Tuesday, June 14, 2016

Pick Up Your Q: High School Opera Institute Student (And all-around awesome kid) Khamary Grant

Khamary Grant is probably more put together than most adults. The young actor and singer is working hard at the Atlanta Opera's High School Opera Institute, a one week intensive for rising 10th-12th graders at Emory University. Find out how he became interested in opera, and what he's got planned for an exciting summer.


What grade are you in and where do you got to school?

I'm a rising senior, and I go to Veritas Classical School. It's part home schooling, part public school so that we can interact with other kids. 

How did you get interested in voice?

I came out of the womb singing, let's just say that. I've always been singing. When I was 14 years old, I was exposed to musical theater at Atlanta Workshop Players. Since then, I've just been going on this journey, discovering new things, now classical music. I've been performing musical theater for about three years now. I didn't have a lot of training, but I did just sing and have fun doing different shows like In the Heights and Hairspray. I was Seaweed, which is easily my favorite role to this day. But that's how I got into voice, just being exposed to the musical theater world.

What activities are you involved in at school?

They don't really have a lot of performing arts activities at school, so I spend a lot of time at Atlanta Workshop Players, where I'm part of their professional company, and the travel show they're about to do. I'll also be singing in a few upcoming events with them.

What are you most looking forward to learning at High School Opera Institute?

I want to learn about the different things I can do with my voice, like control and vowels. I just started my classical training, and one of our instructors told me that there's so much more to my voice that I just don't know yet. She told me I have a lot of potential. By adding classical music, there are so many possibilities for me now. That makes me super excited!

What are you favorite pieces to sing?

"The Impossible Dream" from Man of La Mancha. It was one of the first pieces I ever learned, and I fell in love with is the first time I heard it. I also like Per la gloria d'adorarvi -that's the song I'm learning right now.

Any other plans for the summer?

For the rest of the summer I'll be auditioning a lot. I do a lot of television and film acting. I have an agency here called People Store, and then one in New York called Clear Talent Group. I'll be a camp counselor for two weeks at an overnight camp at Oglethorpe with Atlanta Workshop Players. After that, I'll be traveling to Madrid with my family. 

What's your plan for the future?

I definitely want two Oscars. My acting coach gave me a goal I'm trying to achieve: by the time I'm 21 years old, I no longer want to be auditioning. I want to be having meetings with people. I want to walk into a room, and have everyone know my name, but for the right reason, like my work ethic. I also want to be able to have enough power and influence to use my music and talents to create change in the world. 





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Thursday, May 5, 2016

#Notachamberopera (Or Painting A Story On The Largest Canvas Possible)


By Tomer Zvulun 

One of the most fascinating aspects of opera is the variations of musical styles within the art form itself. From Baroque to modern music, the art form runs the gamut of flavors, each of them uniquely defined by a different language, period, composers style, orchestra size, color, etc. As an Artistic Director, choosing the operas for a season is a little bit like selecting the perfect ice cream combination. 

How do you choose the perfect mix? Do you go for the classic, always potent chocolate-vanilla or is it time to try an adventurous churro and brambleberry crisp? (Yes, that’s a flavor at Jeni’s Ice Cream and it is life-changing.)

We are closing a uniquely diverse season at The Atlanta Opera: from the modern and powerful chamber opera, Soldier Songs, to a fresh cinematic version of La bohème, a colorful audience-pleaser in The Pirates of Penzance, to a visually striking Winterreise (Winter Journey). We offered our audiences many flavors and tastes this year.

We chose to close the season with the grandest version of the epic love story: Romeo and Juliet.

The first question is why?

Why did theaters all over the world, in every conceivable language, adapt this play? Why were the greatest artists of every period so drawn to retelling this familiar story? Why are we presenting it this weekend at the magnificent Cobb Energy Performing Arts Center?

All around the world, the name “Romeo and Juliet” is synonymous with the idea of being young and in love. It captures the essence of romance, of discovering the powers of love, sex, danger, and the mysterious alchemy of an attraction to another person. It is desperately romantic. It deals with love and loss, power and social status; the stuff that makes us all dream.

The second question is also why. Why this version when so many other versions exist?

The answer is SCALE. Gounod’s version is unique in that it takes a story which is often remembered for its intimate chamber scenes (The famous balcony scene, the tomb scene) and expands it to an unapologetically grand opera in the most extravagant way.

The extreme feelings that the characters experience - the ecstasy of falling in love and lust, the intensity of violence and loss, revenge, and grief - are the perfect materials for operatic tales.

Gounod takes those ingredients and propels them forward in a romantic, melodic way. He enhances the SCALE of the story and emotions by writing sweeping music for large choruses and orchestra.

Our version at The Atlanta Opera strategically takes the idea of larger than life themes and finds the visual equivalent in the backdrop of the Shakespearean Globe Theatre. Through the use of multiple towers, staircases and levels, this grand canvas helps give this powerful story new life.

Producing an opera is a complicated, exciting adventure that involves hundreds of singers, musicians, and technicians. I personally find it addictive because it allows us to paint on the largest canvas available in the performing arts. Producing GRAND opera, like Romeo and Juliet, is even more intricate and exciting.

This grand opera version of the story not only brings together a thrilling cast of singers, designers, musicians and artists from all over the world, but it is also the perfect way to close our delicious, diverse season at The Atlanta Opera. Hope you will join us!

Have a great summer and see you at Jeni’s Ice Cream!

- Tomer Zvulun


Usage of any images on this blog is restricted to The Atlanta Opera and approved news websites. Any other usage, particularly for professional purposes, must have written permission. For additional information, please contact The Atlanta Opera at 404.881.8801.

Friday, April 8, 2016

Pick up Your Q: Costume Designer/Coordinator Joanna Schmink

Atlanta Opera Costume Coordinator Joanna Schmink spends most of her time in the costume shop sourcing, curating, altering, and piecing together costumes from other designers and productions. 
For Romeo and Juliet, she designed and created everything from scratch for this spectacular grand opera with an equally grand cast. We talked to her about the joys and challenges of the job.



The Atlanta Opera: Who or what influenced you to get into costume design?
Joanna Schmink: Growing up, my parents involved all of my siblings in the arts (orchestra, choir, dance, theatre) not as a potential career choice but to enlighten us on the importance of art in all forms in our daily lives. I think it was a friend in college that convinced me to take an internship in the university costume shop. I changed majors a semester later from engineering to costume design and have her to thank or blame.

AO: Who is your favorite artist or designer, living or dead?
JS: Léon Samoilovitch Bakst (1866-1924). He was a Russian painter, set, and costume designer known for his rich, exotic use of color, pattern, and texture. His work for Diaghilev Ballet Russes is some of his best work - a visual kaleidoscope of color brought to life on stage. Bakst’s brilliant control of color and line spilled over into fashion and interior design giving a new richness and looser flow to the drab look of the time. 

AO: Are there any misconceptions about costume designers that you’d like to clear up?
JS: I don't think people quite understand what costume designers do on the job. For starters, it’s not as glamorous as people would like to think. It’s a lot of long hours and hard work. You have to love research, working with fabric, collaborating with other creative people such as designers, directors, producers, and performers. The payoff is definitely not notoriety, but rather the satisfaction of creating part of a wonderful theatrical experience. 

AO: What does a typical day look like for you?
JS: There are no typical days, thank goodness. There are some non-negotiables that I always keep on the early morning daily roster like running, biking, or swimming. I like to start every day off on an active foot to help keep me in a great frame of mind and provide an additional bump of energy. There is nothing like a sun rise to inspire creativity. A work day is usually a 7:30 a.m. or 8:00 a.m. start with a 7:00 p.m. or 8:00 p.m. finish. All kinds of things could occupy a work day from organizational office work and fabric shopping to costume fittings and production meetings. There is a mix of practical and creative aspects to every day.

AO: What kind of preparation went into the period costumes for Romeo and Juliet?
JS: A large part of the development and preparation for this production is in research and creative problem solving. The body of the show is being set in the 1830’s, historically noted as part of “The Romantic Era” (1820’s-1840’s), or early Victorian. It is complemented by aspects and costume elements of the Elizabethan Era (1550’s-1600’s) which works well in the presentation of a Shakespearean story line. The challenge is to make the periods connect seamlessly so the costumes enhance the storytelling.

AO: Were there specific challenges to creating these costumes for such a large cast?
JS: This production is incorporating brand new built costumes, pre-existing costume stock, and rented costumes. It’s challenging to have all of these elements in place and create a cohesive design that will present a beautiful visual for the audience. The work involved to move the design forward takes additional creative thought and design flexibility so the best choices are made.

AO: Are there any productions (opera or other) for which you have always wanted to design the costumes?

JS: I would love to design a Die Fledermaus or a Tristan und Isolde. Both have great opera design elements that would challenge me as a designer. I would love to do research on both shows and have a great adventure seeing them come to life. They both have grand opera story appeal with love, drama, and suspense well crafted into their plots.





Usage of any images on this blog is restricted to The Atlanta Opera and approved news websites. Any other usage, particularly for professional purposes, must have written permission. For additional information, please contact The Atlanta Opera at 404.881.8801.

Monday, March 14, 2016

Behind the Scenes: Curt Olds as Major-General Stanley

Bass Curt Olds is a world-renown singer and performer. He's covered many roles in Gilbert & Sullivan's greatest works, most recently in our mounting of The Pirates of Penzance. We went backstage with Curt to watch his transformation into the Major-General and to learn more about his process, pre-performance rituals and tips for getting into character.

I always hate the process of putting on heavy wigs and makeup for a production, but I love the look afterwards. The adhesive, spirit gum or mastix, is sticky like syrup and burns a bit upon application. I performed for a couple of years in the Broadway musical CATS, which was probably the heaviest make-up/wig show I've ever done. One trick I use as Major-General is to split the mustache into two pieces so it will allow my mouth to move without trouble. 




The Major-General is unique because your biggest song is both your first moment on stage and extremely well known. When arias like this come right out of the gate for a character (like Figaro in The Barber of Seville) the performer has one shot to get things right. Patter songs (I do many of them in the repertoire I perform) are always demanding, but the Major-General's song is extra hard due to it's fame and it's location in the show. 

No matter what role I am performing, I like to take a little time in my dressing room before I get into costume and makeup and go through the whole show at a quick pace. I usually keep all my notes together that I have been given by directors, conductors, and coaches, and I go through that list, as well. With the Major General, I usually have time to run the lyrics to the song one more time before my entrance, which I always think is a smart idea. No matter how many times I do a role, I still review using this method to make sure I am not taking anything for granted. Every time I review, there is something that I catch that might have been missed in performance.

I'm a big coffee drinker, so I usually will grab a cup of coffee as I head to the theatre. I also like to stay social, so when time allows, I like to prop my dressing room door open so I can keep in the vibe of the show, visit with colleagues and wish them well. I started out as many performers do, working in cramped-quarter theatres and I like to keep in the group frame of mind with Gilbert & Sullivan, which requires a connection from the largest role to every ensemble member for success.

This is my 15th production of Pirates (8 Pirate Kings and 7 Major Generals). Next up I will do my 24th production of Ko-Ko in Mikado, which is my favorite role of all. I love this rep so much and I am happy to see opera and theatre companies include it in standard rep. Despite it being viewed as a guilty pleasure by so many opera patrons, it usually sells out and many times companies add performances because of demand. That speaks volumes. 

It's been such a pleasure to perform with Atlanta Opera and I have had a great time in this city. This cast includes some of my very close friends and I think Tomer Zvulun has assembled a brilliant group of singing actors perfectly suited for this type of show. I look forward to see what exciting things are coming for Atlanta Opera audiences and I hope I have the opportunity to return again soon.



All photos by Vicky Legaspi. 

Usage of any images on this blog is restricted to The Atlanta Opera and approved news websites. Any other usage, particularly for professional purposes, must have written permission. For additional information, please contact The Atlanta Opera at 404.881.8801.

Monday, March 7, 2016

Production Notes: The Pirates of Penzance (by Nicholas Beard)

All photos by Jeff Roffman
We’re forever fascinated by pirates. It’s a child’s fantasy to battle pirates – think Peter Pan vs. Captain Hook – but it’s also an adult metaphor elastic enough for a range of social commentary. By our romanticized view, pirates live off their wits, live a hedonist life. They have escaped the conventions of a society which, as every free-spirit knows, stifles creativity. As escapist fiction, literature (Defoe’s “Robinson Crusoe” from 1719) and opera (Bellini’s “Il Pirata,” 1827) are no less enthralling than swashbuckling films starring Douglas Fairbanks and Errol Flynn and, today, the “Pirates of the Caribbean” franchise.

So it was in the 1870s, when composer Arthur Sullivan and librettist William Schwenck Gilbert started collaborating on English-language comic operas, a cousin to sweetly sophisticated Parisian and Viennese operettas. The British duo had a commercial hit with the nautical-themed “HMS Pinafore” in 1878. But within months “Pinafore” was spreading across America through – ahem – pirated productions, earning the creators no income.

For their next collaboration, “The Pirates of Penzance” in 1879, they followed their familiar patterns by lampooning the police and the military, poking fun at empty patriotism and, above all, satirizing the stupidity of a literal devotion to duty. Our hero Frederic is “the slave of duty,” personifying the operetta’s subtitle. In Victorian England, with an Empire stretching around the globe, protected by the most powerful naval fleet that ever existed, “Pirates of Penzance” was social satire with a sharp edge. That Gilbert’s lyrics and Sullivan’s music does all this with such a light touch – tuneful, infinitely clever, unexpectedly warm – is the stuff of genius.

Early in their collaborations, Gilbert and Sullivan established a formal structure to their works: two acts, the first act concluding with a complicated finale in several sections and the second act reprising tunes heard earlier. Like other operettas, spoken dialogue (instead of operatic recitative) moves the action forward, although their best works, including “The Mikado,” have found a home in opera houses across the English-speaking world. Gilbert’s political iconoclasm matched perfectly with Sullivan’s gift for melody and his skills in orchestration, where he could parody music by a Handel, Donizetti or Verdi and twist it to his own comic needs. As with the best satire, the more you know the funnier it gets. 

Key points of “The Pirates of Penzance” plot are so daffy that audiences can’t help but groan and giggle. And there’s no irony: all the characters are “naïve” to their world, with no winks from the stage at their increasingly ridiculous situations. For starters, the work’s title is funny: British audiences would have known Penzance as a mild and slightly boring beach town on the English Channel, the last place you’d expect to find blood-thirsty bandits of the high seas. The characters are introduced by a series of wacky missteps. The nursery maid Ruth had misheard “pirate” (instead of “pilot”) and had mistakenly apprenticed the boy Frederic to the Pirate King – as if one trained into piracy as into any other respectable trade. Gilbert’s lyrics emphasize the not-so-subtle difference in pronunciation with over-the-top rhymes: “my lot/pilot” and “gyrate/pirate.”

Now 21, bidding farewell to his masters, Frederic had accepted his duty (despite Ruth’s mistake) and reveals his literal mindset: “It was through an error – no matter, the mistake was ours, not yours, and I was in honor bound to it.” When we meet the pirate band, we soon learn they are uncommonly polite and empathetic, and word has spread that they will release all victims who claim to be orphans.

As in grand opera, the work thrives on its songs, and this is what makes “Pirates” among the greatest of any operetta in the language. Mabel’s coloratura showpiece, “Poor wand’ring one,” is set as a graceful, French-style waltz. In the ensemble number “How beautifully blue the sky,” Sullivan sets the love duet between Frederic and Mabel as a fresh, lilting waltz, dovetailing it into the chitter-chatter of the women’s chorus in 2/4 time. It’s as silly, tender and brilliant as anything in the G&S canon.

Perhaps the most famous number of the score is the Major-General’s charming, clueless patter-song “I am the very model of a modern Major-General.” At top speed, he spits out ghastly rhymes with the high-falutin’ language of educated men – “mathematical/quadratical” and “a lot ‘o news/hypotenuse” – all delivered in a mock-pompous style. (As a comedy technique, it was adopted by generations of British satirists, including Monty Python in our own time.) The Major-General’s song in the second act, “Sighing softly to the river,” features a rippling watery accompaniment that wouldn’t be out of place in Schubert lieder. But the context is hilarious, with the men’s choruses mocking him unseen in the background, parodying a similar scene from Verdi’s “Il Trovatore.” As with almost every detail in “The Pirates of Penzance,” it’s easy to forget about the richness of invention because the lyrics-music fusion seems so effortless.

Usage of any images on this blog is restricted to The Atlanta Opera and approved news websites. Any other usage, particularly for professional purposes, must have written permission. For additional information, please contact The Atlanta Opera at 404.881.8801.