tosca at the atlanta opera

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Since 1986, Georgia Power has given more than $85 million to non-profits across the state. From Atlanta’s Woodruff Arts Center to Savannah’s Telfair Museums, our commitment to improving the cultural landscape, is just one of the many ways we’re working to support our communities.

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8 Message froM ToMer Zvulun

14 Behind The CurTain Q&A With tomer Zvulun

16 direCTor's noTe Tosca's ClAssiC hitChCoCk story

42 arT & opera WhAt WAs onCe old is neW AgAin

©2013 ARIA is published by The Atlanta Opera. COveR: Original painting for The Atlanta Opera by MattHughesArt.com.

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Dear Friends,

Words cannot express how happy I am to be here with you for the Atlanta Opera’s seventh season at the Cobb Energy Performing Arts Centre, and to be able to call such a beautiful, vibrant city as Atlanta my new home. My wife, Susanna, and I look forward to spending this season getting to know you, sharing ideas, and engaging with our new community.

The former Chairman of the National Endowment for the Arts, Dana Gioia, has said, “A great nation deserves great art.”

I feel the same way about Atlanta and opera. Such a culturally diverse and artistically engaged city deserves to be celebrated by the most exciting art form I know, the ultimate visual and musical expression of the human experience.

This season we will experience the intense drama of Puccini’s cinematic masterpiece, Tosca, engage in the ultimate battle between good and evil in Gounod’s Faust, and laugh at the absurdity of a man’s scheming to win his girl in Rossini’s The Barber of Seville. Exciting plans are already under way for my first programmed season (2014-2015) as artistic director, as we bring The Atlanta Opera more fully into the community, engage with new audiences, and continue to raise the bar on the degree of artistry. I know The Atlanta Opera can serve not only Atlanta, but the entire Southeast region as a pre-eminent cultural institution dedicated to the continued vitalization of this tremendous art form.

We are poised to grow this company into something absolutely tremendous, guided by a dedicated board and a veritable army of supporters – you, our donors and our audience. Lend your hand to our growth by sharing your experiences with your friends, family and colleagues and letting them know about the transcendent experience that is waiting to be discovered at The Atlanta Opera.

Best regards,

Message FROm TOmER ZVULUN

Tomer Zvulun

General & Artistic Director The Atlanta Opera

photo: Jeff Roffman

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2013-2014 SEASON SPONSORS

PerforMance sPonsors

SATURDAy, OCTObER 5, 2013 Mr. & Mrs. William E. Tucker

TUESDAy, OCTObER 8, 2013 Mr. & Mrs. George W. Levert

FRiDAy, OCTObER 11, 2013 The Laura & Montague Boyd Foundation

SUNDAy, OCTObER 13, 2013 Rhys & Carolyn Wilson

OPENiNG NiGhT SPONSOR The Coca-Cola Company

PRODUCTiON SPONSOR Dr. & Mrs. James W. Bland, Jr.

ARThUR FAGEN The Carl & Sally Gable MuSiC DireCTor Carl & Sally Gable

The Atlanta Opera's 2006 production of Tosca. Photo by Tim Wilkerson

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2013-2014 SEASON SPONSORS

PerforMance sPonsors

SATURDAy, OCTObER 5, 2013 Mr. & Mrs. William E. Tucker

TUESDAy, OCTObER 8, 2013 Mr. & Mrs. George W. Levert

FRiDAy, OCTObER 11, 2013 The Laura & Montague Boyd Foundation

SUNDAy, OCTObER 13, 2013 Rhys & Carolyn Wilson

OPENiNG NiGhT SPONSOR The Coca-Cola Company

PRODUCTiON SPONSOR Dr. & Mrs. James W. Bland, Jr.

ARThUR FAGEN The Carl & Sally Gable MuSiC DireCTor Carl & Sally Gable

The Atlanta Opera's 2006 production of Tosca. Photo by Tim Wilkerson

Member FDIC

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Sung in Italian with English supertitles Approximate running time: 2 hours, 24 minutes, including two intermissions

FiRST PERFORmANCE Rome, Teatro Costanzi, January 14, 1900

PREViOUS ATLANTA OPERA PERFORmANCES 1988, 1991, 1997, 2006

casT

FLORiA TOSCA Kara Shay Thomson

mARiO CAVARADOSSi Massimiliano Pisapia

bARON SCARPiA Luis Ledesma

SACRiSTAN Tyler Simpson

ANGELOTTi Jason Eck

SPOLETTA Adam Kirkpatrick

SCiARRONE Andrew Cummings

JAiLER Mitchell Jones

ShEPhERD Mitch Gerding

mUSiC Giacomo Puccini

LibRETTO Luigi Illica & Giuseppe Giacosa from the drama by Victorien Sardou

ThE CARL & SALLy GAbLE mUSiC DiRECTOR Arthur Fagen

STAGE DiRECTOR Tomer Zvulun

SCENiC DESiGNER Andrew Horn

LiGhTiNG DESiGNER Robert Wierzel

COSTUmE DESiGNER Lena Rivkina

WiG & mAkEUP DESiGNER Richard Jarvie

ChORUS PREPARED by Walter Huff

ChiLDREN'S ChORUS PREPARED by Jennifer Langley

ENGLiSh CAPTiONS by Jonathan Dean

ENGLiSh CAPTiONS FOR Tosca OWNED by Seattle Opera

SUPERTiTLES OPERATOR Ellen Chamberlain

COSTUmES PROViDED by Washington National Opera

This production of Tosca is provided by Fort Worth Opera.

Tosca

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synoPsis synoPsis

Tosca GiACOmO PUCCiNi

acT i ThE ChURCh OF SANT’ANDREA DELLA VALLE iN ROmE, 1800. NOON.

Angelotti, a political prisoner, has escaped from Castel Sant’Angelo and takes cover in the church where his sister, the Marchesa d’Attavanti, has left him the key to the family chapel. He is discovered by the painter Mario Cavaradossi, a liberal sympathizer, who is painting an altarpiece. His portrait of Mary Magdalena is inspired by the Marchesa, whom he has observed in prayer.

When the singer Floria Tosca, Cavaradossi’s lover, arrives, she recognizes the blue-eyed Magdalena as none other than the Marchesa herself. Tosca jealously insists that the figure be made to look more like her dark-eyed self, and leaves the church. Soon after, a cannon shot from the prison announces Angelotti’s escape and Cavaradossi hurries him away to hide in his country villa.

The Sacristan tells the choir of the reported defeat of Napoleon at Marengo, to be celebrated with a High Mass. Their jubilation is interrupted by Scarpia, the feared Chief of Police, who arrives with his men to search for Angelotti. Scarpia finds a fan with the Attavanti crest, part of a disguise left for Angelotti, as Tosca returns to tell Mario that she will sing for the Queen that night at the Palazzo Farnese.

Scarpia uses her jealousy to sow seeds of doubt about her lover and the Marchesa; as Iago used a handkerchief to manipulate Othello, he will trap Tosca with the Marchesa’s fan.

The Atlanta Opera's 2006 production of Tosca featured Donnie Ray Albert as Scarpia and Cynthia Lawrence as Tosca, at the Atlanta Civic Center. Photo by Tim Wilkerson

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acT ii SCARPiA’S APARTmENTS AT ThE FARNESE PALACE. ThAT EVENiNG.

Scarpia desires Tosca, and hopes to use the arrest of her lover to force her to his will. As he dines in his room, he hears Tosca’s voice rising from the celebrations below. Spoletta arrives from Cavaradossi’s villa, having failed to find the escaped Angelotti. He has, however, arrested Cavaradossi and brings him before Scarpia. Tosca, having been to the villa as well, knows that Scarpia was lying about Mario’s infidelity. She also knows the hiding place of Angelotti, which she reveals when Mario screams under torture. Scarpia proposes a bargain to Tosca: If she will yield to him, he will spare Cavaradossi, and give them both safe conduct out of Rome. But, for political reasons, he first must hold a mock execution. Tosca agrees, and as Scarpia prepares to collect his reward, she offers him a deadly surprise.

acT iii ThE bATTLEmENTS OF CASTEL SANT’ANGELO, hiGh AbOVE ThE TibER. NEAR DAWN.

Cavaradossi, awaiting execution, recalls his first night with Tosca – when the stars shone just as they do now. Tosca arrives with the safe-conduct, and describes how she obtained it. A carriage is waiting, and she has brought money and her jewels. She explains that Mario will have to feign death at the hands of a mock firing-squad, and coaches his acting. The firing-squad, however, is real; Scarpia has worked his evil from beyond the grave. Pursued by Scarpia’s minions, who have discovered her deed, Tosca calls on her tormentor to meet her before the Throne of God, and leaps to her death.

- COURTESy OF OPERA ThEATRE OF SAiNT LOUiS

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photo by Jeff Roffman

Behind The curTain

As a child, Tomer Zvulun was fascinated by theater and cinema. He discovered opera in his teens, and when he did, it was the biggest revelation of his life.

Now, years later, he has cultivated a career in which he has directed and produced operas all over the world, and has brought his innovative vision to some of the world’s most notable stages, including Seattle Opera, Dallas Opera, Cincinnati Opera, Juilliard Opera, The Metropolitan Opera, Wolf Trap Opera, Buenos Aires Lírica Opera, Tel Aviv summer festival and, of course, The Atlanta Opera, where he directed three wildly popular and critically acclaimed productions including Wagner’s The Flying Dutchman in 2009, Mozart’s The Magic Flute (a collaboration with Indiana University, Cincinnati Opera and the Center for Puppetry Arts) in 2010 and Donizetti’s Lucia di Lammermoor (a co-production with Seattle Opera and Opera Cleveland) in 2011.

When the opportunity to apply for General & Artistic Director was presented, he accepted the challenge with open arms because he believes Atlanta audiences are accepting of and ready for new approaches to operatic production.

We sat down with Tomer, to get to know him a little better, and to find out what he has in mind for the future of The Atlanta Opera.

The ATlAnTA OperA: What excites you most about opera?

TOmer Zvulun: As a stage director, I’m always working to find what is new and exciting about the story we are telling – how it connects to our audience now. Finding that excitement and then forging a connection with the audience so that we all viscerally experience the story together – that is the power of opera.

AO: What, to you, is the most frustrating thing about the current perception of opera?

Q&a WiTh ToMer Zvulun

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Behind The curTain

TZ: I’m constantly surprised by this perception of opera as a staid, elitist art form, when it’s the most exciting art form I know. The stories are universal, and each performance is a collaborative miracle. Fifty people in the orchestra pit, sixty people onstage and a design team of visual artists coming together to form a cohesive vision of a story buoyed by some of the greatest music ever written. Opera engages all of your senses in a visceral celebration of the human experience. Opera should touch everybody, and that idea, that concept of an old-fashioned art form that is all about singing, deserves to be changed.

AO: How do you hope to change that perception with audiences in Atlanta?

TZ: Opera has to be exciting — not just a vocal event, but a theatrical, multimedia event. And it must be reinvented to tell the familiar stories in fresh ways. I hope to get back to four productions [per year] as soon as possible. Initially this will mean three productions at the Cobb Energy Centre and one piece in a more intimate setting – hopefully in collaboration with one of the many arts organizations in Atlanta – that is more modern or less familiar. If what we produce is fresh, innovative and new, and if we inspire people with creativity and build buzz around the artistic caliber of our productions and outreach initiatives, we will excite and engage far more people.

AO: Besides being the new General Director, you are also the Artistic Director. What does that mean, and what responsibilities do you have?

TZ: As General Director, I am responsible for the general business development strategy for the organization. This

includes fundraising, board relations, and making major staffing decisions. As Artistic Director, I am responsible for implementing an artistic vision for the company – selecting the repertoire, making casting choices, and producing the operas for seasons going forward. These, of course, are just basic descriptions – what I do is very nuanced, and I do not do it alone. It is an intricate process that involves many working parts, and many people. Opera is planned years in advance and though I was slated to direct Tosca this season, the 2014-2015 season will be the first season I get to plan from beginning to end. I plan on directing up to two productions, and I am really looking forward to it.

AO: What excites you most about living and working in the city of Atlanta?

TZ: One of the things about being a good General Director is connecting with the audience and cultivating relationships. When you’re stage directing, you stay in a city for a month [for one opera production], and then you move on, without getting to know a city or its people on a deeper level. With The Atlanta Opera, I have been lucky enough to stage three operas, and each time I connected with more people in the community and made more friends. I got to know the Chorus, Walter Huff, Arthur Fagen, the Orchestra, the staff and the Board really well, so the opportunity to build relationships further has been a real pleasure for me. The potential of The Atlanta Opera is phenomenal. It’s the right time for us to fulfill this potential, and Atlanta is the right city to do it in.

My wife, Susanna, (who grew up in Birmingham, Ala.) and I are so excited to call this thriving metropolis our new home.

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Tosca is the greatest Hitchcock movie that Hitchcock never directed.

The most cinematic of Puccini’s operas, Tosca is a dramatic, visual tour de force that moves relentlessly forward from the fi rst moment to the tragic conclusion. Think about the story and how much it sounds like a Hitchcock thriller: escaped prisoner fi nding refuge in a church, an obsessed chief of police looking for him, an artist friend providing him refuge and the artist’s glamorous lover- an opera star - helping the prisoner to hide. The chief of police fi nds the artist, tortures him, and then tries to rape the girl; she stabs him violently and kills him, and running in too late to save her incarcerated lover (who is shot to death by fi ring squad) she commits suicide by jumping from a tower.

How intense... how unstoppable a story this is. Wouldn’t Cary Grant, Eva Marie Saint and James Mason be perfect as stars of this story in Hollywood?

Tosca is not only one of the most intense thrillers I know, but also includes some of the greatest musical moments in opera: the passionate love duet between Tosca and Mario, the “Te Deum” sung by the obsessed villain in the middle of a religious procession, the intensely dramatic Act 2 culminating with a rape attempt, a murder and “Vissi D’arte” (one of the most celebrated arias ever written for a soprano) followed by the tragic Act 3, with the tenor’s melancholic aria, his execution and the heroine’s suicide.

The exquisite music juxtaposed against the suspense and violence of this masterfully crafted thriller creates an experience cinematic in scope, but the power of a live performance beats any experience on a fl at screen. The truly visceral experience in Tosca is of the audience experiencing the story as the performers live it, and exemplifi es why opera is the most powerful art form I know. ~TOmER ZVULUN

Tosca's classic "hiTchcocK" sTory

direcTor's noTe

The Metropolitan Opera Company's 1968 production of Tosca with Gabriella Tucci as Tosca, singing “Vissi d’arte.” Photo from The Metropolitan Opera Company, Tosca 1968 touring season program book / The Atlanta Opera archives)

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Tosca is the greatest Hitchcock movie that Hitchcock never directed.

The most cinematic of Puccini’s operas, Tosca is a dramatic, visual tour de force that moves relentlessly forward from the fi rst moment to the tragic conclusion. Think about the story and how much it sounds like a Hitchcock thriller: escaped prisoner fi nding refuge in a church, an obsessed chief of police looking for him, an artist friend providing him refuge and the artist’s glamorous lover- an opera star - helping the prisoner to hide. The chief of police fi nds the artist, tortures him, and then tries to rape the girl; she stabs him violently and kills him, and running in too late to save her incarcerated lover (who is shot to death by fi ring squad) she commits suicide by jumping from a tower.

How intense... how unstoppable a story this is. Wouldn’t Cary Grant, Eva Marie Saint and James Mason be perfect as stars of this story in Hollywood?

Tosca is not only one of the most intense thrillers I know, but also includes some of the greatest musical moments in opera: the passionate love duet between Tosca and Mario, the “Te Deum” sung by the obsessed villain in the middle of a religious procession, the intensely dramatic Act 2 culminating with a rape attempt, a murder and “Vissi D’arte” (one of the most celebrated arias ever written for a soprano) followed by the tragic Act 3, with the tenor’s melancholic aria, his execution and the heroine’s suicide.

The exquisite music juxtaposed against the suspense and violence of this masterfully crafted thriller creates an experience cinematic in scope, but the power of a live performance beats any experience on a fl at screen. The truly visceral experience in Tosca is of the audience experiencing the story as the performers live it, and exemplifi es why opera is the most powerful art form I know. ~TOmER ZVULUN

Tosca's classic "hiTchcocK" sTory

direcTor's noTe

The Metropolitan Opera Company's 1968 production of Tosca with Gabriella Tucci as Tosca, singing “Vissi d’arte.” Photo from The Metropolitan Opera Company, Tosca 1968 touring season program book / The Atlanta Opera archives)

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Under the baton of maestro huff, The Atlanta Opera Chorus has continually received national and international attention, cementing its position as one of the top opera choruses in the United States.

Join us in recognizing Walter huff's 25 years of dedication and many achievements by joining us for Gounod's faust, march 8, 11, 14 or 16, featuring The Atlanta Opera Chorus performing the familiar and rousing Vin ou biére and soldier's chorus.

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arThur fagen CONDUCTORATLANTA OPERA DEbUT: La TraviaTa, 2005Arthur Fagen is in great demand as a conductor of symphony and opera both in Europe and the United States. He is a regular guest at the most prestigious opera houses, concert halls, and music festivals at home and abroad, and his career has been marked by a string of notable appearances including The Metropolitan Opera, Lyric Opera of Chicago, Staatsoper Berlin, Munich State Opera, Deutsche Oper Berlin, and New York City Opera. From 1998 to 2001, Mr. Fagen was invited regularly as Guest Conductor at the Vienna State Opera. On the concert podium, Mr. Fagen has appeared with internationally known orchestras including the Baltimore Symphony Orchestra, the Czech Philharmonic, Munich Radio Orchestra, Tokyo Philharmonic, Orchestre de la Suisse Romande, Deutsche Kammerphilharmonie, RAI Orchestras of Turin, Naples, Milan, and Rome. A former assistant of Christoph von Dohnányi (Frankfurt Opera) and James Levine (Metropolitan Opera), he has served as Principal Conductor in Kassel and Brunswick, Chief Conductor of the Flanders Opera of Antwerp and Ghent, Music Director of the Queens Symphony Orchestra and as a member of the conducting staff of the Lyric Opera of Chicago. From 2002-2007, he was the Music Director of the Dortmund Philharmonic Orchestra and Opera; in 2008, he was appointed as Professor at the Indiana University in Bloomington, and, in 2010, The Atlanta Opera appointed Mr. Fagen as Music Director. Born in New York, he studied with Laszlo Halasz, Max Rudolf (Curtis Institute) and Hans Swarowsky. Mr. Fagen has an opera repertory of more than 75 works and has recorded for Naxos and BMG. The Naxos recording of Martinu’s works was awarded an Editor’s Choice in the March 2010 issue of Gramophone Magazine.

The statue from the Act III set of Tosca is modeled after the Archangel Michael statue on the Castel Sant'Angelo in Rome, Italy. Photo by Tim Wilkerson

NICHOLAS PHAN JAMIE BARTON

CLAYTON STATE UNIVERSITYMORROW, GEORGIA

CHRISTIANE KARG

TICKETS:

(678) 466-4200For the complete 2013-2014

season schedule, visitwww.SpiveyHall.org.

Nicholas Phan, TENOR

Myra Huang, PIANOSaturday, Nov. 9, 2013 | 8:15PM | $46Pre-concert Talk 7:15PMNamed one of National Public Radio’s Favorite New Artistsof 2011, Nicholas Phan continues to distinguish himself asone of the most compelling young tenors appearing on theprestigious concert and opera stages of the world today.“The voice is graceful, mellifluous and durable, but behindit lie sharp intelligence, poetic insight and a confidentindividuality” (The Sunday Times, London).

PROGRAM: Winter Words, a song cycle of eight poems byThomas HARDY with music by Benjamin BRITTEN;English folk songs arranged by BRITTEN; and songs byFranz SCHUBERT.

Jamie Barton, MEZZO-SOPRANOSunday, Nov. 17, 2013 | 3PM | $46Pre-concert Talk 2PMNamed the 2013 BBC Cardiff Singer of the World, Georgianative Jamie Barton is “a great artist, no question, with animperturbable steadiness of tone, and a nobility ofutterance that invites comparison not so much with hercontemporaries as with mid-20th century greats such asKirsten Flagstad” (The Guardian).

Program to include songs by Henry PURCELL, JohannesBRAHMS, Jean SIBELIUS, Charles IVES, and Sir EdwardELGAR, including his sumptuous Sea Pictures, Op. 37

Christiane Karg,SOPRANO

Malcolm Martineu,PIANOSunday, Feb. 9, 20143PM | $46Pre-concert Talk 2PMWith acclaimed appearances at London’sWigmore Hall and Vienna’s Musikvereinand glowing reviews for her FrankfurtOpera triumph in Debussy’s Pélléas etMélisande to her credit, brilliant Bavariansoprano Christiane Karg makes herAmerican recital debut at Spivey Hall. “Herexquisite soprano voice and level ofinterpretative sensitivity were outstanding”(Opera News).

SH_1817_AtlOpera 9/17/13 3:30 PM Page 1

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ToMer Zvulun DiRECTORATLANTA OPERA DEbUT: The fLying DuTchman, 2009One of opera’s most exciting young stage directors, Tomer Zvulun has earned consistent praise for his creative vision, often described as cinematic and fresh. His work has been seen in prestigious opera houses around the world, including The Metropolitan Opera, the opera companies of Seattle, Cleveland, Dallas, Cincinnati, Buenos Aires and Wolf Trap, as well as leading educational institutions such as The Juilliard School, Indiana University, Boston University, and the International Vocal Arts Institute (IVAI) in Tel Aviv. Zvulun’s 2013 activities include his South American debut with a new Lucrezia Borgia at Buenos Aires Lirica (May), Don Giovanni for Cincinnati Opera (June), a new production of Falstaff for Wolf Trap Opera (August), Tosca for The Atlanta Opera (October) and a return to The Metropolitan Opera for Der Rosenkavalier (November). Upcoming debuts include a new production of Rigoletto with the Boston Lyric Opera, La bohème with the Pittsburgh Opera and Die Fledermaus at Kansas City Opera. Notable past engagements include a new production of La bohème for Seattle Opera, Madama Butterfly for New Orleans Opera, an exciting new production of Don Giovanni for Wolf Trap Opera, The Dialogues of the Carmelites for IVAI in Tel Aviv, Tosca at the Teatro Nacional in Panama, and a new double bill of L’heure espagnole and Gianni Schicchi at Juilliard Opera Center that was praised by The New York Times for its “witty, fastpaced staging” and “Felliniesque” directing style. At The Metropolitan Opera, Zvulun directed Tosca and Carmen and has worked on multiple new productions, most notably La rondine, La traviata, Manon, La fille du régiment, Iphigenie en Tauride, and Un ballo in maschera. For Seattle Opera, Zvulun mounted new productions of Lucia di Lammermoor and La bohème, and served as an associate director to Stephen Wadsworth for Wagner’s Der Ring des Nibelungen. The Seattle Times recently called his new production of La bohème “one of the major triumphs in Speight Jenkins’ three-decade tenure.” Highlights of Zvulun’s career include creating three separate new productions of Lucia di Lammermoor directed for Seattle Opera, Opera Cleveland and The Atlanta Opera, and a new interpretation of The Magic Flute, originally created as a co-production between The Atlanta Opera and Indiana University. Zvulun directed a remount of The Magic Flute for his Cincinnati Opera debut for which he was hailed “the finest director of the season” by The Cincinnati Enquirer. Born in Israel, Zvulun came to the United States after serving as a senior medic in the Israeli Army and studying arts and music at The Open University in Tel Aviv. He and his wife, Birmingham native Susanna Eiland, recently moved to Atlanta from New York City.

THE GERSHWINS’ PORGY AND BESSFri., Jan. 17 @ 8 p.m. Sun., Jan. 19 @ 2 p.m.

MOZART’S THE MAGIC FLUTEFri., Feb. 7 @ 8 p.m.Sun., Feb. 9 @ 2 p.m.

L’AMOUR TOUJOURS, A POPERA! CONCERTFri., Feb. 21 @ 8 p.m. Sun., Feb. 23 @ 2 p.m.

BIZET’S CARMENFri., March 14 @ 8 p.m. Sun., March 16 @ 2 p.m.

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MassiMiliano PisaPia mARiO CAVARADOSSiATLANTA OPERA DEbUTBorn in Turin, Massimiliano Pisapia emerged on the international opera scene interpreting Riccardo in Un ballo in maschera at the Opernhaus Leipzig under Riccardo Chailly’s baton. He has performed at the Teatro alla Scala in Milan, Opernhaus Zurich, Bayerische Staatsoper in Munich, Hamburgische Staatsoper, Teatro Colõn in Buenos Aires, Teatro del Maggio Musicale in Florence, Teatro Carlo Felice in Genoa, Teatro Regio in Turin, Teatro Massimo in Palermo, Arena di Verona, Teatro Verdi in Trieste, Teatro Regio in Parma and the Puccini Festival in Torre del Lago. Mr. Pisapia recently performed Roberto Devereux at the Teatro dell’Opera in Rome; Luisa Miller at the Bayerische Staatsoper in Munich; Lucia di Lammermoor in Hamburg, Rovigo and in Pordenone; Dvorák’s Stabat Mater in Trieste; Madama Butterfly, La bohème at the Teatro Regio in Turin; La traviata at the Festival Puccini in Torre del Lago; Poliuto in Zurich; La bohème at the Salzburg Festival Daniele Gatti conducting; Verdi’s Requiem in Moscow; La bohème in Salzburg, Venice, Hamburg, Dresden and Las palmas de Gran Canaria; Verdi’s Requiem in Moscow; Poliuto in Marseille; La traviata in Lecce; Rigoletto in Palermo; Madama Butterfly in Minorca; and Macbeth in Verona (Teatro Filarmonico). Future engagements include Lucia di Lammermoor, I Lombardi alla Prima Crociata in Hamburg; and Madama Butterfly at the Teatro Regio in Turin.

Kara shay ThoMson FLORiA TOSCAATLANTA OPERA DEbUTRecognized for the natural beauty of her voice and her sense of dramatic insight, American soprano Kara Shay Thomson is proving herself a versatile and essential artist on the operatic and concert stages. Her 2012-13 season included Tosca with Kentucky Opera, Pensacola Opera and a debut with Portland Opera; the role of Becky Felderman in Ricky Ian Gordon’s Morning Star with Cincinnati Opera; Sieglinde in Die Walküre with Dayton Opera; Santuzza in Cavalleria rusticana with Opera Delaware; Judith in Bluebeard’s Castle with Opera Omaha; returning to Peoria Symphony Orchestra as soloist in Mahler’s Symphony No. 4, Mozart’s A questo seno deh vieni, and Beethoven’s Ah, perfido; and a recital for Matinee Musicale, Cincinnati. Upcoming 2013-14 engagements include Tosca with the Florida Grand Opera and Dayton Opera, and an appearance with the Cincinnati Pops Orchestra. Recent engagements include her return to Sarasota Opera in the title role of Vanessa, her debut with Opera New Jersey as Tosca, Santa Fe Opera for Tosca, soloist with the Peoria Symphony Orchestra, the Quad City Symphony and at the Ravinia Festival. Recent successes include The Woman in Schoenberg’s Erwartung in a return to New York City Opera; Santuzza in Cavalleria rusticana with Kentucky Opera; the title role in Tosca with Opera on the James; and soloist with the Cincinnati May Festival. Ms. Thomson received her Graduate Diploma in Performance from the New England Conservatory of Music. Tosca is her house debut with The Atlanta Opera.

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Tyler siMPson SACRiSTANATLANTA OPERA DEbUT: carmen, 2012Bass-baritone Tyler Simpson is a compelling artist who has proven capable of transporting audiences with an easy command of sensitive musicianship and committed dramatic portrayals. The 2013-2014 season brings Tyler back to The Atlanta Opera as the Sacristan in Tosca, following his house debut as Zuniga in their 2012 Carmen. The season also brings his return to The Metropolitan Opera for the critically acclaimed The Enchanted Island and Richard Strauss’s masterpiece Die Frau ohne Schatten, and to Fort Worth Opera, where he will be seen as Don Alfonso in Così fan tutte. This marks Tyler’s fourth consecutive season at the Met, where he has worked on 15 productions and sung 44 performances thus far. In the 2012-2013 season, Tyler performed alongside Juan Diego Flórez and Nathan Gunn in Rossini’s hilarious Le comte Ory, and covered roles in Verdi’s Don Carlo and La traviata. In the 2012-2013 season, Tyler also made his European debut with Die Münchner Philharmoniker, under the baton of Maestro Lorin Maazel, singing Benoit in La bohème. In the summer of 2013, Tyler debuted the role of Colline in La bohème with Ash Lawn Opera, followed by his French debut singing Dr. Bartolo in Il barbiere di Siviglia with Lyrique en Mer, Belle-Île.

luis ledesMa bARON SCARPiAATLANTA OPERA DEbUTBorn in Mexico City, Luis Ledesma has established himself as an international singer with powerful, yet refined vocal and theatrical gifts. Winner of the Pavarotti International Voice Competition and Julian Gayarre Competition in Spain, Luis performs the title role of Macbeth next season with Palm Beach Opera; Scarpia in Tosca with Opera Santa Barbara; and Marcello in La bohème with Opera de Bellas Artes in Mexico. His career already includes appearances in several International Opera houses around the world, including Teatro alla Scala (Luisa Fernanda), the Liceu in Barcelona (Alphonse in La favorite, Riccardo in I puritani and Marcello in La bohème), Klangbogen Festival in Vienna (Leoncavallo's La bohème), Teatro Municipal de Santiago (Escamillo in Carmen), Semperoper in Dresden (Marcello in La bohème), Teatro Colón in Buenos Aires (Figaro in Il barbiere di Siviglia), Bellas Artes in Mexico City (Marcello in La bohème), Macau Festival (Sharpless in Madama Butterfly), Graz Oper (Escamillo in Carmen), Marcello in La bohème in Lisbon, Portugal (Teatro Nacional de Sao Carlos), and the Savonlinna Opera Festival (Enrico in Lucia di Lammermoor and Escamillo in Carmen).

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Jason ecK ANGELOTTiATLANTA OPERA DEbUTJason Eck (bass-baritone) was born and raised in Binghamton, NY and is very excited to be making his company debut here at The Atlanta Opera with this production of Tosca. Jason holds a Bachelor’s degree in Voice Performance from the Oberlin Conservatory of Music and has just finished his Master’s degree studies at the Indiana University. While in school, Jason has been seen in such roles as Dulcamara (L’elisir d’amore), Peter Quince (A Midsummer Night’s Dream), Bartolo (The Barber of Seville), Don Alfonso (Così fan tutte), Sid (Albert Herring), Leporello (Don Giovanni), and most recently Aye in Philip Glass’s Akhnaten. Outside of school, Jason has participated in the Music Academy of the West (Colline in La bohème), Oberlin in Italy (Figaro in Le nozze di Figaro), and the Gerdine Young Artist Program at Opera Theatre of Saint Louis. This summer, Mr. Eck was seen as the Sergeant of Police in their production of the Pirates of Penzance. In 2011, Jason was the winner of the Indiana District and received an encouragement award in the Chicago regionals of the Metropolitan Opera National Council auditions. Jason would like to thank everyone assisting him in making his company debut.

adaM KirKPaTricK SPOLETTAATLANTA OPERA DEbUT: The marriage of figaro, 2008Dr. Adam Kirkpatrick, tenor, is head of the voice department at the Kennesaw State University School of Music. He recently performed the role of Le Remendado in Carmen with The Atlanta Opera, Count Almaviva in the Northwest Florida Symphony’s production of Il barbiere di Siviglia, and the tenor solo in Beethoven’s Mass in C with the Johns Creek Symphony. Kirkpatrick has sung operatic roles and concerts professionally in many theaters throughout the United States, singing with the Cincinnati Opera, The Atlanta Opera, Santa Fe Opera, Tri-Cities Opera (NY), Dayton Opera, Knoxville Symphony, Newton Symphony (MA), Tallahassee Symphony, Georgia Symphony, Atlanta Ballet, and more. Dr. Kirkpatrick is the inventor of a patented method for teaching the lower laryngeal position in singing using electromyographic (EMG) biofeedback and is the architect of the BioGraph Infinity voice training software suite. Kirkpatrick is about to release his “Sing With The Best Voice” training mobile app for iOS and a companion book, “Sing With The Best: Workbook For Vocal Mastery.” Kirkpatrick holds a BM and MM in voice performance from the Cincinnati College-Conservatory of Music, and earned his Doctor of Music degree from Florida State University.

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andreW cuMMings SCiARRONE / SCARPiA, COVERATLANTA OPERA DEbUTAmerican baritone Andrew Cummings makes his Atlanta Opera debut in these performances of Tosca. Last season he performed the title role of Macbeth for Opera in the Heights and Kurvenal in Tristan und Isolde with the Bogota Philharmonic. Mr. Cummings made his 2010 Carnegie Hall debut in the title role in Rigoletto with New York Lyric Opera Theater at Weill Hall. In the 2011-2012 season, he was heard as Conte di Luna in Il trovatore for Opera in the Heights in Houston, Renato in Un ballo in maschera for Union Avenue Opera in St. Louis, and as baritone soloist in Ein deutsches Requiem with the Flint Symphony Orchestra. Other performances by Mr. Cummings include the title role in Le nozze di Figaro with OperaDelaware, Ben in The Telephone for Natchez Opera, Mozart’s Figaro at the Kimmel Center in Philadelphia, Germont in La traviata, Renato in Un ballo in maschera and Amonasro in Aida with New Jersey Association of Verismo Opera, Scarpia in Tosca with Taconic Opera, Tonio in I Pagliacci with the Rockland Opera Society, Escamillo in La tragédie de Carmen with Hubbard Hall Opera Theater, Zurga in Les pêcheurs de perles with The Opera Company of Middlebury in Vermont, Il Conte Almaviva in Le nozze di Figaro with Dell’arte Opera Ensemble, and supporting roles for DiCapo Opera Theatre, Lake George Opera, and Metro Lyric Opera of New Jersey.

MiTchell Jones JAiLERATLANTA OPERA DEbUTMitchell Jones is a member of The Atlanta Opera Chorus, having performed with them in Carmen and The Italian Girl in Algiers. Mitchell has performed in numerous musical theatre productions and has been awarded Best Actor in the State in the GHSA One-Act Competition for his portrayal of Sweeney Todd. He won Best Actor for his portrayal of “Curly” in Oklahoma at the Shuler Hensley Awards, and was nominated for Best Actor for his portrayal of “Beast” in Beauty and the Beast. He represented his region every year of high school at State Literary Competition as a soloist, placing 2nd twice and 3rd once. He has studied voice extensively for several years, under the tutelage of Len Cariou, Bruce Sellers and Eric Gray. Mitchell would like to thank Walter Huff for his continuing efforts to help him find his path in music.

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clay hilley CAVARADOSSi, COVERGeorgia native Clay Hilley’s 2012-13 season included: Erik as cover (Der fliegende Holländer) with The Glimmerglass Festival and Steuermann with Indianapolis Opera; a Lincoln Center debut in the Verdi Requiem and Carnegie Hall debut in Mahler’s Symphony No. 8 with the American Symphony Orchestra, Leon Botstein conducting; and North Carolina Opera’s all-Wagner program featuring him as Siegmund in selections from Die Walküre and as Walther (Die Meistersinger von Nürnberg). He returns this season to the American Symphony Orchestra in Carnegie Hall in the role of Gundelfingen in Strauss’s Feuersnot, the title role of Faust with Winter Opera St. Louis, Father Grenville (Dead Man Walking) with Madison Opera and Radames (Aida) with the Bob Jones University Opera Series. Prior engagements include: Royal Opera House, Muscat Oman as Ewart Dunlop (The Music Man); the cover roles of Manrico (Il trovatore), Radames (Aida) and Pinkerton (Madama Butterfly) with Arizona Opera; Don José (La tragedie de Carmen) and Don José (Carmen); and Froh (Das Rheingold). Hilley holds degrees from the University of Georgia, Georgia State University, and received young artist training at The Glimmerglass Festival, Arizona Opera, Opera Theatre of St. Louis, Indianapolis, Central City, Chautauqua and the Opera Institute at Boston University.

laura Pedersen TOSCA, COVERAmerican soprano Laura Pedersen’s 2014 season highlights will include returning to Carnegie Hall with the Opera Shorts Troupe for the fifth year in a row. She also will be returning to Reno as Nedda in I Pagliacci, and to Fresno as Tosca. 2013 marked her debut in Reno as Donna Anna in Don Giovanni, as well as her debut in Fresno as Nedda. Her symphony appearances included a performance of Beethoven’s Ninth with Firelands Symphony Orchestra. Laura reprised the role of Hanna Glawari in The Merry Widow, twice, once with OperaDelaware, and again with Cedar Rapids Opera Theater, which was broadcast live on Public Radio. Opera Panama welcomed her to the stage of the National Theatre with her first Mimì in La bohème, the success of which demanded her return just six months later as Tosca. She also has appeared with Indianapolis Opera, Cleveland Opera, Di Capo Opera, Opera Delaware, Florida Opera, Sacramento Opera, and spent four years in Bremen, Germany singing everything from Violetta to Susannah to Juliette to Rosalinda. She also has been a solo artist with the Cincinnati Pops and the Cleveland Orchestra’s Blossom Music Festival.

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WalTer huff ChORUS mASTERATLANTA OPERA DEbUT: Tosca, 1988Walter Huff has been Chorus Master for The Atlanta Opera for 25 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 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.

Jennifer langley ChiLDREN'S ChORUS mASTERATLANTA OPERA DEbUT: oTeLLo, 2001Jennifer is happy to return as Children’s Chorus Master for The Atlanta Opera after a two-year hiatus. She holds a Bachelor of Arts in Music degree from Agnes Scott College and a Master of Music degree from Georgia State University. Having taught singing on elementary, secondary and collegiate levels, highlights of her teaching career include service at Woodward Academy, The Wesleyan School, Brenau University and Agnes Scott College. She served as Artistic Director of the Atlanta Youth Choir from 2000-2005 during which time the choir gained national recognition through an acclaimed performance on Public Radio International’s From The Top. She worked as the Children's Chorus Master for The Atlanta Opera from 2001 to 2010 where her choruses consistently received outstanding reviews by the Atlanta Journal-Constitution. Over the last several years, Jennifer has been active as a consultant and clinician for children's and youth choirs and has served as the Director of Music Ministries at The Good Shepherd Presbyterian Church since early 2010.

FALL 2013

FRIDAY, OCTOBER 18Sasha Cooke, mezzo-soprano

SATURDAY, NOVEMBER 2Chris Thile, mandolin

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SATURDAY, FEBRUARY 8Newport Jazz Festival: Now 60

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THURSDAY, FEBRUARY 20Lang Lang, piano

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Alisa Weilerstein, cello

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roBerT WierZel LiGhTiNG DESiGNERATLANTA OPERA DEbUT: Lucia Di Lammermoor, 2011Robert Wierzel is happy to be returning to The Atlanta Opera, having recently designed Carmen. He has worked with artists from diverse disciplines and backgrounds in theatre, dance, contemporary music, museums and opera on stages throughout the country and abroad. Other opera credits include productions with the opera companies of Paris-Garnier (Les Indes Galantes); Tokyo (Opera Chushingura); Toronto; Bergen, Norway; Folk Opera, Sweden; New York City Opera; Glimmerglass; Seattle; Boston Lyric; Minnesota; San Francisco; Houston; Virginia; Chicago Lyric; Opera Theatre of Chicago; Montreal; Vancouver; Portland; Wolf Trap; San Diego as well as Philip Glass’s Les Enfants Térribles (American Theatre Wing Award). Dance work includes 27 years with choreographer Bill T. Jones (Bessie Awards) including productions at the Lyon Opera Ballet; Berlin Opera Ballet; and Walking The Line at The Louvre Museum, Paris. Broadway credits include FELA! (Tony nomination; productions at the National Theatre, London, International & American Tours); David Copperfield’s Broadway debut Dreams and Nightmares. Off- Broadway includes productions with New York Shakespeare Festival/Public Theatre; The Signature Theatre; The Roundabout; Playwrights Horizons. Extensive regional theatre work includes productions at Atlanta’s Alliance Theatre Company; A.C.T. San Francisco; Berkley Rep; Center Stage; Arena Stage; Chicago Shakespeare Theater; Shakespeare Theatre DC; Hartford Stage, Long Wharf Theatre; Westport Country Playhouse; Goodman Theatre; The Guthrie; Mark Taper Forum; Geva Theatre; Actors Theatre Louisville; The Old Globe. Wierzel holds a Master of Fine Arts degree from the Yale School of Drama and is an adjunct faculty member at NYU Tisch School of the Arts and Yale School of Drama.

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Philip Webb as Mario Cavaradossi in the Atlanta Opera's 2006 production of Tosca. Photo by Tim Wilkerson

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The aTlanTa oPera ChORUS

children's chorus MasTer Jennifer Langley

children's chorus Jade Bacon

Ryann Banks

Annaliese Bauer

“Mimi” Drabik

Rachel Drury

Carsten Dowdy

Emma Dowdy

Mitch Gerding

Alice Heranval

Francesca Herrera

Audry Holton

Clara Marti-Garro

Lucia Marti-Garro

Lauren Smith

chorus MasTer Walter Huff

assisTanT chorus MasTer Rolando Salazar

chorus Jayme Alilaw

Lynnette Anderson

Caitlin Andrews

Sally Rose Bates

Laura Anne Cotney

Monica Dewey

Melissa Godbee

Jennye Guy

Abigail Halon

Christina Howell

Keli Jackson

Melissa Kelly

Lara Longsworth

Marcy Meredith

Laura Porlier

Teri Sawyer

Rebecca Shipley

Elizabeth Stuk

Tislam Swift

Laurie Tossing

Allegra Whitney

Lauren Wright

Carrie Anne Wilson

Jacob Augsten

Kyle Barnes

Keith Blount

John Burnett

Christopher S. Connelly

C. Augustus Godbee

Will Green

Chris Hawkins

Mitchell Jones

Grant Jones

Ben Larkin

Conrad Moore

Marc Porlier

Bryan Saxon

Stuart Schleuse

Jonathan L. B. Spuhler

Greg Sterchi

Billy Valentine

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violin Peter Ciaschini Concertmaster

Helen Kim Assistant Concertmaster

Adelaide Federici Principal Second Violin (Acting)

Robert Givens Assistant Principal Second Violin (Acting)

Fia Durrett

Edward Eanes

David Edwards

Felix Farrar

Patti Gouvas

Alison James

Barbara Careaga-Mitchell

Lisa Morrison

Lee Nicholson

Shawn Pagliarini

Patrick Ryan

Deborah Schab

Mayu T. Sommovigo

Mimi Tam

Elonia Varfi

Rafael Veytsblum

viola William Johnston Principal

Elizabeth Derderian-Wood Assistant Principal

Julie Rosseter

Catherine Price

Karl Schab

Joli Wu

cello Charae Krueger Principal

Mary Kenney Assistant Principal (Acting)

Barney Culver

Roee Harran

David Hancock

Cynthia Sulko

Bass Lyn DeRamus Principal

Christina Caterino

Emory Clements

Robert Henson

fluTe/Piccolo James Zellers Principal

Kelly Bryant

Jeana Melilli

oBoe Diana Dunn Principal (Acting)

Barbara Cook

Ann Lillya English Horn

clarineT David Odom Principal

John Warren

Miranda Dohrman Bass Clarinet

Bassoon Mike Muszynski Principal

Debra Grove

John Grove Contrabassoon

The aTlanTa oPera ORChESTRA

horn David Bradley Principal

Anna Dodd

Edward Ferguson

Jason Eklund

TruMPeT Yvonne Toll Principal

Hollie Lifshey

Kevin Lyons

TroMBone Mark McConnell Principal

Ed Nicholson

Richard Brady Bass Trombone

TuBa Donald Strand

TiMPani John Lawless Principal

Percussion Michael Cebulski Principal

Jeff Kershner

Karen Hunt

Courtney McDonald

harP Susan Brady Principal

organ Steven Aguiló-Arbues

Personnel Manager Mark McConnell

* String sections are listed in alphabetical order

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Most of the operas of Giacomo Puccini are based loosely on novels and plays whose characters derive from a romantic spirit that easily evokes sympathy from audiences. Tosca, the composer’s fifth opera, on the other hand, employs the most melodramatic—and perhaps unsympathetic—plot of all his works. However, the Puccinian melodies and arias in Tosca pluck at listener’s romantic heartstrings, even if the story is, at least in the oft-quoted assessment of literary critic Joseph Kerman, a “shabby little shocker.”

Undeniably, the melodrama in Tosca is classically and succinctly simple: heroine agrees to submit to villain’s carnal desires in exchange for promise villain won’t execute her lover; but heroine kills villain only to learn villain had previously arranged for lover’s execution; heroine, pursued by villain’s accomplices, has no choice but suicide.

This tortuous tale all started with Victorien Sardou, (1831–1908) a prolific French playwright who wrote La Tosca specifically for the most popular French actress of the day, Sarah Bernhardt (1844–1923). After her initial performance in Paris on 24 November 1887, Bernhardt reprised the role throughout Europe and the United States for many years. Puccini was certainly impressed and inspired by seeing the

“divine Sarah” perform Floria Tosca in Milan, possibly in 1889, but definitely in Florence in October 1895, five years before the opera’s premiere.

The basic plot and chief characters in Sardou’s five act play—cut to three acts in the opera—were kept by Puccini’s librettists, Luigi Illica and Giuseppe Giacosa. They, however, did eliminate over a dozen characters, some of whom were true historical personages. The dialogue was condensed and simplified to minimize the political and historical aspects and emphasize the love relationship between Floria Tosca and the painter, Mario Cavaradossi. Where Sardou was meticulously involved with historical accuracy, the librettists were less concerned, so long as Puccini was satisfied with dramatic development, albeit excessively melodramatic.

In the late seventeen nineties and early eighteen hundreds fate’s pendulum swung its short-lived glories of victory and defeat between the “republican” forces of Napoleon and the Italian monarchy of the Two Sicily’s. There is a glimpse of this political climate in the opera’s first act when the sacristan announces that “Bonaparte” was been defeated and that a gala celebration is planned that evening at the Farnese Palace where Tosca will sing a new cantata in honor of the event. Then in

Tosca: hisTorical facTs & MelodraMaTic ficTion

hisTorical noTes

Photo by Tim Wilkerson

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Historical Notes the second act, after Mario is dragged out of the torture chamber, new word arrives that Napoleon, in fact, won the battle of Marengo, defeating the royalist forces of General Melas. This invigorating news propels Mario to sing his “Vittoria” aria.

The real battle of Marengo on 14 June 1800 was crucial because General Melas was initially winning, but later lost and asked the French for an armistice in that part of Italy. Coincidentally, at that particular time King Ferdinand and Queen Maria Carolina had just arrived in Livorno from Palermo, Sicily, after being transported on Admiral Horatio Nelson’s flagship. (Nelson had been having an affair with Lady Emma Hamilton, a close confidant of the queen and wife of Sir William Hamilton, English ambassador to Italy.) However, both the play and opera disregard the historical facts and place the queen at Farnese Palace where Tosca, in the early part of the second act, is heard singing offstage at the queen’s private gala.

During the second act, Scarpia dispatches Spoletta to capture Angelotti, who is hiding at Mario’s villa. Long before the act ends, Spoletta returns to announce Angelotti killed himself. Now, Mario’s suburban seaside villa used for his love trysts with Tosca—so lovingly recalled in Mario’s last aria, “E lucevan le stele”—(the stars shone brightly) was a reasonable distance from Rome’s Farnese Palace. Surely a round trip in a horse-drawn carriage would take more than an hour, at least.

In the first act Mario recognizes Angelotti as “the Consul of the defunct Roman Republic.” Because of the similarity of names, various critics have deduced that the character of Angelotti may have been based on either Luigi Angeloni (1759-1842) or Loborio Angelucci (1746-1811)

who were both consul members of the short-lived Parthenopian or Roman Republic of 1799, though both men lived beyond the troubled revolutionary period. However, Angelotti hiding in a well and hanging himself may have stemmed from an actual incident when Italian Admiral Caracciolo, accused of treason, hid in a well before being caught and hanged under order from Admiral Nelson.

What is curiously more elusive is the genesis of characterization so effectively created by blending fact and fiction, especially as it may motivate some off-stage action.

In Sardou’s play Angelotti reveals to Mario that years before Angelotti had had a week-long affair in London with a teen age prostitute, Emily Lyon, who, after years of climbing the social ladder, eventually became Lady Emma Hamilton. Consequently, with Angelotti now out of prison, Lady Hamilton, a confidant of Queen Maria Carolina, undoubtedly would want the queen to put pressure on Scarpia to recapture Angelotti before he might publicly reveal Lady Hamilton’s disreputable past. Hence, the opera’s action moves quickly as Scarpia cannot afford delaying Angelotti’s recapture. One need not search so long and hard to separate fact from fiction regarding the background of Tosca. Opera goers need only to read the libretto or synopsis of the story—and preferably see the opera—to enjoy it as escapist melodrama, ennobled by Puccini’s lush melodies. Puccini’s music stays with the listener longer than any inane nuances of plot.

an excerpt from SynopSiS and

Background to ten popular operaS:

an introduction for new audienceS,

by Jack bona. available at Shop opera.

TAO1310_ARIA_Tosca.indd 41 9/19/13 11:24 AM

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arT & oPera

There used to be a time in which every opera production, concert, festival or other public event was promoted with a hand-drawn poster and distributed as lithographs to a passionate and highly particular public. These works would sometimes be just as famous as the production or performer they were promoting.

These rich and nuanced works of art influenced Matt Hughes, the artist who created the paintings used to promote the Atlanta Opera’s 2013-2014 season. We talked with Matt Hughes about his craft and reasons for bringing back the magic.

AO: Tell us about how you were introduced to The Atlanta Opera and how this project came to be.

mh: Several years ago my wife, who was an opera major at the time, introduced me to the work of the Czech Art Nouveau artist Alphonse Mucha. Since then, I have always had a deep appreciation for his talent, especially his posters of the actress Sarah Bernhardt. A little over a year ago, I received a mailing from The Atlanta Opera showcasing their upcoming season and was surprised at how much photography was now used. It dawned on me that the use of art for opera posters in the mid to late 1800s had originated from necessity, rather than a preference. But today we have other means to convey this message; we have lost the connection that art once had. I took a chance and contacted the Opera to offer to produce original artwork for the 2013-2014 season, with the intention of expressing my love for the arts, and to hopefully bring back some of the magic that the earlier posters added to the experience.

AO: When asked to describe your work, what do you say?

mh: I am a storyteller whose work requires a two-way communication with the viewer. Both my paintings and my writing rely on the viewer’s ability to not only appreciate the exact moment depicted, but also to understand the story that leads to this moment. I attempt to allude to an idea that I hope the viewer develops internally. I predominantly use the human form in my work, which I believe is the most personal and universal symbol to the audience. Because of this, my work is categorized as “Symbolist” or “Dark Romanticism.”

AO: How did you choose to focus on these particular themes from the three operas from the season? What inspired you about them?

WhaT Was once old is neW again

Artist Matt Hughes puts the finishing

touches on the original painting

for Faust. Photo by MattHughesArt.com

43

arT & oPera

mh: My work was focused on researching the history of each. I began with Tosca because I was the most familiar with this piece. I immediately focused on how previous artists had depicted work for the original posters, especially Adolfo Hohenstein’s famous Tosca poster from the late 1890s. I decided to focus on the moment in which Tosca has just murdered Scarpia – the adrenalin and almost animal fierceness still present on her face. I utilized the jewelry and costuming used for Maria Callas in her 1956 performance. The model for this piece was my wife, Hope Hughes.

mh: With Faust, I very much wanted to focus on the moment when Méphistophélès appears to Faust with an offer, symbolized by an embrace and an outstretched hand, and illustrated by the internal struggle on Faust’s face. The costumes that would be used in the production were available for reference, but the performers had not been finalized, so the models for the Faust piece were my friend David Powell and myself.

mh: The Barber of Seville was the last produced in the series. This opera has a far more lively, humorous feel, which led to a very different approach. For this piece, the costumes were also available for reference. The models used were also David Powell and my wife, Hope.

AO: What details do you love most about each painting?

mh: For Tosca, I am very proud of the handle of the blade and the gloves, which strangely enough, were the easiest areas for me to do. On the Faust painting, I would have to say, my favorite detail is Méphistophélès’ hands. I am very fond of the costumes and the portrait of the Rosina

in The Barber of Seville piece. There is also a hidden Looney Tunes character in the jacket, that I enjoy watching people discover.

AO: What are some other projects you've worked on?

mh: I have worked on numerous projects in my career. Some highlights would be work that I have done for the Tori Amos RAINN project, two art books of my work, several book and magazine covers, and gallery shows on both coasts. Earlier this year, I became a board member for the Callanwolde Fine Art Center here in Atlanta. I am also currently designing my third art book, which will not only showcase the Opera’s paintings and their development, but will also include my latest pieces and writings.

Matt Hughes' paintings will be auctioned at the 2013 Atlanta Opera Ball: Puccini's Palazzo, Oct.26, at the St. Regis Atlanta. Visit atlantaopera.org for more information.

For more inf ormation about the artist, visit matthughesart.com.

Concept sketch of Tosca by Matt Hughes.

44

oPera... in your coMMuniTy

For thirty-three years The Atlanta Opera

has been committed to producing operas

of the highest caliber and presenting

to audiences throughout the metro

Atlanta area. Today, our commitment to

introducing and educating audiences to

the opera art form remains an integral

part of our organizational mission.

Through interactive performances and

creative programs we provide many

opportunities for both patrons and new

audiences to explore and experience

opera. We have several exciting programs

in the works and are pleased to provide

many opportunities to experience opera

outside of the mainstage this season!

It’s already been a busy autumn, with opera

performances at the High Museum of Art,

the Atlanta Botanical Garden, the Museum

of Design Atlanta, Spelman College, and

our ever-popular season preview concert,

“Opera With an Edge," hosted by Atlanta

Opera board member Bob Edge. Never a

dull moment, on or off the stage, we are

filled with momentum and have some

other great opera-tunities still to come!

We are thrilled to celebrate National

Opera Week here in Atlanta with our

nationally recognized Atlanta Opera

24-Hour Opera Project. This Project

brings together composers, lyricists,

singers, and directors from all over the

country to work collaboratively creating

and performing short nano-operas – all

in the span of 24 hours. The Project

showcase is free and open to the public,

and will take place on Saturday, Nov. 2

at the 14th Street Playhouse. We will be

coMMuniTy engageMenT

The Atlanta Opera Studio Tour production of Stone Soup performing at King's Ridge Christian School in 2013.

Photo by Tayna Lamkin for King's Ridge Christian School

Dive in.

Just blocks from WooDruff Arts center At 1106 crescent Avenue404.817.3650 | lure-atlanta.com | @lureAtl | facebook.com/lureatlanta

PRESENT YOUR TICKET STUB FOR 10% OFF YOUR MEAL!

46

coMMuniTy engageMenTpartnering with the William Breman

Jewish Heritage Museum for a special

three-concert series this season, which

opens on Nov. 9 with a moving concert

featuring music in commemoration of

the 75th anniversary of Kristallnacht. The

series continues this spring with concerts

featuring music of Jewish composers.

Hundreds of thousands of students

throughout the state have been

introduced to opera in their schools

through our company’s longest-running

education initiative, The Atlanta Opera

Studio Tour. We will continue the

tradition this winter and spring with

two touring operas. En Mis Palabras is

a bilingual opera dealing with universal

adolescent themes that will appeal

particularly to middle and high school

students. Knightly News is a modern

TV-themed mish-mash of traditional

fairy tales that are sure to enchant

younger elementary school audiences.

Look for both of these operas in

venues throughout the metro Atlanta

area, as we will produce community

performances in several venues including

the Fulton County Southwest Arts

Center, Roswell Cultural Arts Center,

Elm Street Cultural Arts Village, and

Decatur High School.

For more information on our community

and education programs, please visit our

website, atlantaopera.org or contact us at

404-881-8883, or

[email protected].

scene culTure sHock–HigH MuseuM of arT

Photos by jm photographics - jasonmeekphoto.com

General admission tickets are $7. For details and tickets, visit atlantaopera.org.

NEWS FLASH AN OPERATIC, MIXED-UP, FAIRY TALE NEWSCAST COMING TO YOUR COMMUNITY THESE DATES:

Music by Jonathan Stinson • Libretto by Sarah Rogevich & Jonathan Stinson

Roswell Cultural Arts Center - February 15, 2014Elm Street Cultural Arts Center - March 2, 2014The Atlanta Opera Center - March 22, 2014

Decatur High School - March 30, 2014Southwest Arts Center - April 12, 2014

General admission tickets are $7. For details and tickets, visit atlantaopera.org.

A bilingual, multi-generational opera for families that everyone, no matter his or her cultural background, can relate to.

Southwest Arts Center - January 16, 2014La Amistad-Peachtree Presbyterian Church - January 24, 2014

The Atlanta Opera Center - February 1, 2014

A bilingual, multi-generational opera for families A bilingual, multi-generational opera for families

Music by Roger Ames

Libretto by Jeffrey

Gilden

48

volunTeersVolunteers are a vital component of the continued success and growth of The Atlanta Opera. We would like to acknowledge the many contributions offered in the past year by the individuals listed below. We appreciate everything they do for the Opera and the greater Atlanta community by nurturing this important cultural asset.

Are you interested in working behind the scenes? Our volunteers work in our offi ces, in the community, backstage and even on the stage as supernumeraries! We can use you wherever you feel your particular skill set can best benefi t the company, whether as an artist ambassador, or stuffi ng envelopes, or marketing, or assisting with community events – there is a place for you in The Atlanta Opera family. Call Allison DeNiro at 404-591-2928, e-mail [email protected] or visit the “Support Us” section at atlantaopera.org to learn more about becoming a volunteer.

Jesse Leonard Beth CooperTatiana ShifersonEleanor & Jim StrainDenise AndersonPolly PaterVirginia Lam

Sylvia HalleckAllison BrownMarianela NoyaWillie JonesPeggy LowmanErnie BraunschweigFran Holland

Tatiana ShifersonDenise AndersonRichard DodderNell ElisAllison BrownVern NorrisRuth Vaught

scene VolunTeer recepTion

Photos by The Atlanta Opera

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

50

annual fundThe 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 visit us

online at atlantaopera.org.

Listed on the following pages are friends who contributed $350 or more to

The Atlanta Opera between July 1, 2012 and August 28, 2013.

Platinum (continued) Platinum (continued)DiamOnD$100,000+Dr. & Mrs. James W. Bland, Jr.Mr. & Mrs. Carl W. Knobloch, Jr.Jane S. WIllson

$25,000+Mr. & Mrs. John L. ConnollyMartha Thompson DinosCandy & Greg Johnson*Mr. & Mrs. Michael L. Keough*Mr. & Mrs. Donald R. KeoughMr. & Mrs. Harmon B. Miller III*Jerry & Dulcy Rosenberg*

Platinum$10,000+Shepard & Boyce Ansley*Julie & Jim Balloun*Mr. David BoatwrightThe Laura & Montague Boyd Foundation*Dr. & Mrs. Alexander Gross*Mrs. Dale Levert & Mr. George W. Levert*Mr. James B. Miller, Jr. Mr. William F. Snyder Mr. & Mrs. William E. Tucker*Rhys & Carolyn Wilson*Bob & Cappa Woodward*The Mary & Charlie Yates Family FundMrs. Charles R. Yates, Sr.

$5,000+Cathy & Mark AdamsMr. Bryan Barnes*Mrs. Elizabeth Tufts BennettMr. & Mrs. Andy Berg*R. Dwain Blackston

John & Rosemary BrownMr. Mario Concha*Heike & Dieter Elsner*Dr. Mary M. FinnMs. Rebecca Y. Frazer & Mr. Jon ButtreyCarl & Sally GablePeg Simms GaryMr. William Hajjar*Mr. & Mrs. John Michael Hancock*Mr. Bert HuffmanKatie Hutchison in memory of

Dr. Kingsley WeatherlyMr. John O. King*Mary Ruth McDonaldPeggy & Jack McDowellMr. C. David Moody Jr.*Clara M. & John S. O'Shea*Polly N. PaterMr. & Mrs. Michael Paulhus*Mr. William E. Pennington*Edward W. Phares*Mr. James D. Powell*John & Barbara RossMr. Charles SharbaughBaker & Debby Smith*Triska Drake & G. Kimbrough TaylorThomas R. Williams Family*

$2,500+Mr. & Mrs. Ronald R. AntinoriDr. Florence C. Barnett Jean & Jerry CooperSally & Larry DavisMs. Bunny Winter & Mr. Michael DoyleCol. & Mrs. Edgar W. Duskin

Mr. & Mrs. Robert G. EdgeMr. & Mrs. Harry L. Gilham Jr.Dr. Thomas N. Guffin, Jr.Mr. & Mrs. Douglas HantulaMr. & Mrs. Edward J. HardinMr. & Mrs. Harry C. HowardAnn P. HowingtonMr. Mike HurdleMr. & Mrs. Wayne JamesMr. & Mrs. Kenneth D. JohnsonMrs. Joseph W. JonesJames M. Kane & Andrea Braslavsky KaneMr. Alfred D. Kennedy & Dr. Bill KennyMr. & Mrs. Michael A. KlumpDr. & Mrs. James Lowman Sally & Allen McDanielRobert & Suzanne MinarcineMs. Ann OwensMr. & Mrs. William A. Parker, Jr.Mr. James L. RhodenMr. & Mrs. George P. RodrigueMilton J. SamsMr. & Mrs. J. Barry SchrenkMorton & Angela SherzerMrs. J. Lucian SmithJohannah SmithMr. Peter James StellingYee-Wan & John StevensMr. & Mrs. George B. Taylor, Jr.Tom & Sandy Teepen*

GOlD$1,000+Ms. Joanna M. AdamsMr. Keith E. Adams

Advancing the Possibilities®

Emory Voice Center specializes in themedical treatment and rehabilitation ofvoice and voice disorders.

• Board-certified otolaryngologists(ear, nose and throat physicians)

• Fellowship trained in laryngologyand care of the professional voice

• Speech-language pathologists• Singing voice specialists

We treat voiceslike fine instruments.

404-778-7777 www.emoryvoicecenter.org

Christine Brewer

on

Stars Shine Shaw

Lynn Harrell

Marietta Simpson Sylvia McNairRobert Spano

ASO Music Director

Atlanta Symphony Hall | Sunday, November 10, 2013 3:00 pm

Don’t miss this star-studded musical celebration of the life and legacy of Robert Shaw. Christine Brewer, Lynn Harrell, Sylvia McNair, Marietta Simpson and ASO Music Director and pianist extraordinaire, Robert Spano, will join emcee Martin Goldsmith in a gala recital to honor the legendary ASO Music Director and Conductor Laureate. Noted philanthropist, Lessie Smithgall, will serve as the gala’s Honorary Chair and author, Keith Burris, will sign copies of his new Shaw biography, ‘Deep River.’

Proceeds benefit the making of a landmark new film: Robert Shaw – Man of Many Voices co-produced by Georgia Public Broadcasting. For tickets, visit robertshawthefilm.com (Project News), or contact ASO ticketing services.

Shaw_Benefit Concert_EncoreAtlanta_4.625x3.625.indd 1 8/14/13 9:42 PM

52

annual fundGOlD (continued) GOlD (continued) GOlD (continued)Mr. & Mrs. C. Duncan BeardMichael L. & Valerie W. BenoitAllison Krebs Bensch & Torsten BenschMr. & Mrs. Paul BlackneyMrs. Enrique E. BledelMr. Ron BreakstoneMr. Robert BunkerDr. J. Bricker BurnsDr. & Mrs. W. Brantley BurnsMr. Hugh CheekMrs. Jan W. CollinsDr. John W. CooledgeDr. & Mrs. F. Thomas Daly Jr.Mr. Robert S. DevinsMiss Elaine DyerMs. Dorothy E. EdwardsR. Derril Gay, Ph.D.Mr. & Mrs. George GundersenMs. Sue HallJohn L. HammakerHarald Hansen Donna & Richard HillerMr. L. D. HollandMr. & Mrs. James HorganMr. & Mrs. David C. HuffmanDr. & Mrs. Duke Jackson, Jr.Lou & Tom JewellMr. & Mrs. Gert KampferMr. & Mrs. Peter G. Kessenich, Sr.Marsha & David KingMrs. Treville LawrenceLinda L. Lively & James E. Hugh IIIDonna & Trevor LumbJeanie & Albert MarxDan D. MasliaMr. William McDanielMs. Priscilla M. MoranMr. & Mrs. Peter J. Morelli IITerri & Stephen NaglerMr. & Mrs. John L. O'NealDr. & Mrs. Donald A. PaulLucy S. PerryDr. & Mrs. Lawrence S. PhillipsMrs. Betsy Pittman

Dr. Michael F. Pratt & Nancy PetermanThe Honorable Judge Dorothy A. RobinsonMs. Lorraine RussellMilton J. SamsMr. Dustin B. SchneiderMr. Nicholas ShreiberDr. & Mrs. Patton P. SmithMr. Fred B. SmithDr. Jane T. St. Clair & Mr. James E.

SustmanMarty Stephens & Linda AugustMs. Melinda R. StukMr. & Mrs. Ben J. Tarbutton, Jr.Ms. Carol UhlDr. Nicholas Valerio IIIAlan & Marcia WattRae & George WeimerLarry & Beverly WillsonMrs. Wadleigh C. WinshipMr. Allen YeeDrs. Martin & Holly York

$500+Mr. & Mrs. C. S. Akers, Jr.Mr. & Mrs. Walter BaileyMr. Joe E. BatesMrs. Wallace F. BeardMr. & Mrs. Kenny L. BlankMs. Tiffany BloomerDr. Harold BrodyBarbara S. Bruner, M.D.Dr. Bruce Cassidy

& Dr. Eda HochgelerentMrs. Carol J. ClarkMr. & Mrs. Michael J. CurryMr. Kevin Dew & Mr. Hal PlattJan DisneyMrs. William ElmoreMr. & Mrs. William D. DuckworthMr. & Mrs. Mark EdenMr. Robert P. Dean & Mr. Robert EpsteinMr. & Mrs. John C. Ethridge, Jr.Dr. & Mrs. David J. FrolichMr. & Mrs. John GamMr. & Mrs. Jim Geiger

Sylvia Halleck, MDMr. Michael D. HastingsMs. Virginia S. TaylorMr. George Hickman, IIIJames E. Honkisz & Catherine A. BinnsRichard & Linda HubertDr. & Mrs. Ronald HughesDr. Sidney T. KellonMs. Eleanor KinseyJoan & Arnold KurthChris & Jill LeDr. Jason LiebzeitMr. & Mrs. J. David LifseyRichard Lodise & Valerie JagiellaDr. Carlos E. LopezDr. Jill MableyDouglas W. & Sarah MabryStanley & Elaine MagerDr. Robert & Judge Stephanie ManisShelley McGehee Mr. & Mrs. John McMullanMr. M. Sean MolleyMortimer FamilyJohn & Agnes NelsonMs. Beverley PaquetteGeorge & Libba PickettThe Reverend Neal P. Ponder, Jr.Mr. David PylateMr. & Mrs. Robert RatonyiMs. Tandi ReddickLynn & Kent RegensteinR.J. & D.G. Riffey, Jr.Mary K. RoarabaughMs. Heidi M. RockwoodSidney & Phyllis RodbellDr. & Mrs. Mark RowlesMr. Dustin B. SchneiderMs. Salli LeVanDr. Marilyn StocktonJudge & Mrs. Mike StoddardJim & Eleanor Strain Steve & Christine StrongMr. Eric TaylorDr. & Mrs. Kenneth G. Taylor

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GOlD (continued) GOlD (continued)GOlD (continued)

annual fund

Mr. Richard ThioMr. James ToddMr. & Mrs. Charles D. TullerMr. & Mrs. Thomas W. Ventulett IIIMr. & Mrs. Leroy WaldenHenry Waszkowski & Patty ThomasMs. Lois M. GrantDr. & Mrs. James O. Wells, Jr.Ms. Linda D. WickhamWilliam Wilkinson & Robert K. BellingerMr. Russell Williamson

& Ms. Shawn PagliariniMrs. Frank Wilson, Jr.Dr. & Mrs. David WingertMr. Jerry Woodward

$350+AnonymousMs. Teresa AversaMr. & Mrs. David S. BakerMr. & Mrs. Robert O. BankerDr. & Mrs. John BarnesDr. & Mrs. William BattlesMr. & Mrs. Samuel BetorDr. & Mrs. Jerry BlumenthalMrs. Stella M. CarlsonDr. & Mrs. Arthur ChapmanMr. & Mrs. Raymond H. Chenault

Mr. Michael ClutterMr. Lawrence M. CohenMrs. June Crawford Maureen & Michael DaileyDr. & Mrs. Albert De ChicchisMr. & Mrs. Arthur R. DuggerJanice & Charles M. Edwards IIIDr. G. EichholzJudge Adele P. GrubbsOwen HalpernMr. Ronald L. Harris

& Mrs. Jacqueline PownallCristina & Carlos HerreraPearlann & Jerry HorowitzMr. & Mrs. Michael T. HyattMr. Scott IngramMs. Annette JanowitzCliff Jolliff & Elaine GerkeMs. Jo. Elliott JonesMr. & Mrs. Edward KatzeMr. & Mrs. Fred R. KeithDr. Gail M. KendallLucy R. & Gary Lee, Jr.Livvy Kazer LipsonMr. Thomas L. McCookMr. & Mrs. Norman MillerMs. Sharon Mills

Dr. Patricia S. MoultonJane & Jim MurrayMr. & Mrs. Richard P. Nicholas IIIThe Honorable & Mrs. George A. NovakMs. Marianela E. NoyaMr. Edward R. Nudd Jr.Mr. & Mrs. Henry C. Parrish IIIMr. & Mrs. Guy PaschalMr. Darryl C. Payne

& Ms. Lisa C. RichardsonMr. & Mrs. Rezin E. Pidgeon, Jr.Mr. D. V. Pompilio

& The Honorable S. L. IngramMs. Barbara RivenbarkMr. Hervey S. RossMr. Robert SidewaterDr. Susan Y. StevensMr. N. Jerold Cohen

& Ms. Andrea StricklandCarolyn & Robert SwainMrs. James B. VaughtMs. Reba P. WelchDr. & Mrs. Sam WilliamsMs. Judith D. WilsonSherrilyn & Donn WrightMrs. Johnnie Zahler & Jeanette Zahler

* Donors who currently have three-year gift commitments as members of the Society for Artistic Excellence. The Society of Artistic Excellence represents a minimum pledge of $20,000 over a three-year period.

54

$100,000 The Coca-Cola Company

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

$5,000+Lockheed Martin Aeronautics Company

$2,500+Anonymous

$1,000+Atlanta Opera Guild

corPoraTe ParTners

FOunDatiOns$150,000+The Goizueta Foundation

$50,000+Atlanta Music Festival AssociationSara Giles Moore Foundation

$25,000+J. Marshall & Lucile G. Powell Founda-tionThe Zeist Foundation

$15,000+Ida A. Ryan Charitable TrustSunTrust Trusteed FoundationsWells Fargo Philanthropic Giving Program

$10,000+Abraham J. & Phyllis Katz Foundation

GOvernment FunDinG$20,000+City of Atlanta Office of Cultural Affairs

$10,000+National Endowment for the Arts

foundaTion & governMenT suPPorT

$5,000+Atlanta FoundationCamp-Younts FoundationJohn & Mary Franklin FoundationFraser-Parker FoundationAnn and Gordon Getty FoundationThe Home Depot FoundationJBS FoundationNordson Corporation FoundationNorfolk Southern Foundation

$2,500+Mary Brown Fund of AtlantaHills Family FoundationPublix Super Markets CharitiesFrances Wood Wilson Foundation

$1,000+Bright Wings FoundationHerbert & Marian Haley FoundationLois & Lucy Lampkin FoundationRay M. & Mary Elizabeth Lee Foundation

gifTs in Kind

GiFts in KinDBatdorf & Bronson Coffee RoastersJoel Crowe – Wallace Graphics Double Cross VodkaFederal Home Loan Bank of AtlantaNational Distributing Company Jeff Roffman Photography

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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 JOhn COxRae & George Weimer

in memOry OF marGaret BOwDen reese ellisDr. & Mrs. James H. Dew Jr.

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 KennyIn Memory of Betsy HansenHarald Hansen

in hOnOr OF ChOrus master huFF & the atlanta OPera ChOrusJane S. Willson

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 hOnOr OF william e. PenninGtOnMrs. Martha Wilson

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 BaxterDr. & Mrs. James W. Bland, Jr.Mr. & 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

in hOnOr OF Charlie yates, Jr.Mr. & Mrs. Benjamin G. BowenMr. & Mrs. Mark Eden

in memOry OF llOyD zaCharyStephen Fusco

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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 JOhn COxRae & George Weimer

in memOry OF marGaret BOwDen reese ellisDr. & Mrs. James H. Dew Jr.

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 KennyIn Memory of Betsy HansenHarald Hansen

in hOnOr OF ChOrus master huFF & the atlanta OPera ChOrusJane S. Willson

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 hOnOr OF william e. PenninGtOnMrs. Martha Wilson

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 BaxterDr. & Mrs. James W. Bland, Jr.Mr. & 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

in hOnOr OF Charlie yates, Jr.Mr. & Mrs. Benjamin G. BowenMr. & Mrs. Mark Eden

in memOry OF llOyD zaCharyStephen Fusco

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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 ColginMartha Thompson DinosArnold & 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'SheaMrs. Polly Pater

Mr. 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 Mitchell Yates

The Atlanta Opera sincerely appreciates your generous support and belief in our mission of enriching lives through the power of opera. By building a legacy through the creation of a planned gift with The Atlanta Opera, you can help ensure that Atlantans 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!

suPPorT ToMorroW, Today! Build a legacy WiTh The aTlanTa oPera

suPPorT The aTlanTa oPera

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Board of direcTors

officersChAiR EmERiTUS Mrs. Shepard B. AnsleyChAiR William E. Tucker, Tucker, Midis & Owen, LLC immEDiATE PAST ChAiR Mr. Gregory F. Johnson, Republic National Distributing Company, Inc.ViCE ChAiR Mr. John L. HammakerViCE ChAiR Mr. Charles R. Yates, Jr. TREASURER Mr. Rhys T. Wilson, Nelson, Mullins, Riley & Scarborough, LLPSECRETARy Mr. Michael Keough, 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 HajjarMr. John Michael HancockMs. Mary B. JamesMr. John O. King, Breitland, LLCMr. George Levert, Kinetic Ventures, LLCMr. 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. 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. G. Kimbrough Taylor, Jr., Kilpatrick Townsend & StocktonMr. 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 Distributors

Mrs. Jack C. McDowellMr. Sam Olens, State of GeorgiaMr. Mark K. Taylor, HT Group, LLCMrs. John C. WilsonMs. Bunny Winter

Photos by Ben Rose Photography

scene la Belle soirÉe

Check atlantaopera.org for details on reserving your FREE seat!Check atlantaopera.orgatlantaopera.org for details on reserving your FREE seat!atlantaopera.org for details on reserving your FREE seat!atlantaopera.org

OPERA PERFORMANCESFREE AdmissionNovember 2nd at 8:00 P.M.14th Street Playhouse173 14th Street, N.E., Atlanta, GA

60

sTaff

arTisTic & ProducTion Arthur Fagen CARL & SALLy GAbLE mUSiC DiRECTOR & CONDUCTORShawn Rieschl Johnson DiRECTOR OF PRODUCTiONWalter Huff ChORUS mASTERMichael Benedict PRODUCTiON mANAGERLindsay Swann ARTiSTiC ASSOCiATE

The aTlanTa oPera Tomer Zvulun GENERAL & ARTiSTiC DiRECTOR

MarKeTing & coMMunicaTionsCristina Vásconez Herrera mARkETiNG ADViSORMatt Burkhalter CREATiVE SERViCES mANAGERLindsay Smith PATRON SERViCES mANAGERRenee Smiley PATRON SERViCES COORDiNATOR

cosTuMe shoPJoanna Schmink COSTUmE DESiGNER/COORDiNATORPatricia McMahon COSTUmE ShOP mANAGERKen McNeil WARDRObE SUPERViSORBrett Parker FiRST hANDEmoryann Childers STiTChERBridgette K. L. Mont STiTChER

finance & adMinisTraTionMike Hurdle DiRECTOR OF FiNANCEAshley Gilleland ACCOUNTiNG mANAGERStephanie Cantillo ADmiNiSTRATiVE mANAGERLene Sabin ExECUTiVE ASSiSTANT

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

arTisTic Planning & coMMuniTy engageMenTCory Lippiello DiRECTOR OF ARTiSTiC PLANNiNG & COmmUNiTy ENGAGEmENT

61

sTaff

seasonal sTaffJohn Beaulieu TEChNiCAL DiRECTOR/mASTER CARPENTERPatricia Tuckwiller PRODUCTiON ELECTRiCiANSteve Dubay PRODUCTiON ELECTRiCiANPamela Hickey PROPERTiES mASTERAllison Moritz ASSiSTANT DiRECTOR Erin Thompson-Janszen PRODUCTiON STAGE mANAGERGregory Boyle ASSiSTANT STAGE mANAGERJamie Hahn ASSiSTANT STAGE mANAGER

Wig & MaKeuP sTaff Katrina Suhre DESiGN ASSiSTANTChristian Ellesmere Melanie SteeleChristina Whitaker MooreTracy SalazarTiffany Davis

coBB energy PerforMing arTs cenTre Johannes Pikel TEChNiCAL DiRECTORMichael Wolmer hEAD ELECTRiCiANNicholas Morganstern hEAD CARPENTER/RiGGERBrett Larson AUDiO ENGiNEERJessica Coale PRODUCTiON mANAGER

Philip Webb's 2006 debut with The Atlanta

Opera portraying Cavaradossi in Tosca

with Donnie Ray Albert as Scarpia.

Photo by Tim Wilkerson

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.

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From the start, your Nurse Navigator serves as your guide and liaison, working with WellStar oncologists, cancer surgeons, and other specialists to streamline your care and ease your mind. She can also connect your loved ones to resources throughout the community.

Your Nurse Navigator will manage coordination among your doctors, help you understand your treatment options, and simply listen to your concerns.

WellStar Nurse Navigators are available to all cancer patients and their families. To learn more about cancer treatment at WellStar, call 770-956-STAR (7827) or visit wellstar.org.

We believe you are stronger

than cancer.

The vision of WellStar Health System is to deliver world-class healthcare through our hospitals, physicians and services. Our not-for-profit health system includes WellStar Kennestone Regional Medical Center (anchored by WellStar Kennestone Hospital), WellStar Cobb, Douglas, Paulding and Windy Hill hospitals; WellStar Medical Group; Health Parks; Urgent Care Centers, Health Place; Homecare; Hospice; Atherton Place; Paulding Nursing Center; and WellStar Foundation.

tosca at the atlanta opera

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