classic La traviata. Whether this is your first or fifty-
first time seeing La traviata, we hope you
will be touched by the exquisite music
and poignant drama of this romantic
tragedy. Our production coincides with
the celebration of the bicentennial year
of Giuseppe Verdi’s birth. As always, The
Atlanta Opera seeks to include many of
the opera industry’s finest singers, the
outstanding Atlanta Opera Orchestra and
the unparalleled Atlanta Opera Chorus.
We are happy to announce our 2013-2014
season as it promises to enthrall you with
the power of opera. We’ll open the season
with Puccini’s Tosca, followed by Gounod’s
Faust (not produced by The Atlanta Opera
for almost 20 years!), and close with the
Rossini favorite, The Barber of Seville (Il barbiere di Siviglia). We ask that you
consider renewing or becoming a season
ticket holder of The Atlanta Opera. Our
staff is available in the lobby to answer any
questions you may have.
Also, as we are looking to the future, we are
extremely pleased to provide an update on
our search for a new general director. We
are nearing the end of the search process,
and shortly after this production we will
be interviewing final candidates. We have
attracted a talented pool of candidates and
are confident that we will find a dynamic,
visionary leader for our beloved opera
company. We look forward to announcing
our choice to you in the very near future.
As always, I’d like to express my personal
gratitude for your heartfelt support of
The Atlanta Opera. You are the reason
we exist. We are deeply appreciative
of the commitment of our longtime
contributors and are overwhelmed by the
generosity of the many newcomers to this
passionate art form. Through all Opera
activities, we strive to transform lives by
the power of opera. We hope we have
done that in some way in your life.
On behalf of the entire Atlanta Opera
family, we hope you enjoy La traviata! If you do, please do us the favor of sharing
your experience with friends, family and
colleagues. Our last production of the
season, Rossini’s romantic comedy The Italian Girl in Algiers, is a wonderfully
lyrical, captivating work that is perfect for
either an introduction to opera or for the
seasoned opera veteran. We’d love your
help in creating more opera lovers!
Best regards,
Message frOm the ChaIrmaN
photo: Tim Wilkerson
William E. Tucker
Chairman The Atlanta Opera Board of Directors
2013-2014 SEASON | COBB eNergY CeNtre
exPerIeNCePoweroPera
the Of
Lies, lust and corruption turn a tale of love into a struggle for survival in Puccini’s Tosca. Amid the bloodshed of revolutionary Rome, the diva Tosca battles the treacherous police chief Scarpia for the life of her lover, Cavaradossi. Set to Puccini’s intensely passionate music, this gripping melodrama is quintessential opera!
Sung in Italian with Projected English Translations
OctOber 5, 8, 11, 13, 2013
In Gounod’s operatic retelling of the famous legend, an elderly scholar sells his soul to the devil Méphistophélès for a chance to seduce the beautiful Marguerite. Faust’s diabolical struggle between good and evil must surely end in tragedy. Or does it?
Sung in French with Projected English Translations
March 8, 11, 14, 16, 2014
The wily barber Figaro aids Count Almaviva in wooing the radiant maiden, Rosina. With hilarious antics, romance unfurls right under the nose of Dr. Bartolo, intent on marrying Rosina himself. Rossini’s delightful comedy The Barber of Seville has elicited peals of laughter from opera lovers for generations!
Sung in Italian with Projected English Translations
april 26, 29, May 2, 4, 2014
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2012-2013 SeaSON SPONSOrS
artist sPonsors
marY duNleaVY Violetta Valéry Jerry & Dulcy Rosenberg
BOrIS rudak alfredo Germont Bob & Cappa Woodward
weStON hurt GiorGio Germont The Laura & Montague Boyd Foundation
marIa mCdaNIel flora BerVoix Shepard & Boyce Ansley
aShleY CurlINg annina John L. Hammaker
weSleY mOrgaN Gastone Mr. & Mrs. William E. Tucker
BreNt daVIS Baron douphol Cathy & Mark Adams
OPeNINg NIght PerfOrmaNCe SPONSOr The Coca-Cola Company
PrOduCtION SPONSOrS Martha Thompson Dinos Norfolk Southern Foundation
jOSePh reSCIgNO ConduCtor Candy & Greg Johnson
daVId gatelY staGe direCtor Mr. & Mrs. Carl W. Knobloch, Jr.
Kitt Reuter Foss as Flora having her fortune told
by a gypsy in the Atlanta Opera’s 1998 production of
La traviata. (photo: J.D. Scott)
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fIrSt PerfOrmaNCe Venice, Teatro la Fenice, March 6, 1853
PreVIOuS atlaNta OPera PerfOrmaNCeS 1980, 1989, 1998, 2005
Sung in Italian with English supertitles Approximate Running Time: 2 hours, 45 minutes, including two intermissions
OrIgINal PrOduCtION BY Opéra de Montréal
SCeNerY deSIgNed BY Claude Girard & Bernard Uzan
Cast
VIOletta ValérY Mary Dunleavy
alfredO germONt Boris Rudak
gIOrgIO germONt Weston Hurt
flOra BerVOIx Maria McDaniel
aNNINa Ashley Curling
gaStONe Wesley Morgan
BarON dOuPhOl Brent Davis
marquIS d’OBIgNY Jason Hardy
dOCtOr greNVIl Adrian Smith
gIuSePPe William Green
meSSeNger C. Augustus Godbee
SerVaNt tO flOra Joshua Bartolotti
daNCer Tamara Merritt Irving
muSIC Giuseppe Verdi
lIBrettO Francesco Maria Piave Based on the novel and play La Dame aux Camélias by Alexandre Dumas
CONduCtOr Joseph Rescigno
Stage dIreCtOr David Gately
ChOreOgraPher & aSSIStaNt dIreCtOr Seth Hoff
lIghtINg deSIgNer Chad R. Jung
COStumeS PrOVIded BY A.T. Jones and Sons Inc.
COStume COOrdINatOr Joanna Schmink
wIg & makeuP deSIgNer Richard Jarvie
ChOruS PrePared BY Walter Huff
aSSIStaNt CONduCtOr & muSICal PreParatION BY Rolando Salazar
SuPertItleS deSIgNer David Gately
SuPertItleS OPeratOr Ellen Chamberlain
PIaNOS PrOVIded BY England Pianos
La traviata the atlaNta OPera
12
aCt i SettINg: ParIS, 1850At a party in Violetta’s salon, Flora,
the Marquis and the Baron arrive late,
followed by Gastone and Alfredo.
Gastone introduces Alfredo to Violetta
and tells her that he visited her every
day that she was ill. Gastone asks
the Baron to propose a toast, but he
refuses, while Alfredo accepts. Music
is heard from another room and all are
invited to dance. As the guests leave the
room Violetta has a coughing attack.
Alfredo remains behind and expresses
his concern for Violetta’s health,
proclaiming that only he truly loves her.
Violetta can offer only friendship and
suggests that he won’t find it difficult to
forget her. As he starts to leave, Violetta
stops him and offers him a camellia
inviting him to come back when the
flower has faded. The guests re-enter and
bid good night. Confronted with the
power of his affection and commitment,
Violetta considers if it is possible for
someone like her to find true love. She
dismisses the idea as ludicrous and
proclaims she was meant for freedom
and enjoyment.
aCt iiAlfredo and Violetta have lived together
for three months in a country house
outside Paris. Alfredo’s satisfaction
comes from Violetta’s abandonment of
her former life to devote herself to him.
Violetta’s maid, Annina, greets Alfredo,
and he asks where she has been. Though
she has been sworn to silence, she
tells him she has been to Paris selling
Violetta’s possessions. Alfredo resolves
to fix the situation. He leaves, ordering
Annina not to reveal his departure
to her mistress. Violetta returns and
receives an invitation from Flora to a
party. Giuseppe then announces there
is a gentleman to see her. The visitor
reveals himself as Germont, Alfredo’s
father. He is concerned that his
daughter cannot marry into the family
she has chosen unless Alfredo gives up
this current life. Germont wants her to
give up Alfredo completely. She refuses,
explaining that she has no friends and
no relatives. She doesn’t have a lot of
time left. Eventually she gives in and
asks Germont not to allow Alfredo to
curse her memory and to tell him of
her sufferings.
photo: Tim Wilkerson
La TraviaTa SynopSiSLa TraviaTa SynopSiS
13
Violetta is writing a note as Alfredo enters.
She hides the letter and Alfredo reveals
that he is concerned that his father will
visit them. Violetta confirms Alfredo’s
love for her and runs out. Alfredo’s
contentment is later disturbed when it is
announced that Violetta has left for Paris
and a letter is given to him that Violetta
wrote earlier. He reads the letter and learns
of Violetta’s abandonment. As he turns
to leave he runs into his father. Germont
tries to comfort his son who is now full of
vengeance. He sees Flora’s invitation and
realizes where Violetta has gone.
Later, at a party in Flora’s salon, the
Marquis informs the Doctor and Flora
that Alfredo and Violetta have split and
that Violetta will be coming to the party
with the Baron. A group of party ladies
enter disguised as gypsies, singing about
telling the future. A group of men enter,
led by Gastone, disguised as matadors
and picadors. They sing of a brave
matador who faced five bulls in a single
day to win the heart of a young lady. All
are surprised as Alfredo enters. He starts
to gamble at cards. Violetta enters with
the Baron. The Baron sees Alfredo, points
him out to Violetta and warns her not
to talk to him. Violetta agrees. Alfredo
keeps winning at cards and recklessly
announces that with his winnings he will
go back to the country but not alone. The
Baron challenges Alfredo to a card game.
Alfredo wins. As supper is served, Violetta
stays behind and asks Alfredo to slip
away with her. She begs him to go away
because he is in danger — the Baron
might challenge him to a duel. He refuses
unless she comes with him. She refuses,
answering that she loves the Baron.
Alfredo calls all the guests and humiliates
Violetta by throwing the money he has
won at her. The guests turn on him.
Germont, who has arrived at the party
and seen this display, asks if this is his
son. Alfredo feels remorse immediately.
Finally, the Baron challenges Alfredo to
a duel for the offense as the other guests
comfort Violetta.
aCt iiiVioletta is ill in her deserted home.
When she awakens, she calls Annina,
who apologizes for sleeping. Violetta
wants to rise but she doesn’t have the
strength. The Doctor enters to check
on Violetta. He confides to Annina that
Violetta has only hours to live. Violetta
rereads a letter from Germont, which
reveals that the Baron was wounded in
a duel with Alfredo and that Germont
has told his son everything about the
departure of Violetta. Annina, hurrying
into the room, prepares Violetta for a
surprise. Violetta guesses the secret as
Alfredo enters. He is ready to take her
to the country. She gets up and starts
to dress but is too weak. The Doctor
enters, followed by Germont. Violetta
tells Germont and his son that they
have come too late. She then gives a
miniature to Alfredo in order that he will
remember her. Violetta has a moment of
remission — no pain, no heaviness and a
resurgence of strength. She collapses, and
as Alfredo holds her, she dies.
- Courtesy of opera ameriCa
La traviata SYNOPSIS Continued
14
notes on La traviata by Joseph resCigno
In many ways, Giuseppe Verdi is to
opera what Ludwig van Beethoven is
to symphonic literature: their works
are mainstays of their repertories; both
composers continued to grow and
develop musically throughout their
lives; and their numerous works may be
divided into three distinct periods. Also,
Verdi’s style is not unlike Beethoven’s,
characterized as it is by rhythmic
drive, sophisticated development and
counterpoint, and rock-solid architecture.
La traviata is the last of three enduring
Verdi works premiered in just the three
years 1851 to 1853 (the other two being
Rigoletto and Il trovatore). While some
people may disagree as to whether La
traviata is forward-looking enough to
be called the first verismo opera, it is a
break from classic bel canto opera. First,
the plot is modern; indeed, its heroine’s
lifestyle was considered too racy for a
contemporary setting, and for about four
decades after its premiere it was set in the
eighteenth century. The other modern
aspect of the opera is its extensive through-
composition; there are long stretches
of music where the bel canto composers
would have presented separate numbers
and left room for applause. Moreover,
the vocal ornamentation is supplied by
the composer and more restrained than
we hear in bel canto operas; singers bring
few, if any, personalized variations and
embellishments to La traviata.
Dabs of orchestral color are added by a
banda in both Acts I and III. This is a
group of musicians who play contrasting
music that is part of the story, sometimes
outside the pit (backstage, for example).
In La traviata, the banda plays during the
party of the first act and outside Violetta’s
window in the last act. Listen, too, for the
beautiful clarinet solo of Act II, Scene 1,
where Violetta writes her farewell letter
to Alfredo; it is almost certain that this
clarinet solo and the cello quartet of Verdi’s
later opera, Otello, served as inspiration for
PrograM notes
Joseph Rescigno, Conductor
15
PrograM notes Continued
Giacomo Puccini when he composed the
opening sections of Tosca’s Act III.
While using the same size orchestra
as Verdi’s other operas of that time,
this opera has a particularly light
orchestration and feeling. Not until his
last opera, Falstaff, would Verdi again
serve musical champagne in quite this
manner. After the entire orchestra bubbles
with the opening tune (ALLEGRO
BRILLANTISSIMO E MOLTO
VIVACE, a most brilliant allegro and very
lively), the composer reduces the orchestra
to just a few strings. In fact, depending on
the size and acoustics of the theater, this
passage can sound exquisite with just a
string quartet, which reasonably could be
playing at this kind of party.
The challenges in conducting La traviata
include cultivating this spirit of beauty
and delicacy. Even in the opera’s most
dramatic moments, it is imperative to
avoid heaviness. In the Act II, Scene
2 confrontation between Alfredo and
Violetta, for example, we can sustain
the drama but avoid excess by having
the strings play some of their repeated
notes using a light, bouncing, bowing
technique (such as the picturesquely
named “ricochet” technique).
Those repeated rhythmic figures in the
accompaniments, which are part of why
the orchestra can get heavy in this scene,
are more common in La traviata than in
Verdi’s other works of this period. They
are not like the repeated arpeggios in the
introduction to “Casta Diva” in Vincenzo
Bellini’s Norma, which sound delicate and
even ethereal. The figures used here play a
more percussive role, like the chords in the
rock-and-roll pianos of Chubby Checker
or Jerry Lee Lewis, or the bass instruments
in jazz and rock combos. When used by
today’s concert and opera composers, these
repeated figures are generally referred to as
ostinati (plural of ostinato, the Italian for
“stubborn”). In addition to hearing these
in the Violetta-Alfredo confrontation, we
encounter them when Germont sings of
his daughter in Act II, Scene 1; as Violetta
writes her farewell letter to Alfredo later
in that scene; during her final aria, “Addio
del passato” (Goodbye to the past); and at
the conclusion of the opera.
In La traviata, Verdi supplies indications
more liberally than earlier composers did,
a practice that would grow throughout
the romantic era and into our own
In 1998, soprano Brenda Harris sang the role of Violetta in La traviata with
The Atlanta Opera. (photo: J.D. Scott)
16
day. As is true in all music, however,
performing it requires thought about
dramatic purpose and imagination
in execution. For the conductor, the
preludes to Act I and the final act are a
particularly apt example. They look very
similar on the page. There is room to
treat them differently, however, without
any fundamental change in the music. In
the first prelude, the orchestra can portray
a struggle: Violetta’s refusal to accept
any limitations as expressed in the aria
“Sempre libera” that closes the act. In the
last act prelude, the same music played a
bit slower and softer and even calmer can
preview her acceptance of inevitable death
as expressed in that act.
The Act II finale is a model of its type,
masterfully portraying a complex tapestry
of emotion. It is constructed from basic
building blocks, and it is plain but elegant
in the manner of a square-cut diamond.
First, the three lead singers have similar
musical lines, differentiated in large
measure by articulation. Violetta’s music
is written almost entirely legato, in long
lines of connected notes. Germont has
some staccato marks, indicating that
the syllables should be clipped and
disconnected. Alfredo, remorseful after
his outburst, has many more staccato
marks than Germont over his notes,
probably to suggest sobbing. Where he
does not have staccato marks, he has a
great many notes of very short duration.
Second, this Act II finale is marked
LARGO, a slow tempo, with no changes
indicated for the remainder of the act. This
means no change in the tempo of a long
sequence that begins with the entrance
of Germont with “Di sprezzo degno”
(Worthy of scorn), continuing through
Alfredo’s remorse, “Ah si che feci?” (What
have I done?) and Violetta’s aside, “Alfredo,
Alfredo, di questo core” (Alfredo, Alfredo,
from this heart) and all of the onlookers’
comments. It requires a lot of discipline
to portray contrasting emotions for some
10 minutes with only the modest tempo
flexibility typical of 19th-century music,
but without any fundamental change
in the beating pattern. If we trust Verdi,
however, this consistency lends a unity
to the whole and produces a tremendous
cumulative impact.
In La traviata, Verdi told a story through
music that has captivated audiences for
more than 150 years, and even though
it no longer seems likely to provoke any
public debates about morality, it still
draws us in. The hardest part for modern
audiences to swallow may be the success
Germont has in bullying his son and, even
more, Violetta. However, prior to World
War I, conventions were very different
from today. If we imagine Germont as a
member of a strict religious community, we
can perhaps come closer to understanding
how his argument is possible and see that
the story is rooted in truth.
The opera’s greatest truths — love, loss,
and unintended consequences — are
timeless, of course. Great music, by
speaking directly to our hearts and even
our guts in addition to our brains, can lift
a story’s characters out of their specific
place and time and make them as real as
our neighbors.
PrograM notes Continued
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18
La traviata: MuLti-BiograPhiCaL assoCiations by JaCk bona
While on a stay in Paris, Giuseppe Verdi
attended Alexandre Dumas fils’ (son) play,
La Dame aux Camélias (The Lady of the
Camellias) with his mistress of several
years, Giuseppina Strepponi (1815-1897).
The Dumas play, based on his novel of
the same name, had opened only four
weeks earlier on 2 February 1852, but
Verdi quickly realized its potential as the
basis for an opera. Verdi’s 18th opera
premiered in Venice one year later as La
traviata — literally “a fallen woman.”
Dumas, Verdi and his librettist, Francesco
Maria Piave, modeled their characters
on actual contemporary individuals. The
play’s action ironically also takes place
about the time the play was produced,
a landmark in French theater. Verdi
also intended the action of the opera to
be similarly set, but restrictive rules of
Italian censorship prevented it. The opera
had to be set in 1700, and it finally was
performed in contemporary dress in Milan
in 1906 — a half-century after its debut.
Coincidentally, at the opera’s premiere on
6 March 1853 in Venice, a theater only a
few moments’ walk away, was presenting
an Italian translation of the play.
The young Dumas was 24 when he
published his first novel, La Dame aux
Camélias (1848), based on his real love
affair with Marie du Plessis. The author
admits in his opening paragraph, “Not
having yet reached the age when I can
invent, I have contended myself with
recounting.” Marie nicknamed Dumas
“A.D.” and it was no mere coincidence
that the novel’s male protagonist, Armand
Duval, shares the same initials.
Incidentally, Dumas’ transformation of
the novel to the stage served as a virtuoso
vehicle for some famous actresses in the
19th and 20th centuries: Sarah Bernhardt
played the heroine more than 3,000 times;
Eleonora Duse’s performance, according to
Henry James, “lives in the mind as a fine
vindication of the play.” There have been
more than 20 film versions beginning in
1907, starring a few outstanding actresses
and actors: Bernhardt in 1911; Nazimova
in 1921, with Rudolph Valentino in an
early supporting role as Armand; Norma
Talmadge and Gilbert Roland in 1927;
and Greta Garbo’s 1937 version, which
remains one of her most memorable roles
in a relatively short career.
PrograM notes Continued
photo: Tim Wilkerson
19
The “real” story began with Marie du
Plessis, whose true name was Alphonsine
Plessis, and came who from a chaotic
peasant family; her grandmother had been
part beggar and prostitute; her mother had
left her own debauched husband, who later
sold Alphonsine to some gypsies. At about
14, Alphonsine showed up in Paris and
began life as a grisette (a happy working
girl), not unlike Puccini’s Mimì, based on
Henri Murger’s Scenes de la vie bohème,
(1847-1849).
Marie’s exceptional attractiveness met
the eye of a young nobleman, thereby
launching her career among the dandies
of Parisian society. Though barely able
to write, Marie was both intuitive and
intelligent, and she successfully affected
the air of a great lady who could ride,
dance, and play the piano skillfully. Marie
charmed all who met her, including
composer Franz Liszt, who believed
corruption “never touched her heart.” Also
charmed was the young Alexandre. They
were both 20 years old, immediately fell in
love, and for several months lived modestly
in a country house outside Paris.
However, Marie must have longed for
the rich high life of Paris and decided
to leave her young lover. The breakup
prompted Alexandre to write a letter
that carries a cordially affectionate, yet
understanding tone:
I am not rich enough to love you as you
would wish, and not poor enough to be
loved as you would desire … You have too
much heart not to understand why I write
you this letter, and too much intelligence
not to be able to pardon me for it.
Marie later married Vicomte Edouard de
Perregaux, possibly to their mutual regret.
She died of consumption when barely
twenty-three years old and the funeral
was attended by her husband and too few
friends. Young Dumas had been abroad
at the time, but upon his return to Paris,
his remorse and nostalgia propelled his
writing the novel in barely a few days.
Although Armand Duval’s story
essentially parallels that of Dumas
himself, one principal difference lies
in the roles played by the fathers.
Alexandre Dumas pere (father), a bon
photo: Tim Wilkerson
PrograM notes Continued
20
vivant with an energetic libido who
kept several mistresses simultaneously,
never objected to his illegitimate son’s
lifestyle. The fictional George Duval, on
the other hand, self-righteously appeals
to Marguerite Gautier — Marie’s alter
ego — to break off her relationship with
his son to save the “honor” of the Duval
family name.
This appeal figures prominently in La
traviata. Piave’s libretto closely follows
Dumas’ novel and play, although he
eliminates minor characters and superbly
abridges much of the dialogue. In the
opera however, the character of the father,
Giorgio Germont, markedly deviates from
the play’s counterpart in the scene when he
enters Flora’s salon to reprimand his son’s
cruel public denouncement of Violetta.
This action seems inconsistent with Giorgio
Germont, a fastidious older gentleman,
who would not seriously think of appearing
at Flora’s party. Nonetheless, Verdi needed
Germont’s presence to heighten the tension
in the father and son relationship and for
a baritone voice to complement the scene’s
concluding ensemble.
Verdi himself had biographical associations
to this romantic melancholy tale. About
eight years after the premature death of his
wife and two children, the composer began
living with Giuseppina Strepponi, a retired
opera soprano he had met professionally
several years before, when she successfully
sang in Verdi’s third opera, Nabucco.
Strepponi had had her own too rapid,
short professional success that overtaxed
her energies and vocal resources midst her
strained love affairs and two illegitimate
children. At only 31, she had to resort
to teaching voice. This “fallen woman”
became first the mistress, then the
devoted wife for a half a century to Italy’s
supreme composer, revered public figure,
and austere private man.
In another parallel to the male protagonist
of La traviata, Verdi had a strained
relationship with his own father regarding
financial matters. Just as Dumas’ life
experiences enhance his novel and play, so
too do the events in Verdi’s life enhance
the creative energy that resulted in La
traviata. Furthermore, Dumas and du
Plessis lived together outside of Paris in the
summer of 1845. Three years later, Verdi
and Strepponi also lived together in Passy,
outside Paris. Each couple had sought their
bliss of love, peace, and reconciliation.
Thus we can sense the essence of the
real Marie du Plessis and Giuseppina
Strepponi, the novel’s Marguerite Gautier
and the opera’s Violetta Valéry as a fusion
of the idealized tragic heroine who
sacrificed her life for her lover.
The poignant romantic story of The Lady
of the Camellias was transformed into La
traviata and has remained a memorable
favorite opera. Its ever-melodious music and
realistic characterizations have continuously
entranced audiences for more than 150 years.
this artiCle appears as an
exCerpt from JaCk bona’s
new book, SynopSeS and Background to ten popular operaS: an IntroductIon for new audIenceS, published by
booklogix (winter 2013).
PrograM notes Continued
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22
JosePh resCigno CONduCtOratlaNta OPera deBut: I paglIaccI/carmIna Burana, 2006
Joseph Rescigno has conducted symphonies, concertos, operas, and oratorios for more than 50 companies on four continents. Since 1981, he has served as Artistic Advisor and Principal Conductor of the Florentine Opera Company of Milwaukee (Wis.), where he has conducted some of the company’s most challenging repertory. In his permanent and guest engagements, Joseph Rescigno has conducted symphonies and concertos from the baroque to the modern era —sometimes conducting from the keyboard in works from the earlier eras. In opera houses, Maestro Rescigno has conducted virtually all of the core Italian repertoire, including romantic, verismo, and bel canto operas; the standard French and German repertory, including the works of Wagner and Richard Strauss; and contemporary works, including the Florentine Opera’s first world premiere, Don Davis’s Río de Sangre, in 2010.
As a guest artist, Maestro Rescigno has conducted the New York City Opera, Lyric Opera of Chicago, Washington National Opera, Hungarian State Opera, Opera Theatre of Saint Louis, Seattle Opera, Glimmerglass Opera, Vancouver Opera, Teatro Bellini, l’Opéra de Marseille, and l’Opéra de Montréal, among others. The symphony orchestras he has conducted include the Montreal Symphony and the Milwaukee Symphony, both of which he has conducted in their regular subscription series as well as in opera productions.
Don Davis’s Río de Sangre, recorded in performance, was released on CD by Albany Records in 2011. Maestro Rescigno’s discography also includes four recordings for Analekta of Canada with the Metropolitan Orchestra of Montreal: Beethoven’s Eroica Symphony plus incidental music to Egmont, with soprano Karina Gauvin; Brahms’s piano concertos with Anton Kuerti; Mendelssohn’s violin concertos with Angèle Dubeau; and soprano arias from Mozart’s The Marriage of Figaro plus Exsultate Jubilate with soprano Lyne Fortin. Also for Analekta, he recorded the highly regarded Verismo, featuring Diana Soviero, with the orchestra of the Montreal Opera. Having conducted the world and Japanese premieres, Maestro Rescigno recorded Minoru Miki’s Joruri with the Tokyo Symphony Orchestra for Toei Video Disk.
This native New Yorker comes from a long line of musicians on both sides of his family, notably his uncle, prominent conductor Nicola Rescigno, a founder of both the Dallas and Chicago opera companies.
Meet the Cast
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Meet the Cast Continued
Joseph Rescigno is a graduate of Fordham University (Phi Beta Kappa) and the Manhattan School of Music. He studied with composer Nicolas Flagello and other distinguished teachers in the United States and Europe, including privately at l’Accademia Nazionale di Santa Cecilia in Rome. He went on to serve the time-honored, opera-house apprenticeship in the European manner with such influential conductors as Laszlo Halasz (founder of the New York City Opera), Bruno Maderna, Gianandrea Gavazzeni, Carlo Moresco (the first director of the Philadelphia Lyric Opera Company), and his uncle. Powerful influences also included pianist Arturo Benedetti Michelangeli, conductors Herbert von Karajan and Erich Leinsdorf, and Roberto Benaglio, the legendary chorus master of La Scala. Each one personally taught him something unforgettable.
A born teacher, Joseph Rescigno is a past faculty member at the Manhattan School of Music and currently serves as the Music Director of La Musica Lirica festival in Italy. He is working on his first book, The View From The Pit: Where Theater Meets Music. This is Joseph Rescigno’s third appearance with The Atlanta Opera, having conducted Madama Butterfly in 2008, and I Pagliacci and Carmina burana in 2006.
DaviD gateLy Stage dIreCtOratlaNta OPera deBut: cInderella, 2008
Stage director David Gately is known for his vivid storytelling and lively and clever productions. During the 2012-13 season he joins the Los Angeles Philharmonic for Angels in America, Fort Worth Opera for Ariadne auf Naxos, and Boston University’s Fringe Festival for Massenet’s Le Portrait de Manon. Recent seasons include Le nozze di Figaro with Opera Colorado, his highly successful “Wild West” production of Don Pasquale with San Diego Opera, Aïda with Vancouver Opera, Orfeo ed Euridice with Boston Baroque, Lysistrata with Fort Worth Opera, La bohème with The Atlanta Opera, both Hansel and Gretel and Little Women with Utah Opera, Faust with San Diego Opera, and Giulio Cesare with Fort Worth Opera. He has directed productions of L’elisir d’amore with Dallas Opera, Madama Butterfly with Seattle Opera, La bohème with Florida Grand Opera, Die Zauberflöte with Vancouver Opera, Il barbiere di Siviglia with Washington National Opera, L’elisir d’amore with The Atlanta Opera, Simon Boccanegra for its premiere with l’Opéra de Montréal, and the World Premiere Production of Before Night Falls with Fort Worth Opera.
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26
Boris ruDak alfredO germONtatlaNta OPera deBut
Born in Belarus, Boris Rudak graduated from the Music College in
Molodechno and later studied at the Belorussian State Academy of
Music and the St. Petersburg State Conservatoire, where he studied
with Irina Bogacheva. At the Conservatoire, Rudak took part in many
of the Opera Studio’s productions, with roles including Tamino in
Die Zauberflöte, Remendado in Carmen, and Jesus in Beethoven’s
Christ on the Mount of Olives. Rudak is a member of the Young Artists’
Programme at the Bolshoi Theatre in Moscow. In 2009, he performed
the role of Arbace in a concert performance of Mozart’s Idomeneo with
the Musica Viva Chamber Orchestra conducted by Alexander Rudin.
He made his debut at the Bolshoi Theatre as First Armed Man in Die
Meet the Cast Continued
Mary DunLeavy VIOletta ValérYatlaNta OPera deBut
American soprano Mary Dunleavy continues to receive critical and
popular acclaim for her performances with many of the world’s lead-
ing opera houses and orchestras. The artist’s 2012-13 season includes
a return to the Metropolitan Opera, to cover Donna Anna in Don
Giovanni; her role debut as Donna Elvira in Christopher Alden’s pro-
duction of Don Giovanni at Portland Opera; and Mimì in La bohème
with Fort Worth Opera. Mary Dunleavy appears in the 2012 Steven
Spielberg film Lincoln, singing music from Gounod’s Faust. In the
2011-12 season, the soprano performed Marguerite in a new produc-
tion of Faust with l’Opéra de Montréal. Mary Dunleavy’s 2010-2011
season included the lead soprano, Christine, in New York City Opera’s
revival of Strauss’ Intermezzo, the soprano soloist in Beethoven’s 9th
Symphony with the Richmond Symphony, a gala concert with the
Hartford Symphony Orchestra, and her first Marguerite in Faust with
Opera Birmingham, followed by further performances of the role
in North Carolina Opera’s inaugural season. Her gallery of operatic
heroines is led by her signature role, Violetta, seen thus far in more
than 60 performances at the Metropolitan Opera, San Francisco Opera,
Barcelona’s Gran Teatre del Liceu, Glimmerglass Opera, New York City
Opera, Opera Theatre of Saint Louis, Lyric Opera of Kansas City, the
Nederlands Philharmonisch Orkest, and others.
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Meet the Cast Continued
Zauberflöte and also sang Almeric in Tchaikovsky’s Iolantha. In 2010,
he made his debut as Lykov in Rimsky-Korsakov’s The Tsar’s Bride and
in 2011 as Alfred in Strauss’ Die Fledermaus. He also performed the
role of Gvidon in a new production of Rimsky-Korsakov’s The Golden
Cockerel. In 2011, he made his debut as Alfredo in Verdi’s La traviata
with the Goettingen Symphony Orchestra. He will soon add some new
roles to his repertoire, such as Ismaele in Verdi’s Nabucco, the Prince
in Prokofiev’s The Love of Three Oranges and Italian Tenor in a new
production of Richard Strauss’ Der Rosenkavalier.
weston hurt gIOrgIO germONtatlaNta OPera deBut: madama Butterfly, 2008
This season, baritone Weston Hurt makes his debuts at both the
Lyric Opera of Kansas City and the Boston Lyric Opera as Sharpless
in Madama Butterfly. He also makes his role debut in the title role
of Rigoletto with the Boston Youth Symphony. Other recent opera
engagements include Cecil in Maria Stuarda at the Canadian Opera
Company, Ford in Falstaff at the Seattle Opera, Sharpless in Madama
Butterfly at the New York City Opera, Schaunard in La bohème at the
Dallas Opera, Peter in Hansel and Gretel at the Portland Opera, Enrico
in Lucia di Lammermoor at the Arizona Opera and the Austin Lyric
Opera, the Count in Le nozze di Figaro at the Michigan Opera Theater,
Frank in Die Tote Stadt at the New York City Opera, Baldassare in
L’arlesiana with the Opera Orchestra of New York, and a performance
of Der ferne Klang with the American Symphony Orchestra in Avery
Fisher Hall. Also a prolific concert singer and recitalist, Mr. Hurt has
performed in recitals sponsored by the prestigious Marilyn Horne
Foundation in the United States, and also has performed in concert
internationally, including a South American tour of performances of
the Brahms Ein Deutsches Requiem. Recent engagements have included
appearances with the Nashville Symphony, the Dallas Symphony, and
the Oratorio Society of New York in Carnegie Hall. A graduate of the
prestigious Juilliard Opera Center, Mr. Hurt has received many notable
vocal awards, including first place and the People’s Choice Award from
the Dallas Opera Guild Vocal Competition and the Vienna Prize from
the George London Foundation.
30
Meet the Cast Continued
Maria MCDanieL flOra BerVOIxatlaNta OPera deBut: cold SaSSy tree, 2008
As the 2011 Grand Prize Winner in Women’s Voice of the National
Federation of Music Clubs, mezzo-soprano Maria McDaniel has
been delighting audiences with her captivating performances on the
recital, operatic and concert stage. Recent credits include performing
Beethoven’s Symphony No. 9 with the Gainesville Symphony Orchestra;
Bach’s Magnificat with Cobb Symphony Orchestra; a Gala Concert with
the Savannah Philharmonic; Love Letters, a debut recital featuring the
Brahms Liebeslieder Waltzes with North Carolina Opera; and I SING
BEIJING, a pioneering new musical exchange program in China. A
house favorite with The Atlanta Opera, appearances there have included
Second Lady in Die Zauberflöte, and Myrtis in Cold Sassy Tree. Ad-
ditional operatic engagements have included Isabella in L’italiana in
Algeri with the Ludwig Symphony Orchestra; Meg in Little Women with
Peachtree Modern Opera; Miss Todd in The Old Maid and the Thief
with Harrower Summer Opera; and Prima Sorella in Suor Angelica with
La Musica Lirica in Italia. She has performed frequently with Chautau-
qua Opera in such roles as Adalgisa (cover) in Norma, Mamma Lucia in
Cavalleria rusticana, La Voix in Les contes d’Hoffmann, Laura in La gio-
conda, Eunice in A Streetcar Named Desire, Foster’s Wife in The Cunning
Little Vixen, and Mrs. Hildebrand (cover) in Street Scene. Ms. McDaniel
also is noted for her portrayals as Suzuki in Madama Butterfly, Charlotte
in Werther, Marcellina in Le nozze di Figaro, Dame Marthe in Faust, and
Meg Paige in Falstaff.
ashLey CurLing aNNINaatlaNta OPera deBut
Ashley Curling is a rising young American soprano who makes her
professional stage debut in these performances of La traviata. Additional
engagements this season include a reprise of the role of Micäela in Bizet’s
Carmen under the musical direction of Maestra Elaine Rinaldi, and
the title role of Angelica in Puccini’s Suor Angelica with New York Lyric
Opera in Carnegie Hall’s Weill Hall. Ms. Curling was a district winner
in the 2012-2013 Metropolitan Opera National Council Auditions,
and competed as a finalist in the New Orleans, La., regional auditions.
Last season Ms. Curling made two role debuts, as Mimì in Puccini’s La
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32
Meet the Cast Continued
wesLey Morgan gaStONeatlaNta OPera deBut: cold SaSSy tree, 2008
American tenor Wesley Morgan has been praised by conductors, stage
directors and audiences for his “ringing tenor” and “gift for suave
phrasing”(Greenville News), and “leaving the audience swooning” with his
“flawless performance” as described by The Atlanta Journal-Constitution.
Mr. Morgan made his international debut this past December as the
tenor soloist in Messiah for the Windsor Symphony Orchestra in Ontario.
The rising tenor is a former member The Atlanta Opera Studio, where
he starred in the company’s touring shows as Frederic in The Pirates of
Penzance. He has appeared on the Atlanta Opera mainstage as Mayor in
Cold Sassy Tree and 1st Priest in Die Zauberflöte. For St. Petersburg Opera’s
Emerging Artist program, Mr. Morgan has sung the roles of Count
Almaviva in Il barbiere di Siviglia and Nemorino in L’elisir d’amore. Other
roles include Tamino in Die Zauberflöte (Jubal’s Lyre Opera), Rinuccio in
Gianni Schicchi (Capitol City Opera), Nanki Poo in The Mikado (Atlanta
Lyric Theatre & Greenville Light Opera Works), the title role in Candide
(Georgia State University Opera), and Rodolfo in La bohème for El Paso
Opera, where he returned this fall to sing Eisenstein in Die Fledermaus.
Last summer he sang the role of Tamino in Die Zauberflöte as a young
artist with Ash Lawn Opera, and this spring will make his West Coast
debut as Cassio in Otello with the Puget Sound Concert Opera, and
Eisenstein in Die Fledermaus for Vashon Opera.
bohème and Micäela in Bizet’s Carmen, both under the musical direction
of Maestra Elaine Rinaldi. She also was a featured artist in the V.O.I.C.E.
Workshop, a new young artists program developed by Sherrill Milnes
that is geared toward emerging professional artists. In previous seasons,
Ms. Curling sang the role of Desdemona in Act IV of Verdi’s Otello under
the baton and stage direction of Marilyn Mims at Palm Beach Atlantic
University, and sang with the Miami Chamber Orchestra under the baton
of Maestra Marlene Urbay in the concert series “Tutto Puccini” and “Tutto
Verdi.” Ms. Curling earned her bachelor’s degree in 2010 from the Jacobs
School of Music at Indiana University in Bloomington. She previously
studied voice with Virginia Zeani, and currently resides in New York City
where she studies with Diana Soviero.
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34
Meet the Cast Continued
Jason harDy marquIS d’OBIgNYatlaNta OPera deBut: andrea chenIer, 1998
Last seen with The Atlanta Opera as Grandpa George/Mr. Beauregard
in The Golden Ticket, bass Jason Hardy recently returned to New York
City Opera in the highly acclaimed new production of Don Giovanni as
Leporello. Other recent operatic engagements include the title role in Le
nozze di Figaro with Michigan Opera Theater, Madison Opera, Opera
Cleveland, Opera Omaha, and Opera Birmingham; Don Alfonso in Così
fan tutte and the Speaker in Die Zauberflöte with The Atlanta Opera;
Brent Davis BarON dOuPhOlatlaNta OPera deBut: madama Butterfly, 2004
Brent Davis recently appeared as Guglielmo in Così fan tutte with
Asheville Lyric Opera, Masetto in Mozart’s Don Giovanni with The
Atlanta Opera, and Marcello in La bohème with University of Georgia
Symphony Orchestra, where he also has performed Ford in Verdi’s
Falstaff. Recent concert appearances include a recital with Atlanta Vocal
Arts Society, soloist in Carmina burana with Michael O’Neal Singers,
and soloist with Governors Club Opera Guild. Davis has appeared
at the International Festival of the Aegean as soloist and as Il Barone
and Giorgio Germont cover in La traviata. Other productions include
the Atlanta Opera premieres as Horemhab in Akhnaten and Hosie in
Cold Sassy Tree with composers Philip Glass and Carlisle Floyd, Prince
Danilo in The Merry Widow with Asheville Lyric Opera, Schaunard in
La bohème with Mobile Opera, as well as Pélleas in Pélleas et Mélisande
and Eisenstein in Die Fledermaus with Illinois Opera Theater. With
Donald Runnicles and the Atlanta Symphony Orchestra, he sang in
Der Rosenkavalier as Zweiter Lakai, and performed Dvorák’s Te Deum
with Georgia Symphony Orchestra. Davis received his Master of Music
from University of Illinois at Urbana-Champaign, where he studied with
John Wustman, Jerold Siena, and Eric Dalheim. He has been a finalist
in the Metropolitan Opera Southeast Region Competition and was the
competition guest soloist at Spivey Hall this past February. Mr. Davis
has worked with coaches Craig Kier and Walter Huff and studies with
Metropolitan Opera baritone Frederick Burchinal, Deutsche Oper Berlin
coach Kathryn Wright, and stage director Carroll Freeman.
36
Meet the Cast Continued
aDrian sMith dr. greNVIlatlaNta OPera deBut
Adrian Smith, bass-baritone, is a 2012 graduate of the Opera Institute
at Boston University, where he also earned the Master of Music degree
in 2010, studying with Dr. Jerrold Pope. Mr. Smith is a 2008 graduate
of Lenoir-Rhyne University in Hickory, N.C,, where he earned a
B.A. in Voice Performance. Mr. Smith has been heard in roles such
as Raimondo in Lucia di Lammermoor, Colline in La bohème, The
Doctor in Vanessa, and Frere Laurent in Gounod’s Roméo et Juliette.
Roles in the 2011-12 season included the title role in Bartók’s Duke
Bluebeard’s Castle, Geronimo in Domenico Cimarosa’s Il matrimonio
segreto, Marquis de la Force in Dialogues of the Carmelites, and the
title role in Donizetti’s Don Pasquale. Mr. Smith made his solo debut
at Opera Theatre of Saint Louis in 2012 as a member of the Gerdine
Young Artist Program, singing the role of the Dodo in the U.S.
premiere of Unsuk Chin’s Alice in Wonderland. On the concert stage,
he has been heard in Mozart’s Requiem, Bach’s Magnificat and Mass
in B Minor, Puccini’s Messa di Gloria, Haydn’s Paukenmesse, Dvorák’s
Stabat Mater, and Handel’s Messiah and Dettingen Te Deum. Mr.
Smith made his Boston Symphony Hall debut in 2009 performing
Mozart’s Great Mass in C Minor with the Boston University Symphony
and Cadmus/Somnus in Semele with Florentine Opera. Mr. Hardy has
been seen as Leporello with Orlando Opera and Connecticut Opera,
Colline with Nashville Opera, Berkshire Opera and Palm Beach Opera,
Don Magnifico in La Cenerentola with Connecticut Opera and Wolf
Trap Opera, Basilio in Il barbiere di Siviglia and Sparafucile in Rigoletto,
with Opera Birmingham, Dulcamara in L’elisir d’amore with Cleveland
Opera and Wolf Trap Opera, and Judge Turpin in Sweeney Todd with
Wolf Trap Opera. He has been seen in recital under the auspices of the
Marilyn Horne Foundation and in concert for Verdi’s Requiem in Prague
and Haydn’s Creation in Montreal with the Berkshire Choral Festival,
and for Stravinsky’s Les noces with the New York City Ballet, and the
Los Angeles Philharmonic. Additional engagements for the 2012-2013
season include Magnifico in La Cenerentola with Nashville Opera,
Leporello with Portland Opera, and Figaro with Arizona Opera. In the
summer 2013, Mr. Hardy will make his Glimmerglass Opera debut in
Verdi’s Un giorno di Regno, as Baron Kelbar.
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38
Meet the Cast Continued
seth hoff ChOreOgraPher & aSSIStaNt dIreCtOratlaNta OPera deBut
A native of Madison, Wis., Seth Hoff recently worked as an assistant
director at Portland Opera (Tosca); Virginia Opera (Die Fledermaus);
Castleton Music Festival (A Little Night Music); Opera Theatre of
Saint Louis (Così fan tutte); Opera Company of Philadelphia (Manon
Lescaut); Lyric Opera of Kansas City (Turandot). He has choreographed
at the Portland Opera (Rigoletto), Opera Company of Philadelphia (Die
Fledermaus, A Masked Ball, Rigoletto), as well as multiple productions of
Singin’ in the Rain, a national tour of Ain’t Misbehavin’, and Jesus Christ
Superstar. Based in Chicago, Mr. Hoff is a dancer, fitness instructor,
assistant director, and choreographer.
ChaD r. Jung lIghtINg deSIgNeratlaNta OPera deBut
Chad R. Jung has designed more than 200 productions for theatre,
opera, music and dance. Opera credits include more than 30
productions for companies including Dallas Opera, Fort Worth Opera,
and Opera Pacific. Theatre credits include off-Broadway: Leonce &
Lena; NY Theater: Julia Pastrana, A Leopard Complains of Its Spots,
Shelf Life; international: The Bear at the Festival of Russian Drama
in Togliatti, Russia. Mr. Jung has designed for many other artists and
organizations including Ballet Austin, Bruce Wood, Caroline Calouche,
Casa Mañana, Dallas Museum of Art, Fort Worth Symphony
Orchestra, Lyle Lovett, Metropolitan Classical Ballet, Texas Ballet
Theatre and Willie Nelson. In addition to being the Lighting Director
for Fort Worth Opera, Mr. Jung is the Resident Lighting Designer for
Amphibian Stage Productions, Kids Who Care, and UNT Opera.
and Chorus. This fall, he was a Resident Artist with the Kentucky
Opera, where he performed The Master of Ceremonies in Massenet’s
Cendrillon. While with Kentucky Opera, he also performed the role of
Angelotti in a concert performance of Tosca with the Owensboro (Ky.)
Symphony Orchestra.
39
Meet the Cast Continued
waLter huff ChOruS maSteratlaNta OPera deBut: toSca, 1988
Walter Huff has been Chorus Master for The Atlanta Opera for 24
years. Along with his duties at The Atlanta Opera, Mr. Huff was
recently appointed to the choral faculty at Indiana University’s Jacobs
School of Music, serving as Adjunct Associate Professor and Faculty
Director of Opera Choruses. Mr. Huff studied piano with Sarah Martin,
Peter Takacs and Lillian Freundlich. He has performed with singers
throughout Europe and the United States and served as coach with the
Peabody Opera Theatre and Washington National Opera. Mr. Huff also
has performed in master classes given by renowned singers and pianists
such as Sir Peter Pears, Licia Albanese, Eileen Farrell, Dalton Baldwin,
Leon Fleisher, and Elly Ameling. In 1984, he received Tanglewood’s
C.D. Jackson Master Award for Excellence, presented by Seiji Ozawa
and the Boston Symphony Orchestra. He has been musical director
for The Atlanta Opera Studio, Georgia State University Opera, and
Actor’s Express. Mr. Huff was one of four Atlanta artists chosen for
the first Loridans Arts Awards, given to Atlanta artists who have made
exceptional contributions to the arts life of Atlanta. In 2008, The Atlanta
Opera Chorus under Mr. Huff ’s direction sang critically acclaimed
performances of Porgy and Bess at Opéra-Comique in Paris and on tour
in Granada, Normandy, and Luxembourg. Mr. Huff also has served as
chorus master for Faust and Der Rosenkavalier with San Diego Opera.
The Atlanta Opera’s 1989 production of La traviata, and Walter Huff’s first season as Chorus Master. (photo: Chip Simone)
40
the 24-hour oPera ProJeCt
The third annual Atlanta Opera 24-Hour
Opera Project is officially in the books! It
was another success, with glowing feedback
from participants and audience alike.
The 24-Hour Opera Project, which has
received attention from media outlets
and opera companies all over the country,
is the first event of its kind in the opera
industry and has gotten stronger and
more successful each year. Participants
in the categories of composers, lyricists,
stage directors, and singers come from
all over the country for this crazy opera
science experiment!
The 24-Hour Opera Project launched
with a fun kickoff event at First
Presbyterian Church of Atlanta,
where the composers and lyricists
were randomly paired and the Project
theme was unveiled. Then it was time
to write! Composition teams worked
overnight to create an original opera for
the cast of singers they were assigned.
The stage and music directors, stage
managers, and singers went to work
early Saturday morning, turning the
new music into a work of art. The final
performance of the five operas took
place at The Atlanta Opera Center that
evening, where more than 250 were in
attendance and more than 700 watched
the performance live online.
The compositions were judged by a
team of industry experts and the live and
online audience also got to choose their
CoMMunity engageMent
photo: Kevin Hackshaw
photo: Jeff Roffman
41
CoMMunity engageMent Continued
photos: Jeff Roffman, Kevin Hackshaw, Matt Burkhalter
sCene 24 hour opera proJeCt
favorite performance. Area high school
students were selected to serve as video
production assistants with the
live webcast.
If you missed The Atlanta Opera
24-Hour Opera Project, you can still
view video highlights on our website at
atlantaopera.org.
The Atlanta Opera 24-Hour Opera
Project is made possible by generous
support from Turner Broadcasting
System, Inc. and Turner Voices.
We are also very grateful for support from
our friends at First Presbyterian Church of
Atlanta, Stevens Interactive Productions,
Inc., and all of the individuals who
supported the project on Power2Give.org.
photo: Jeff Roffman
42
the atLanta oPera ChOruS
Chorus Master Walter Huff
Chorus Jayme Alilaw
Lynnette Anderson
Caitlin Andrews
Kyle Barnes
Joshua Bartolotti
Charles Baugh
Lisa Brown
Megan Brunning
John Burnett
Darian Clonts
Christopher S. Connelly
Gabriel Couret
C. Augustus Godbee
William Green
Jennye Guy
Jennifer Hamilton
Christopher Hawkins
Zachary Heath
Christina Howell
Keli Jackson
Grant Jones
Adam Kissel
Lara Longsworth
Marcella Meredith
Brishelle Miller
Conrad Moore
J. Brandon Odom
Nadeen Paul
Laura Porlier
Marc Porlier
Mary Brooke Quarles
Bryan Saxon
Stuart W. Schleuse
Jonathan C.B. Spuhler
Elizabeth Stuk
Laurie Tossing
Trenton Tunnell III
Kristin Vienneau
Carrie Anne Wilson
The Atlanta Opera cast and chorus brighten the stage in the 2005 production of La traviata. Some of the chorus members pictured here are also in this season’s production. (photo: Tim Wilkerson)
43
vioLinPeter Ciaschini, Concertmaster
Helen Kim, Assistant Concertmaster
Shawn Pagliarini, Principal, Second Violin (Acting)
Angele Sherwood-Lawless, Assistant Principal, Second Violin (Acting)
Fia Mancini Durrett
Felix Farrar
Robert Givens
Patti Gouvas
Sheela Iyengar
Alison James
Jeanne Johnson
Steven K. Leonard
Michele Mariage-Volz
Lisa Morrison
Lee Nicholson
Patrick Ryan
Mayu T. Sammorigo
Mimi Tam
Elonia Varfi
Rafael Veytsblum
vioLaWilliam Johnston, Principal
Elizabeth Derderian-Wood, Assistant Principal
Allyson Fleck
Sarah Park
Karl Schab
Joli Wu
CeLLoCharae Krueger, Principal
Erin Ellis, Assistant Principal
David Hancock
Roy Harran
Mary Kenney
Cynthia Sulko
BassLyn DeRamus, Principal
Christina Caterino
Emory Clements
Rob Henson
fLute/PiCCoLoJames Zellers, Principal
Kelly Bryant
oBoe Dane Philipsen, Principal
Diana Dunn
CLarinetDavid Odom, Principal
Jeanne Heinze
BassoonMike Muszynski, Principal
Debra Grove
hornDavid Bradley, Principal
Ed Ferguson
Jason Eklund
Alan Brown
the atLanta oPera OrCheStra
truMPetYvonne Toll, Principal
Hollie Lifshey
troMBoneMark McConnell, Principal
Ed Nicholson
Richard Brady, Bass Trombone
CiMBassoDonald Strand, Principal
tiMPaniJohn Lawless, Principal
PerCussionMichael Cebulski, Principal
Jeff Kershner
harP Susan Brady, Principal
PersonneL ManagerMark McConnell
*String sections are listed in alphabetical order
44
the atLanta oPera VOluNteerS
The Atlanta Opera acknowledges and is grateful for the volunteers whose donations of
time and effort help to set the stage for the opera performances you experience. Are you
interested in working behind the scenes? Call Allison DeNiro at 404-591-2928 or visit the
“Support Us” section at atlantaopera.org to learn more about becoming a volunteer.
Denise AndersonKimberly AndersonAlishia AustinJoan BaskinSanford BaskinStacy BerryErnie BraunschweigAllison BrownCharley BurneyPaul BurnoreJessica CallahamEydie CastroRichard CherryNoreen ConortBeth CooperJean CornnKimberly DanielsLorie DavisChris DeutschlerKevin DewRichard DodderBrad DorfmanJanay DouglasChandrea DungyRabiah Elisa
Lance ElliottKatia EvansAnna FilardiPete FujimotoAnne Marie GaryMaxi GeorgeAaron GilliamElizabeth GoldsteinElliott GoldsteinSylvia HalleckSuzanne HayesLauren HayesAnne HayesBetty Ann HeddenJennifer HendricksFrances HollandDavid HuffmanCardine R. JohnsonKathy JohnsonJocelyn JohnsonNicolas JohnsonCorey JohnsonW.C. JonesJamey JonesAmanda Kautzer
Paula KocherAnie KogutkiewictPatty Kramer-LakeAlison KrtzertHelen KrausSteve KrausVirginia LamRyan LeeJesse LeonardPeg LowmanJames LowmanDiana LulushiMeigan ManisMary Ruth McDonaldRachael McDonaldLorrain MillsJoseph MillsCiara MontalboFatimah MustafaaJC NameNatalie LynchRobert NemoVernon NorrisMarianela NoyaKim Ong
Sonia OxmanPriya PatelPolly PaterGlenda PearsonMatthew PinnowVictor PrinceTandi ReddickNancy ReedMarie ReidZabrina Rios Catherine RobersonDiana RobinsonSuzanna SaiahCherylene SandsJohn SandsMartha SchallernCatherine SchatzJoyce SchechterCarol SchmiedGail ShattahAmanda ShearrowTatiana ShifersonDan ShumateVerna SladeAlisha Smith
Sheena SpencerMargaret A. StephenEleanor & Jim StrainBeth SuryanSandy TaffelLinda TaylorCarol ThurmanDonald ThurmanSuzanne TouchstoneRuth VaughtTricia VogelgesangMark VogelgesangAlice WadeAlana WalkerDorman WallaceHilary WayneHarold WhitneyBranalyn WilliamsLaura Chris WrightYilan XiangBarbara Zellner
A performance of the Atlanta Opera’s La traviata at the Boisfeuillet Jones Atlanta Civic Center in 2005. (photo: Tim Wilkerson)
46
“I adore art... when I am alone with my notes, my
heart pounds and the tears stream from my eyes, and my emotion and my joys are too much to bear.”
– giuseppe Verdi
photos: Kevin Hackshaw
sCene stone soup
verDi’s BirthDay
October 10, 2013, will mark the
bicentennial birthday of the great Verdi.
Opera houses worldwide, including
The Atlanta Opera, are celebrating
the occasion by presenting one of his
operas in the 2012-13 season. One
of the greatest composers of all time,
Verdi successfully conveyed himself
through today’s most popular operas
(such as Rigoletto, Il trovatore and today’s
presentation of La traviata) as well as
through deeper operas (such as Aida,
Otello and Falstaff). The diversity of his
operas shows his mastery of Italian opera.
We hope you enjoy La traviata — a true
expression of a composer’s adoration for art!
the atLanta oPera CeleBrateS
47photos: Jeff Roffman
sCene Carmen: opening night & afterparty
... a completely new approach to the atlanta opera annual Fund
Enhance your entire Atlanta Opera experience, not just your benefits.
· Along with existing benefits, new choices have been added.
· You will receive a tailored MyOpera portfolio which will include detailed information on your benefits.
· Starting at the Gold Level, you can choose your benefits from multiple level options.
· Starting at the Platinum Level, you will be partnered with a MyOpera Concierge to help you tailor a more personal Atlanta Opera experience.
For more information, please contact Rebecca Bowden at 404.881.1035 or visit atlantaopera.org.
48
Membership in the Atlanta Opera’s Society for Artistic Excellence represents a minimum
pledge of $20,000 over a three-year period. These vital gifts help The Atlanta Opera
improve its capacity both artistically and financially while building on a tradition of
world-class opera in the Atlanta area. Below is a list of patrons who currently have three-
year gift commitments.
All donors below are listed both here in the ARIA and online at atlantaopera.org.
For more information, contact Bert Huffman at bhuffman@atlantaopera.org.
New prOductiON patrON $300,000+Dr. & Mrs. James W. Bland Jr.Jane S. Willson
revival prOductiON patrON$150,000+Mr. & Mrs. Carl W. Knobloch, Jr.
directOr patrON$75,000+Mr. & Mrs. Harmon B. Miller IIIJerry & Dulcy RosenbergBob & Cappa Woodward
artist patrON$45,000+The Laura & Montague Boyd FoundationThe John & Rosemary Brown Family FoundationDr. Alexander Gross & Mrs. Joanne Chesler GrossMr. & Mrs. William J. Hayes IIICandy & Greg JohnsonMr. William F. Snyder & Mr. Louis A. Peneguy*Mr. & Mrs. J. Barry SchrenkRhys & Carolyn WilsonThe Mary & Charlie Yates Family FundCharlie & Dorothy Yates Family Fund
cONductOr patrON$20,000+Shepard & Boyce AnsleyMr. & Mrs. Jim BallounBryan & Johanna BarnesMr. & Mrs. Andy BergMr. Mario ConchaHeike & Dieter ElsnerMr. William HajjarJohn L. HammakerMr. & Mrs. John Michael HancockMr. & Mrs. Michael L. KeoughMr. John O. KingMr. & Mrs. George W. LevertMr. & Mrs. C. David Moody, Jr. Clara M. & John S. O’SheaMr. & Mrs. Michael PaulhusMr. William E. PenningtonEdward W. PharesMr. James D. PowellMr. Charles SharbaughBaker & Debby SmithMr. & Mrs. William E. TuckerThomas R. Williams Family
additiONal Multi-year Gifts$15,000+Cathy & Mark Adams Mr. & Mrs. Timothy E. Sheehan
$10,000+Tom & Sandy Teepen
soCiety for artistiC exCeLLenCe
*deceased
The Woodruff Arts Center’s Alliance Theatre hosted the Atlanta Opera’s 1989 production of La traviata featuring Miguel Cortez as Alfredo and Susan Patterson as Violetta. (Photo: Chip Simone)
50
annuaL funDThe following names represent gifts from individuals, family foundations, The Atlanta
Opera Board of Directors, staff, chorus and orchestra. The ongoing support you provide
allows the Opera to continue building on a tradition of excellence, and makes possible
quality productions just like you are experiencing now. Thank you.
Listed on the following pages are friends who contributed $350 or more to the
Opera between July 1, 2011 and January 8, 2013. For a complete list of donors
visit atlantaopera.org.
platiNuM (continued)diaMONd $100,000+Mr. & Mrs. Donald KeoughMr. & Mrs. Carl W. Knobloch, Jr.Jane S. Willson
$25,000+Mr. & Mrs. John L. ConnollyMartha Thompson DinosMrs. Olga Casteleiro de Goizueta
platiNuM $10,000+Mr. David BoatwrightPolly N. Pater
$5,000+Mr. & Mrs. Richard H. AndersonMrs. Elizabeth Tufts BennettR. Dwain BlackstonNancy & Jim BlandCarl & Sally GablePeg Simms GaryGenuine Parts CompanyMr. Bert HuffmanMary Ruth McDonaldPeggy & Jack McDowellMr. James B. Miller, Jr.Dr. & Mrs. Richard M. RobinsonJohn & Barbara RossMr. Charles ScarboroughTriska Drake & G. Kimbrough Taylor
$2,500+Mr. & Mrs. Ronald R. AntinoriDr. Florence C. BarnettChris Casey & Douglas WeissMrs. Jean Cooper
Sally & Larry DavisMr. Robert S. DevinsCol. & Mrs. Edgar W. DuskinMr. & Mrs. Robert G. EdgeDr. Mary M. FinnMs. Rebecca Y. Frazer & Mr. Jon ButtreyMr. & Mrs. Harry L. Gilham Jr.Dr. Thomas N. Guffin, Jr.Mr. & Mrs. Douglas HantulaMr. & Mrs. Edward J. HardinMr. & Mrs. Harry C. HowardKatie Hutchison Mrs. Joseph W. JonesMr. & Mrs. Gert KampferJames M. Kane
& Andrea Braslavsky KaneMr. & Mrs. Michael A. KlumpLinda L. Lively & James E. Hugh IIIDr. & Mrs. James Lowman Sally & Allen McDanielRobert & Suzanne MinarcineMr. & Mrs. William A. Parker, Jr.Dr. & Mrs. Lawrence S. PhillipsMr. James L. RhodenMr. & Mrs. George P. RodrigueMilton J. SamsMorton & Angela SherzerMrs. J. Lucian SmithJohannah SmithYee-Wan & John StevensJudith & Mark TaylorMr. & Mrs. George B. Taylor, Jr.Ms. Bunny Winter & Mr. Michael DoyleMr. W. C. Wyatt, Jr.
GOld$1,000+Mr. Keith E. AdamsMr. & Mrs. C. Duncan BeardMichael L. & Valerie W. BenoitAllison Krebs Bensch & Torsten BenschMr. & Mrs. Paul BlackneyMrs. Enrique E. BledelDr. J. Bricker BurnsMr. Hugh CheekMr. Lawrence ClarksonDr. & Mrs. William C. CollinsDr. John W. CooledgeMr. & Mrs. Stephen E. CrowleyDr. & Mrs. F. Thomas Daly Jr.Ms. Dorothy E. EdwardsDr. & Mrs. Arnoldo FiedotinMs. Jeanne R. FrazierR. Derril Gay, Ph.D.Mr. & Mrs. John W. Grant IIIMs. Sue HallJohn L. HammakerHarald Hansen Donna HillerJames E. Honkisz & Catherine A. BinnsMr. & Mrs. Hugh HoschAnn P. & Ezra F. HowingtonMr. & Mrs. David C. HuffmanMr. Mike HurdleMr. & Mrs. Wayne JamesLou & Tom JewellMr. & Mrs. Kenneth D. JohnsonMr. Alfred D. Kennedy & Dr. Bill KennyMr. & Mrs. Peter G. Kessenich, Sr.Marsha & David KingMrs. Treville Lawrence
Man took to flight when we believed.
Women won the vote when we believed.
Children will stop dying from preventable causes when you believe.
Every day, 19,000 children die of causes we can prevent. We believe that number should be ZERO.
TAKE ACTION visit unicefusa.org
ZeroDigestFull.indd 1 10/5/12 1:26 PM
52
annuaL funD ContinuedGOld (continued) GOld (continued) GOld (continued)Dr. Jill MableyJeanie & Albert MarxDan D. MasliaMr. William McDanielMr. & Mrs. Richard V. McPhail IIIMr. Gene Milner & Dr. Rhonda D. MilnerMr. Gene Moon & Mrs. Dorothy MoonTerri & Stephen NaglerMr. & Mrs. John L. O’NealVictoria & Howard PalefskyDr. & Mrs. Donald A. PaulLucy S. PerryDr. Michael F. Pratt & Nancy PetermanMs. Lorraine RussellMr. Dustin B. SchneiderSachin ShailendraMr. Nicholas ShreiberDr. & Mrs. Patton P. SmithMr. Fred B. SmithMr. Peter James StellingDr. Marilyn StocktonDr. Jane T. St. Clair
& Mr. James E. SustmanMr. & Mrs. Ben J. Tarbutton, Jr.Ms. Carol UhlDr. Nicholas Valerio IIIAlan & Marcia WattRae & George WeimerMs. Linda D. WickhamLarry & Beverly WillsonMrs. Wadleigh C. WinshipDrs. Martin & Holly York
$500+Mr. & Mrs. C. S. Akers, Jr.Mr. & Mrs. Michael BarkerMr. & Mrs. Harris P. BaskinMr. Joe E. BatesMr. & Mrs. Wallace F. BeardMs. Tiffany BloomerMs. Martha S. BrewerDr. Harold BrodyDr. & Mrs. W. Scott BrooksBarbara S. Bruner, M.D.Mr. Robert Bunker
Dr. Bruce Cassidy & Dr. Eda HochgelerentMrs. Carol J. ClarkDr. Kristin R. CorganMr. Stuart CulpepperMr. & Mrs. Tom DeBraMr. Kevin Dew & Mr. Hal PlattMr. & Mrs. William D. DuckworthDr. & Mrs. H. Allen EckerMr. & Mrs. John C. Ethridge, Jr.Heather & Eli FlintDr. & Mrs. David J. FrolichMr. & Mrs. John GamDr. & Mrs. Joseph D. GiovincoThe Law Offices of Jason B. GodwinMr. & Mrs. Donald GoldsteinMr. & Mrs. George GundersenMs. Louise S. GunnSylvia Halleck, MDHarriet H. HarrisMr. Michael D. HastingsMr. George Hickman, IIIMr. L. D. HollandRichard & Linda HubertMrs. H.F. HunterMr. Francis M. JackDr. & Mrs. Duke Jackson, Jr.Mr. Speight JenkinsMr. Doyle P. JonesDr. Sidney T. KellonJoan & Arnold KurthChris & Jill LeMs. Salli LeVanDr. Jason LiebzeitMr. & Mrs. J. David LifseyDr. & Mrs. P. Mather LindsayRichard Lodise & Valerie JagiellaDonna & Trevor LumbDouglas W. & Sarah MabryStanley & Elaine MagerDr. & Mrs. Ellis L. MaloneDr. Robert & Judge Stephanie ManisShelley McGeheeMr. & Mrs. John McMullanMr. M. Sean Molley
Ms. Priscilla M. MoranMr. & Mrs. Peter J. Morelli IIMs. Melissa MortimerMr. & Mrs. Frank MucklerMr. & Mrs. Robert NemoMs. Beverley PaquetteGeorge & Libba PickettThe Reverend Neal P. Ponder, Jr. Mr. David PylateDiane & Nicolas I. QuintanaR.J. & D.G. Riffey, Jr.Mary K. RoarabaughMr. & Mrs. E. Gordon RobinsonThe Honorable Judge
Dorothy A. RobinsonMs. Heidi M. RockwoodSidney & Phyllis RodbellFred RodriguezDr. & Mrs. Mark RowlesDr. Michael SanseviroMr. Brenn SmithJudge & Mrs. Mike StoddardMr. N. Jerold Cohen
& Ms. Andrea StricklandSteve & Christine StrongMr. & Mrs. Frederick A. StuartMs. Melinda R. StukDr. & Mrs. Michael SzikmanMr. & Mrs. Hugh M. TarbuttonMs. Virginia S. TaylorMr. Eric TaylorMr. Richard ThioMrs. Newell B. TozzerMr. & Mrs. Leroy WaldenDr. & Mrs. James O. Wells, Jr.Ms. Venette WilliamsMrs. Frank Wilson, Jr.Dr. & Mrs. David WingertMrs. Geraldine S. WoodwardMr. & Mrs. John Zellner
$350+AnonymousAtlanta Opera Orchestra
Players Association
53
annuaL funD ContinuedGOld (continued) GOld (continued) GOld (continued)Mr. & Mrs. Walter BaileyMr. & Mrs. David S. BakerMr. & Mrs. Robert O. BankerDr. & Mrs. John BarnesDr. & Mrs. William BattlesDaniel & Bethann BergerDr. & Mrs. Jerry BlumenthalMrs. Karen BunnDr. & Mrs. W. Brantley BurnsMrs. Stella M. CarlsonMr. & Mrs. Raymond H. ChenaultMr. Michael ClutterMr. Lawrence M. CohenLucy & John CookMrs. June Crawford Mr. & Mrs. Michael J. CurryMaureen & Michael DaileyDr. & Mrs. Albert De ChicchisMrs. William ElmoreMr. & Mrs. Arthur R. DuggerDebra & Greg DurdenJanice & Charles M. Edwards IIIDr. G. EichholzMr. John FischerMr. Glen GalbaughMs. Lois M. GrantJudge Adele P. GrubbsMr. & Mrs. Sam HaganOwen HalpernDean & Vivian HaultonHoneywell International CorporationPearlann & Jerry HorowitzJulie & Jason IngrahamMr. Scott Ingram
Cliff Jolliff & Elaine GerkeMs. Jo. Elliott JonesMr. & Mrs. Edward KatzeMr. & Mrs. Fred R. KeithMr. & Mrs. Michael L. KeoughMs. Eleanor KinseyLucy R. & Gary Lee, Jr.Livvy Kazer LipsonDr. Carlos E. LopezMr. Thomas L. McCookMr. & Mrs. Norman MillerMs. Sharon MillsMr. Martin A. MooreDr. Patricia S. MoultonJane & Jim MurrayMrs. Amy Wynn NormanMs. Marianela E. NoyaMr. & Mrs. Henry C. Parrish IIIMr. & Mrs. Guy PaschalMr. D. V. Pompilio
& The Honorable S. L. IngramMs. Barbara RivenbarkMr. Robert SidewaterDr. Susan Y. StevensJim & Eleanor StrainCarolyn & Robert SwainDr. & Mrs. Michael SzikmanMrs. Sarah TateRaymond C. TownsendMr. & Mrs. Charles D. TullerMrs. James B. VaughtMr. & Mrs. Thomas W. Ventulett IIIHenry Waszkowski & Patty ThomasMs. Reba P. Welch
Dr. & Mrs. Sam WilliamsEmily Willingham & Dixon AdairMs. Judith D. WilsonSherrilyn & Donn WrightMrs. Johnnie Zahler & Jeanette Zahler
sPeCiaL thanks
Special thanks to the following individuals who donated their time as supernumeraries
in the Atlanta Opera’s production of Carmen.
Roy BryanKim ChristopherRashuan CormierMichael Edwards
Jerry HunterJohn KingSamuel McAleeseMichael Mitchell
Sean SavageWalker ThomasSpiro WinsettRoque Marinho
54
$100,000 The Coca-Cola Company
$50,000+AT&TDelta Air Lines, Inc.
$10,000+Affordable Equity Partners, Inc.Flight OptionsLanier Parking Solutions
$5,000+Lockheed Martin Aeronautics Company
fOuNdatiONs$50,000+Atlanta Music Festival AssociationSara Giles Moore FoundationThe Zeist Foundation
$25,000+The Kendeda FundJ. Marshall & Lucile G. Powell Foundation
$20,000+Jim Cox, Jr. Charitable Trust
$10,000+Abraham J. & Phyllis Katz FoundationWells Fargo Philanthropic Giving Program
$5,000+The Arthur M. Blank Family FoundationCamp-Younts FoundationJohn & Mary Franklin FoundationFraser-Parker FoundationAnn & Gordon Getty FoundationThe Home Depot FoundationJBS FoundationNordson Corporation FoundationNorfolk Southern FoundationOPERA AmericaTurner Broadcasting System, Inc.
$2,500+Mary Brown Fund of AtlantaHills Family FoundationCharles Loridans FoundationPublix Super Markets CharitiesFrances Wood Wilson Foundation
$1,000+Bright Wings FoundationGeorgia Humanities CouncilHerbert & Marian Haley FoundationLois & Lucy Lampkin FoundationRay M. & Mary Elizabeth Lee Foundation
GOverNMeNt fuNdiNG$20,000+City of Atlanta Office of Cultural AffairsGeorgia Council for the Arts
Gifts iN KiNdBatdorf & Bronson Coffee RoastersJoel Crowe – Wallace GraphicsEngland Pianos – Official Piano Sponsor of The Atlanta OperaFederal Home Loan Bank of AtlantaEli Flint – Flight OptionsLanier Parking SolutionsNational Distributing, Inc. Jeff Roffman PhotographyTim Wilkerson Photography
$2,500+Anonymous
$1,000+Atlanta Opera Guild
From the 1998 Atlanta Opera production of La traviata, tenor
John Fowler performs as Alfredo.
(photo: J.D. Scott)
CorPorate Partners
CoMMunity Partners
55
triButes & MeMoriaLsiN MeMOry Of dr. JOseph barNettDr. Florence C. Barnett & FamilyMs. Ann BaileyFred D. Bentley Sr. & FamilyFred D. Bentley Jr. & FamilyR. Randall Bentley Sr. & FamilyEmory Johns Creek Hospital Maria JuradoKennesaw State University Foundation GA Neurosurgical Society Dr. Anthony Musarra Mr. & Mrs. W. A. SeparkDr. & Mrs. Edgar Vaughan Dr. & Mrs. Allison F. Williams
iN MeMOry Of MarGaret bOwdeN reese ellisDr. & Mrs. James H. Dew Jr.
iN MeMOry Of sylvia dabeNpartShelley McGehee
iN hONOr Of berNadette faberEnid & Jerry Draluck
iN MeMOry Of richard felNerMrs. Anna Beth Felner
iN MeMOry Of dicK GallOMr. Alfred D. Kennedy & Dr. Bill Kenny
iN MeMOry Of betsey G. haNseNHarald Hansen
iN hONOr Of JOseph lattaNziThe Reverend Neal P. Ponder, Jr.
iN MeMOry Of rachel lehMaNNJim & Eleanor Strain
iN hONOr Of pOlly paterMr. Brian D. BeemMr. & Mrs. Charles SlickMr. Tom Slick
iN MeMOry Of lOuis peNeGuyMr. William E. Pennington
iN MeMOry Of hazel rOy butlerThe Hazel Roy Trust
iN hONOr Of sharON silverMiNtzMs. Elizabeth F. Meeker
iN MeMOry Of dr. KiNGsley weatherly Mr. & Mrs. Gerald BaxterNancy & Jim BlandMr. & Mrs. Peter M. Candler Dr. & Mrs. William H. ChewLynn CochranMr. & Mrs. R. Park EllisP. Wesley Foster, Jr. Ms. Beatrice GarnerJoan Gill Carolyn & Lem HewesJim & Mary Long HowardKatie Hutchison Mrs. Clay KirkMrs. T. Harvey Mathis, Jr.Mr. & Mrs. Edward J. Merritt Jr.Anne Groves MorrisMrs. Elizabeth PritchettDr. & Mrs. Newton Quantz, Jr. Richard Worrell General Agency, LLC.Hugh Richardson, Jr.Elizabeth & Dick RubenoffDr. Kathy Shands The Sunshine CommitteeWillou & Bill Smith Dr. & Mrs. Carter Smith, Jr.Ms. Susan SoperMargo & Buddy StackThe Sutton FamilyMr. & Mrs. Charles D. Tuller Mel & Hootie Zaher
iN MeMOry Of Marya Gabrielle williaMsMs. Marilon Jone P. Williams
Raul Hernandez as Alfredo and Jan Grissom as Violetta in the Atlanta Opera’s 2005 production of La traviata. (photo: Tim Wilkerson)
56
enCore CirCLeThe 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.
AnonymousMr. & Mrs. Shepard B. AnsleyMr. & Mrs. Wallace F. BeardMr. Montague L. BoydMs. Mary D. BrayMr. Robert ColginArnold & Sylvia EavesMs. Dorothy E. EdwardsMr. & Mrs. Dieter ElsnerCarl & Sally GableRebecca & Sidney GubermanMs. Judy HanenkratMr. Hilson Hudson
Mrs. Joseph B. HutchisonMr. Alfred D. KennedyMs. Corina M. LaFrossiaMr. Louis L. LawsonMr. & Mrs. John G. MalcolmMr. Robert Lee MaysMr. & Mrs. Allen P. McDanielMr. & Mrs. Jack C. McDowellMr. & Mrs. Craig N. MillerMiss Helen D. MoffittMr. J. Robert MorringMr. & Mrs. Bertil D. NordinClara M. & John S. O’Shea
Mrs. Polly PaterMr. William E. PenningtonBruce A. RothMr. & Mrs. Paul SangerKevin J. SaundersMr. D. Jack Sawyer, Jr.Mr. & Mrs. Thomas H. TeepenMr. Richard F. TignerWilliam E. Torres, M.D.Dr. & Mrs. Harold WhitneyMs. Bunny Winter & Mr. Michael DoyleMr. & Mrs. Charles R. Yates, Sr.Mr. Charles R. Yates, Jr. & Mrs. Mary Yates
We at The Atlanta Opera sincerely appreciate your generous support and belief in our
mission of enriching lives though the power of opera. By building a legacy through
the creation of a planned gift with The Atlanta Opera, you can help ensure that future
generations are exposed to the highest quality opera for generations to come.
Developing an estate plan requires advice from a professional, so we suggest you consult
your personal advisor to make sure your gift will accomplish the intended goals for both
The Atlanta Opera and you. A member of our development team will be happy to meet
with and assist you in exploring the options that are most beneficial for everyone involved.
Your planned gift can make a tremendous difference and help preserve the future of The
Atlanta Opera! Please call 404-591-2926 or 404-343-7125 to discuss your planned gift.
suPPort toMorrow, toDay! BuiLD a LegaCy with the atLanta oPera.
suPPort the atLanta oPera
f&B ad
photos: Jeff Roffman
sCene the atlanta opera holiday ConCert
3630 Peachtree Road, N.E.404-254-1797 • fandbatl.com
would like to thank
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BoarD of DireCtors
offiCersMrs. Shepard B. Ansley ChaIr emerItuS
William E. Tucker ChaIr Tucker, Midis & Owen, LLC
Mr. Gregory F. Johnson ImmedIate PaSt ChaIr Republic National Distributing Company, Inc.
Mr. John L. Hammaker VICe ChaIr
Mr. Charles R. Yates, Jr. VICe ChaIr
Mr. Rhys T. Wilson treaSurer Nelson, Mullins, Riley & Scarborough, LLP
Mr. Michael Keough SeCretarY DMK International
MeMBersMs. Cathy Callaway Adams, Federal Home Loan BankMr. Bryan H. Barnes, Deloitte & Touche, LLPMr. Andy Berg, Homrich BergMrs. James W. Bland, Jr.Mr. Montague L. Boyd, III, UBS FinancialMrs. Rosemary Kopel BrownMs. Sharon J. Byers, The Coca-Cola CompanyMrs. John W. Calhoun, IIIThe Very Reverend Samuel G. Candler, Cathedral of St. PhilipMr. Mario Concha, Concha Consulting, LLCMs. Martha Thompson DinosMr. Robert G. Edge, Alston & BirdMr. Dieter Elsner, Roedl Langford de Kock, LLPMr. Eli Flint, Flight OptionsMrs. Joanne Chesler GrossMr. William Hajjar, JWTMr. John Michael HancockMr. William J. Hayes, Bain & Company, Inc.Mr. Douglas R. Hooker, Atlanta Regional CommissionMr. John Isakson, Jr., Williams Asset ManagementMs. Mary B. James
Mr. John King, Breitland, LLCMrs. Carl KnoblochMr. George Levert, Kinetic Ventures, LLCMr. Richard McPhail, The Home Depot, Inc.Mr. Harmon B. Miller, III, MillerZell, Inc.Mr. James B. Miller, Fidelity BankMr. David Moody, C. D. Moody ConstructionMr. Michael Paulhus, King & SpaldingMr. William E. PenningtonMr. James D. Powell, KPMG, LLPMr. Herbert J. Rosenberg III, National Distributing Company, Inc.Mr. Bruce A. Roth, Roth & Associates, Inc.Mr. J. Barry Schrenk, Taggarts’ Driving SchoolMr. Stewart A. Searle, Strategic Thought PartnersMr. Sachin Shailendra, S G ContractingMr. Charles Sharbaugh, Paul, Hastings, Janofsky & Walker, LLPMr. Timothy E. Sheehan, Mellon Private Wealth ManagementMr. Baker A. Smith, BDO Consulting Corp. Advisors, LLCMr. G. Kimbrough Taylor, Jr., Kilpatrick Townsend & StocktonMr. Timothy J. Walsh, Lanier Parking SolutionsMr. Thomas R. WilliamsJane S. Willson, Sunnyland Farms, Inc.Mr. Robert G. Woodward, King & Spalding
honorary MeMBersMs. Dorothy E. EdwardsMr. Carl I. GableMr. John S. GillfillanMrs. Holcombe T. Green, Jr., WestPoint StevensMr. Carter Joseph, Empire DistributorsMrs. Jack C. McDowellMr. Sam Olens, State of GeorgiaMr. Mark K. Taylor, HT Group, LLCMrs. John C. WilsonMs. Bunny Winter
One of Michael Stauffer’s set design sketches for Act I of La traviata from the Atlanta Opera’s inaugural season in 1980. (photo: The Atlanta Opera Archives)
59
StoneSoupStoneSoupStoneSoupStoneCOMMUNITY . DIVERSITY . FRIENDSHIP . MAGIC
In Your Community...
presents
SATURDAY, MARCH 16, 2013PERFORMANCE FOR GIRL SCOUT DAY
9:30 a.m.
The Atlanta Opera Center1575 Northside Dr., NWBuilding 300, Suite 350Atlanta, GA 30318
Admission to Girl Scout Day is $10 per Girl Scout and $5 per adult.Please call 404-881-8883 for tickets.
SATURDAY, MARCH 23, 2013PERFORMANCE AT 11:00 a.m.
Southwest Arts Center 915 New Hope Rd.Atlanta, GA 30331
Admission is $7 per person for each family performance.Please call 404-881-8885 or visit atlantaopera.org for tickets.
60
artistiC & ProDuCtion Arthur Fagen Carl & SallY gaBle muSIC dIreCtOr & CONduCtOrElecia Crowley artIStIC admINIStratOrWalter Huff ChOruS maSterMichael Benedict PrOduCtION maNagerShawn Rieschl Johnson COmPaNY/Stage maNagerEric Mitchko artIStIC CONSultaNt
Marketing & CoMMuniCationsCristina Vásconez Herrera dIreCtOr Of marketINg & COmmuNICatIONSLindsay Smith marketINg maNagerEmily Genetelli COmmuNICatIONS maNagerMatt Burkhalter CreatIVe SerVICeS maNagerAlan Strange tICketINg SerVICeS maNagerRenee Smiley tICketINg & grOuP SaleS aSSOCIate
seasonaL staffJohn Beaulieu teChNICal dIreCtOr/maSter CarPeNterPatricia Tuckwiller PrOduCtION eleCtrICIaNSteve Dubay PrOduCtION eleCtrICIaNPamela Hickey PrOPertIeS maSterGregory Boyle aSSIStaNt Stage maNagerJamie Hahn aSSIStaNt Stage maNagerKen McNeil wardrOBe maSter
CostuMe shoPJoanna Schmink COStume deSIgNer/COOrdINatOrPatricia McMahon COStume ShOP maNagerBrett Parker fIrSt haNdMary Cruz Torres StItCherBridgette K. L. Mont StItCherSylvia Otto COStume aSSIStaNt
wig & MakeuP staff Katrina Suhre deSIgN aSSIStaNtChristina Whitaker MooreTracy SalazarAida ScuffleTiffany DavisSelena Miller
finanCe & aDMinistrationMike Hurdle dIreCtOr Of fINaNCeAshley Gilleland aCCOuNtINg maNagerStephanie Cantillo admINIStratIVe maNager
DeveLoPMentBert Wesley Huffman MPA CFRE dIreCtOr Of deVelOPmeNtRae Weimer aSSOCIate dIreCtOr Of deVelOPmeNtKristin Boggs majOr gIftS OffICerGreg Carraway fOuNdatION & graNtS maNagerRebecca Bowden aNNual fuNd maNagerAllison DeNiro eVeNtS maNager & VOluNteer COOrdINatOr
CoMMunity engageMentEmmalee Iden Hackshaw dIreCtOr Of COmmuNItY eNgagemeNtAnne Stillwagon INterN Wade Thomas INterN
staff
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Be part of the Excitement.September 14, 2013 • St. Regis – Atlanta
The 2013 Atlanta Opera Ball
62
house PoLiCies
ConCessions
Concession stands are located in the center
of the lobbies on all three levels. Food and
beverage items are prohibited inside the
theatre. Thank you for your cooperation.
restrooMs Restrooms are located on house right
and house left of all three lobbies. Family
restrooms are also located on house right
of all three lobbies. Mobility-impaired
patrons may use any of our restrooms.
Parking There are 1,000 parking spaces available
at a $6 charge per car. Valet service is
available for $10. Please be sure to allow
enough time for travel to the theatre and
parking as there is no late seating.
atM There is one Bank of North Georgia
ATM located in the grand lobby.
Coat CheCk Coat check is available at the concierge desk.
eMergenCy inforMation In the event of an emergency, please
locate the nearest usher who will direct
you to the appropriate exit.
eLevators Elevators are located on each side of the
lobbies on all levels.
Lost & founD Lost and Found items are turned into the
concierge desk on the day of a performance.
To inquire about a lost item, please call the
House Manager at 770-916-2828.
sMoking Smoking is prohibited inside the building.
sPeCiaL assistanCePersons requiring access assistance are
asked to contact the box office at
770-916-2850 for advance arrangements.
Audio clarification devices are available to
our hearing impaired guests at no charge.
This is on a first-come, first-served basis, or
you may call the House Manager ahead of
time to reserve one 770-916-2828. A limited
number of booster seats are also available. All
items require a form of identification to be
held until the item is returned.
CoBB energy Centre ruLes & requests
• All patrons, regardless of age, must have
a ticket in order to be admitted to the
performance. Please be aware that not all
performances are suitable for children
• Infants will not be admitted to adult
programs. Parents will be asked to
remove children who create a disturbance
• There is no late seating allowed. Closed-
circuit monitors are provided in the
lobby as a courtesy to latecomers
• Please turn off all cell phones prior to
the beginning of each performance.
• Please limit conversation during the
performance
• Cameras (including use of cell phone
camera) and audio & video recording
devices are strictly prohibited at all times.
• Leaving while the show is in progress is
discourteous and we ask that you refrain
from doing so
• Please unwrap all candies and cough
drops before the performance.
For a close-up view, visit warrenaverett.com, or call 770-396-1100.
For an accounting fi rm that has earned a reputation for business sense and people sense, you want Warren Averett + GH&I.
Audiences have been singing our praises for over 30 years.
Warren Averett + GH&I and The Atlanta Opera.
Experience matters.
What’s keeping you awake?If your nights are spent tossing and turning instead of sleeping soundly, a sleep study with the experts at WellStar Sleep Medicine can help.
Sleep disorders such as sleep apnea and insomnia affect millions of people – children, teens and adults. How do you know if a sleep disorder is keeping you from getting the rest you need? Start with these questions.
If you answered “yes” to these questions, a sleep disorder may be the culprit. A sleep study can pinpoint what’s disrupting your sleep so that WellStar’s sleep specialists can develop a treatment plan to get you sleeping well – and restore your energy for your waking hours.
Our team includes both adult and pediatric sleep experts, so your whole family can sleep well and live well. For more information, call 770-420-2535.
• Do you snore? Or kick at night?
• Do you feel tired during the day despite sleeping through the night?
• Do you wake up frequently during the night?
• Do you sometimes doze off when inactive (watching television or reading)?
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