The Atlanta Opera

A Weekend of Accidental Affairs...

2012-01-24T11:03:00.003-05:00

By Ellen Sturgill

With teddy bears, bugles, rolling pins, and "Accidental Affairs" setting the scene, the second-annual 24-Hour Opera Project was a success. Contestants from all over the United States came to Atlanta to compete in the whirlwind of operatic chaos, and create what turned out to be five dramatic, hilarious, and innovative opera scenes.

It all began with the Kick-Off party on Friday night at 5:00 p.m., where the composers and lyricists selected props from an assortment of bags and boxes, and were randomly paired together. One of the guidelines for the project was that the teams had to compose around a certain theme, and this year's theme of "Accidental Affairs" evoked all the emotions we love about opera.

Lyricist Brad Fairchild and composer Sara Hersh have fun with the teddy bear and ovens mitts in their composition, The Layover. ©Tim Wilkerson

Edward's Eatery composer Jonathan Stinson and lyricist Madeleine St. Romain show off their props: sausage links, and a fishing net. ©Tim Wilkerson

Composer Jennifer Jolley and Lyricist Vynnie Meli with the props for Krispy Kremes and Butter Queens, a block of cheese, and a rolling pin. © Tim Wilkerson

Accidental Affair composer Timothy Brown and lyricist Chadwick Hagan get creative with their props, a bugle and chain. ©Tim Wilkerson

Lyricist Megan Fitzgerald and composer Jason Barraba of The Grass is Always Deader are given a delicious, and deadly pair of props: lollipops and a poison bottle. ©Tim Wilkerson

With coffee percolating constantly, composers and lyricists worked feverishly all night to create an opera by the deadline of 6:00 a.m. Saturday morning. The "Confession Cam" was in high-demand as teams began to feel the effects of staying up all night...

Composer Jennifer Jolley takes some time to give audiences a sneak peek of what's to come in Team 3's composition, Krispy Kremes and Butter Queens. ©Emmalee Iden

Though not making the deadline was on the minds of more than one team, everyone completed their creations, and the composers and lyricists got some well-deserved rest while the Music Directors, Stage Directors, Stage Managers, and singers went to work rehearsing early Saturday morning.

Music Director Erin Palmer rehearses The Layover with Bass Robert Adams, and Mezzo-Soprano Janeen Griffin. ©Tim Wilkerson.

From left to right, Stage Director Kristen Kenning, Stage Manager Spencer Gum, and Music Director Catherine Giel prepare a scene in Edward's Eatery. ©Tim Wilkerson

Fun in a rehearsal for The Grass is Always Deader, with Soprano Katie Oates, Baritone Ivan Segovia, and Soprano Amanda Pillatzki. ©Tim Wilkerson.

At 4:00 p.m. -- after approximately eight hours of rehearsal -- the teams packed up their props and costumes from the rehearsal spaces at First Presbyterian Church of Atlanta, and moved to The Atlanta Opera Center, where they would have a quick dress rehearsal, before the performance at 7:00 p.m.

At 6:30, our guest judges- Stephanie Adrian, Voice Professor at Emory University and writer for Opera News, Classical Singer, and Journal of Singing; Andrew Alexander, Arts and Entertainment Writer for Creative Loafing; John Lemley, Assistant Program Director, host of City Café, Afternoon Classics, and Tapestry on WABE (90.1); Ann Owens, former Executive Director of the Houston Grand Opera; and our fabulous "mistress of ceremonies," Atlanta Planit's Nicole Jones, arrived.

The five teams were able to showcase their creations to a packed house of 200 people. With antics involving clandestine affairs and teddy bears, these operas were one-of-a-kind. The judges rated performances on composition, lyrics (libretto), creativity of stage direction, and musical performance. Audience members were able to cast their votes for "Audience Favorite," and those tuning in via the webcast (all 762 of them!) were able to vote through Twitter, Facebook, or Ustream Chat.

This year's "Judges' Choice" and the "Audience Favorite" was...

Krispy Kremes and Butter Queens!

Krispy Kremes and Butter Queens celebrate their win! ©Tim Wilkerson

Below, we've included more photos from the event, and if you missed the live performances, check out our Ustream Channel. This year's 24-Hour Opera Project flew by, and we want to thank everyone who participated, and helped make this past weekend a success!

Bass-Baritone John Elliot Yates, and Soprano Sondra Collins (bottom) praise Christine Lyons as Paula Deen in Krispy Kremes and Butter Queens. ©Tim Wilkerson

Click here to view a recording of the live webcast! ©Dave Stevens

Stage Director Frances Rabalais, Bass Robert Adams, Music Director Erin Palmer, Mezzo Janeen Griffin, Lyricist Brad Fairchild, Composer Sara Hersh, Stage Manager RaMia Green, and Soprano Laura Peacock of The Layover. ©Tim Wilkerson

Cast and creative team of Edward's Eatery (left to right): Lyricist Madeleine St. Romain, Composer Jonathan Stinson, Baritone Gerald Yarbray, Stage Director Kristen Kenning, Stage Manager Spencer Gum, Soprano Vivian Clifton, and Music Director Catherine Giel. ©Tim Wilkerson

Krispy Kremes and Butter Queens with their "Audience Favorite" prizes! From left to right, Lyricist Vynnie Meli, Composer Jennifer Jolley, Stage Director Michael Nutter, Bass-Baritone John Elliot Yates, Soprano Christine Lyons, Soprano Sondra Collins, Music Director Paul Tate, and Stage Manager Rebecca Yan. ©Tim Wilkerson

Stage Manager (left to right) Kendall Thompson, Mezzo Sharon Blackwood, Composer Timothy Brown, Stage Director Thomas Isaac Collins, Music Director Sandra Lutters, and Soprano Sarah Vatour of Accidental Affair. ©Tim Wilkerson

The cast and creative team of The Grass is Always Deader, Stage Manager Erin Bailess, Soprano Amanda Pillatzki, Baritone Ivan Segovia, Lyricist Megan Fitzgerald, Composer Jason Barabba, Soprano Katie Oates, Music Director Michael Spassov, and Stage Director Beth Suryan. ©Tim Wilkerson

Judges Andrew Alexander, Stephanie Adrian, John Lemley, and Ann Owens. ©Tim Wilkerson

# # #

Top 10 Reasons to Tune in to the 24-Hour Opera Project

2012-01-17T13:03:00.001-05:00

By Ellen Sturgill

The second-annual 24-Hour Opera Project is almost here, and you only have to wait three more days for all the chaos and creativity to begin!

The event starts this Friday, January 20th at 5:00 p.m., with the Launch Party, where teams will be randomly selected, and the theme for the compositions will be revealed. All of this craziness will lead up to the Showcase performance on Saturday, January 21st at 7:00 p.m. The will be your chance to see the contestants' masterpieces presented in front of a panel of judges, a live audience, and the public via a LIVE webcast.

For those of you still debating whether or not to participate in this event, we've included the Top Ten Reasons why you should tune in LIVE!

You can be a part of this creative adventure without leaving the comfort of your home.
You can watch in your PJ's!
Everyone needs to see how a rubber chicken relates to opera.
Find out that opera doesn't always have to be serious!
Don't you want to see what happens when you throw a team of artists in a room for 24 hours?
Are you looking for a new opera to listen to? This event is your chance to hear five original compositions.
Spot a rising star! If one of the contestants participating in the 24-Hour Opera Project makes it big, you'll be able to say you saw him/her "back when..."
You can help decide the fate of one of the teams. Vote for the "Audience Favorite" online via Twitter (@TheAtlantaOpera or #24HOP), or Facebook.
See if everyone finishes by the deadline!
This is a one-of-a-kind event, and you won't want to miss it! According to members of the Atlanta Opera staff, some were upset they missed out on all the fun last year. Don't let that be you!

With the ten reasons above, you have no excuses not to view the webcast! Join us for the Showcase performance this Saturday at 7:00 p.m. at The Atlanta Opera Center, or put on your PJ's, grab some popcorn, and tune in LIVE!

Beware of the flying rubber chicken!

We're Going Live!

2012-01-09T15:31:00.001-05:00

By Ellen Sturgill

The fastest-paced event of the season is just around the corner! So brace yourselves, for the second annual 24-Hour Opera Project!

Beginning on January 20th at 5:00 p.m., composers, lyricists, stage directors, and singers from all over the United States are randomly put into teams, and have 24 hours to compose, stage, and rehearse a 10-minute opera!

Following the caffeine-fueled rehearsals, the teams will perform their creations in front of a panel of judges including: Stephanie Adrian, Voice Professor at Emory University and writer for Opera News, Classical Singer, and Journal of Singing; Andrew Alexander, Arts and Entertainment Writer for Creative Loafing; John Lemley, Assistant Program Director, host of City Café, Afternoon Classics and Tapestry on WABE 90.1; and Ann Owens, former Executive Director of the Houston Grand Opera.

This year, we will be doing something a little different.

For those of you who can't make it to the showcase, you will still have the opportunity to see the event online via a LIVE webcast.

On January 21st at 7:00 p.m. on the dot, you can tune in to the Atlanta Opera's Ustream channel to watch the five teams show their stuff!

Along with watching the event unfold live, webcast viewers can also vote for "Audience Favorite."

You will be able to cast your vote via Ustream, Facebook, and Twitter. The voting process is simple, and here are a few ways to join the fun. You can:

Watch the event on Ustream, and vote directly on the Ustream site.
Watch the event on Ustream, and Tweet your votes and comments to @TheAtlantaOpera, #TheAtlantaOpera, or #24HOP through your Twitter account.
View the event on the Atlanta Opera's Facebook page in the Ustream tab.

Or better yet.... make it even easier on yourself, and go to our homepage and watch it there.

Whether you Tweet, Like, or frequent Ustream, you can participate in the 24-Hour Opera Project!

For more information, you can view our previous blog article on the event, or visit our website.

In case this isn't enough to make you TUNE IN... here's what else you can look forward to...

Crazy props...

The prop table from last year's 24-Hour Opera Project. © Tim Wilkerson

The infamous "Confession Cam..."

Confessions from the 24-Hour Opera Project 2010. © Cherokee Rose Productions

AND... Wacky, creative, and talented players...

2010's "Audience Favorite" Scrub-A-Dub Raw © Tim Wilkerson

The team behind the opera A Toast for all Toasts. © Tim Wilkerson

Last year's "Judges' Favorite" winners, the team from Eye of the Needle.
© Tim Wilkerson

Move over Sugar Plums...

2011-12-21T13:25:00.001-05:00

By Ellen Sturgill

Chocolate bars are dancing around our heads here at The Atlanta Opera!

What do you get when you mix opera with five children, one zany confectioner, a dash of magic, and lots and lots of chocolate bars? The Atlanta Opera's second opera of the season, The Golden Ticket! This new and delightful opera is based on Roald Dahl's beloved tale Charlie and the Chocolate Factory, and will take you on a journey into the magical world of Willy Wonka's chocolate factory.

Commissioned by American Lyric Theater and Roald Dahl's widow, Felicity Dahl, The Golden Ticket features all the sweet delights familiar from the book, including chocolate rivers, inflating blueberries, and magical elevators.

The road to creating this opera, however, wasn't as smooth as Wonka's famous chocolate. Composer Peter Ash and librettist Donald Sturrock struggled with legal issues surrounding Dahl's book, as well as getting companies to take an opera based on a children's story seriously. The Golden Ticket's world-premiere in June 2010 at Opera Theater of Saint Louis was an enormous success. The production entertained audiences, and proved that opera isn't just love triangles and death scenes.

"Delightful: a fanciful tale meets... opera. Sturrock's libretto bubbles along with fun rhyming couplets, and the music is surprisingly sophisticated." (Dallas Morning News, Scott Cantrell, on the Opera Theater of Saint Louis premiere)

Atlanta audiences will certainly see things they've never seen before. This new production combines dramatic sets, special effects, and elaborate costumes that are sure to delight.

Peter Ash's music also strikes just the right notes, with whimsical orchestrations, as well as dramatic arias that parody traditional opera styles. Many of the singers are familiar with the opera, having sung it in the world premiere. These singers include bass-baritone Daniel Okulitch as Willy Wonka/Mr. Know, tenor Andrew Drost as Augustus Gloop, and baritone David Kravitz as Lord Salt. Also reprising a role is Abigail Nims, who sang the role of Veruca Salt in Wexford Festival Opera's production.

Daniel Okulitch as Willy Wonka. Photo: Courtesy of Opera Theater of Saint Louis.

The Atlanta Opera is also thrilled to have The Golden Ticket composer Peter Ash coming to conduct the performances. Having the original composer of an opera conduct is a rare treat, and we are excited to have such a new production in our 2011-2012 season. If you can't wait until March to see more from this opera, visit our website for more information, as well as videos and audio clips of The Golden Ticket.

After all this talk of chocolate, are you craving something sweet or savory? Then you're in luck!

In this week's blog post, we thought we'd not only give you a sneak peek of the The Golden Ticket, but also a taste of the opera, too!

The recipe links below include treats from the five children of The Golden Ticket. They are easy to make, and don't worry, these indulgences will not inflate you like a blueberry, or get you thrown into the trash by squirrels! At least, we don't think they will... Enjoy!

Augustus Gloop's Finger-Lickin-Good Chocolate Fudge
© Kraft Foods

Violet Beauregarde's Blueberry Pie Cups

© Kraft Foods

Veruca Salt's "I need it now!" Sweet Peanut Brittle

© Kraft Foods

Mike Teevee's Shrunken Chicken BBQ Sliders

© Kraft Foods

Charlie Bucket's Triple Layer Chocolate Bars

© Kraft Foods

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's Marketing Department at 404.881.8801.

Opera at Warp Speed!

2011-12-16T10:50:00.019-05:00

By Ellen Sturgill

Are you dying to break into the opera world? Have you been wishing for an opportunity to showcase your music, talent, and skills? Would you love to be a reality TV star like Snookie, Donald Trump, and the Kardashians? Well, we can't really help you with that last aspiration, but here at The Atlanta Opera, we have the perfect opportunity for those of you looking to let your voices be heard! Presenting the second annual...

The 24-Hour Opera Project was created to promote outreach and awareness by encouraging the community to become involved in opera. This event also gives composers, lyricists, directors, and singers an opportunity to showcase their art for the public. Those selected to participate will be randomly partnered in teams, given a theme for their opera, and then let loose for 24 hours to create a one-of-a-kind production. The creative process will be filmed, so you can be a part of all the action! There will also be a "Confession Cam," similar to your favorite reality TV shows. After the 24 hours is over, the teams will present their operas to a panel of judges, a public audience, and a live webcast. Prizes will be awarded for the Judge's Choice, as well as an Audience Favorite.

A scene from last year's Audience Favorite, Scrub-A-Dub Raw. © Tim Wilkerson

Why am I feeding you all this information? Because there is still time to join the fun! Composers, lyricists, directors, and singers have until December 21 to apply by visiting our website. Take advantage of this amazing opportunity to spend 24 hours with people who love opera, who enjoy being creatively challenged, and who simply want to have a blast!

Atlanta Opera staff and last year's 24-Hour Opera Project participants. © Tim Wilkerson

The videos and images in this article are from last year's event, and will give you a glimpse of the excitement to come! Enjoy!

Bass Larry Frazier, tenor Charles Baugh, and mezzo-soprano Sharon Blackwood rehearse A Toast for all Toasts. © Tim Wilkerson

Video of the launch party for last year's event. © Cherokee Rose Productions

The infamous "Confession Cam." © Cherokee Rose Productions

Sing we joyous, all together!

2011-12-07T12:59:00.010-05:00

By Ellen Sturgill

The Atlanta Opera has already decked its halls, and we are now ready to "fa, la, la" this holiday season! If you're wondering how you can get into the holiday spirit, look no further than The Atlanta Opera Holiday Concert. In our third annual holiday concert, eight selected soloists from The Atlanta Opera Chorus will be performing at All Saints' Episcopal Church. The ensemble will be joined by organist Peter Marshall, and conducted by Atlanta Opera Chorus Master, Walter Huff.

Photo courtesy of Walter Huff

The concert is a special tradition for us, and we thought that for this week's blog, we'd speak to Walter, and get the inside scoop on what makes this concert the perfect opportunity to ring in the holidays. Enjoy!
1. How did the Holiday Concerts get started? They started about three years ago. We’ve always wanted to do something during the holidays as an opera company. Years and years ago, the opera presented Menotti’s Amahl and the Night Visitors at Spivey Hall. We did that opera for about five years during Christmas, and it was a lovely event. This, however, was probably 15 years ago, if not even more.

Since then, there really hasn’t been anything, and Dennis and I had been interested in presenting a Christmas performance with The Atlanta Opera Chorus. But presenting the full chorus in December is almost impossible, with their schedules. So, I had the idea of selecting eight choristers who would be a good fit. Linda Bailey, who is the coordinator of the All Saints’ Episcopal Church concert series, began to communicate with the Opera about hosting a Christmas concert there. And the Holiday concerts have been an incredible success. We sold out the first year. The second year we did two performances. This year, we are doing one performance that is expected to sell out. There really is nothing like this concert on the Atlanta concert scene during the holidays!

The All Saints’ Episcopal Church is a beautiful setting. It is accessible, and stunning. It has Tiffany stained-glass windows, candlelight, and it is a great place to hold the concert. This church seats about 450, so it’s not small, but it’s also not overwhelming. It sets a scene for a nice, intimate evening.

2. What will the repertoire be this year? The music ranges from sacred to secular. At times, all eight singers perform together as a small chamber ensemble, and then there are duets, trios, and each singer has a solo piece. Every singer is showcased, but they are also singing together in a great choral blend. We are performing a wide variety of music by Bach, carols in French, German, and Welsh. There is even a beautiful early colonial American Christmas carol, a gospel piece, and a nice arrangement of the “12 Days of Christmas” from the King’s Singers. This year will be interesting in that we are also doing an excerpt from Amahl and the Night Visitors that we used to put on at Spivey, so that will be a nice connection to our past holiday programs. This concert is similar to a PBS holiday offering. There is great variety, and truly, something for everyone.
3. Do you have a favorite piece, or one that you are most looking forward to performing this year? It is a 90-minute program with twenty selections, and thirteen of them are new for this year. It’s very hard to pick a favorite! I think the Gospel piece “Come to the Manger” is a great selection, sung by Tim Miller, who was part of our Porgy and Bess cast (2010). We are also doing a very nice arrangement of “White Christmas,” which is new. And I love our lush arrangement of “Silent Night,” and a beautiful Italian carol for tenor that Pavarotti made famous. We also have boy soprano, Will Trimble, joining us for the excerpt from Amahl. He did this solo at First Presbyterian, so that will be excellent to have him joining us. We end with a spectacular finale of “O Holy Night” with the whole ensemble, and this piece is a great ending for the concert.
4. This concert certainly sounds like an excellent outlet for your chorus members, as well. It is. Because we generally work in a large ensemble of about fifty, it is great for us to get to work together in this small chamber ensemble. You need that unique singer that is not only very viable by themselves, but also can exist really well in a choral situation. That is why this concert is so special. There are choral concerts on every corner during the holidays, but because we have a small, but very trained and talented group of singers, our concert is a real treat to hear that mix. Some of the singers in this concert are currently singing with The Atlanta Opera Chorus, and some are alumni. Five of the singers have participated in this concert every year. It is accompanied by Peter Marshall on the organ, who is an instructor at Georgia State, and the Principal Keyboardist with The Atlanta Symphony.
5. How long are you and your ensemble able to rehearse for this concert? We met in September to talk about the program. It’s hard when you have a success like this [concert], because you don’t want it to be the same every year, but you do want to keep everybody’s favorite pieces. I actually brought two audience members from the previous concert, and asked them, “What would you hate to see go [from the concert]?” That helped us in our selection, and was a nice way to get feedback. Once we had the program solidified, we rehearsed whenever we could this fall in between Lucia di Lammermoor rehearsals, and have been rehearsing more intensely as the concert gets closer.

6. What makes the concert different from other programming that you do? This concert is different in that we get to explore cross-over repertoire. This concert involves opera singers singing secular music and more popular pieces, but still singing it in a classical fashion. Many opera singers are now releasing Christmas cds, and to help select repertoire, I listened to many of these. It allowed me to explore different vocal and musical styles. Which means that I have to choose singers who can do that, which is also fun! There has to be chemistry between the eight singers to create a product that is uniquely theirs.
7. What are some of your favorite memories from the last concert? With last year’s concert, I remember it being incredibly cold that evening-- 11 degrees, to be exact. And what was so funny about this was that the dressing rooms were in a separate building from the sanctuary. So at the beginning of the concert, and then again at intermission, we had to traipse across from that building a good ways to the sanctuary with some of the female singers freezing in their evening gowns! But I think the main memory I have is that with the first concert, you feel like you have something special, but very different, so you’re not sure of the reaction that you’re going to get. It was a packed concert, and I was so pleased because the [audience] reaction was tremendous. I think that’s the best memory for me. The concert really seemed to work for something that was actually very new and different to the holiday offerings here.

# # #

The Atlanta Opera Holiday Concert will be a wonderful event that you will not want to miss. It is a joyful evening full of talent, fun, and beautiful music. With tickets starting at $30, this concert would make a perfect Christmas gift for that friend that is hard to buy for. If you would like to see a preview of this concert, check out the videos below of tenor Tim Miller singing “Come to the Manger,” and of the ensemble singing a fun arrangement of “Jingle Bells.” For more information on how to buy tickets for the Holiday Concert, visit our website. We hope you’ll join us on December 13th at 7:30pm for this wonderful holiday tradition!

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's Marketing Department at 404.881.8801.© Tim Wilkersonof 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's Marketing Department at 404.881.88

Check out these "crazy-good" reviews...

2011-11-18T12:21:00.018-05:00

By Ellen Sturgill

Here at The Atlanta Opera, we love all the positive press we're receiving about this season's opening production, Lucia di Lammermoor, but we are especially excited to hear from our loyal patrons and subscribers! Thank you for sharing your experiences with us. Below are some of our favorite reviews!

"It was absolutely fabulous!! The music was spinning in my head all night. This is probably my favorite performance. And, I must say, that it was pure joy to be sitting among such an appreciative audience."

- Sallie, Atlanta, GA

"Last night's performance of Lucia di Lammermoor was absolutely wonderful. Georgia Jarman made her character come alive with her silvery voice, flips, trills and difficult passages. She made us truly believe her character was mad- her acting was very convincing. The chorus was wonderful. The costumes were superb, as was the set design. I really enjoyed the Armonica- beautiful, unique sound which really added to the score. Congratulations to you all on a magnificent Lucia! Thanks for all you do for fine arts in Atlanta."

- Diane, McDonough, GA

"Excellent!!! A great evening at the opera."

- Marvin, Atlanta, GA

"The Atlanta Opera's Lucia di Lammermoor is a must see!! The production is wonderful. The cast is strong, the set is unbelievable, the technology used is amazing!! The costumes: wow. Georgia Jarman as Lucia has a strong, clear, beautiful voice. . . The director, Tomer Zvulun, did an inspired job. I hope this opera goes into their repertoire. I would love to see it again."

- Mary, Highlands, NC

"Georgia Jarman brought down the house. Who ever found Georgia deserves a kiss."

- Joe, Atlanta, GA

"It was amazing. This was my first ever opera and it was great. I have found a new love."

- "Living Social" patron

"First rate production. Georgia Jarman proved to be a brilliant selection for the lead role- what a marvelous voice combined with captivating acting. . . The entire ensemble worked well together and made the evening a delight. We look forward to the rest of the season."

- Robert, Atlanta, GA

"Last night's performance was probably the best overall in several years. The voices were all good. Georgia was outstanding. The sets were very effective. Overall- A+."

- Eugene, Macon, GA

"If you haven't seen Atlanta Opera and you live withing 200 miles of it, what is wrong with you?"

- Joseph, Atlanta, GA

"An outstanding performance of Lucia di Lammermoor! Lucia (Georgia Jarman) was phenomenal and hit every one of her complicated notes perfectly! The rare armonica performance was an enchanting treat. The staging particularly striking and effective. All in all, a 10 of 10, and a rare evening of perfection!"

- "Living Social" patron

"It was a great performance and, as always, it has the most wonderful music. The soprano was excellent. Thanks for the beauty of it."

- Barbara, Sandy Springs, GA

You have two more opportunities to catch this exciting opera. Please visit our website for more information.

Q & A with Tomer Zvulun, Director of Lucia di Lammermoor

2011-11-09T12:26:00.026-05:00

By Ellen Sturgill

While Lucia di Lammermoor has been performed many times, The Atlanta Opera’s production, beginning this weekend, promises to take this classic bel canto work to new heights. The opera opens on Saturday, November 12^th at the Cobb Energy Centre, and is directed by “one of opera’s most exciting young directors," Tomer Zvulun.

Tomer has worked with The Atlanta Opera three times in the past, directing the critically acclaimed Flying Dutchman, The Magic Flute, and La traviata. One of Tomer’s gifts as a director is his ability to pull dramatic performances from singers, and combine different aspects from other productions to create a unique theatrical experience. For The Atlanta Opera’s Lucia, Tomer will be utilizing aspects from productions he directed with the Seattle Opera and Opera Cleveland.

Tomer Zvulun sat down to discuss his history with The Atlanta Opera, as well as his thoughts on the upcoming production.

Tomer directing Arthur Woodley, who plays Raimondo in both The Seattle Opera and The Atlanta Opera's productions of Lucia di Lammermoor. Photo courtesy of Tomer Zvulun.

1. Tell me about your history with The Atlanta Opera. This is my fourth show with The Atlanta Opera. I started here as an Assistant Director for La traviata with Stage Director Rhoda Levine. La traviata also happened to be Zurich General Director Dennis Hanthorn and Music Director Arthur Fagen’s first show with the opera. I returned in 2009 to direct The Flying Dutchman and I was recently here (in 2010) for The Magic Flute.

2. What do you like about working with The Atlanta Opera? For one thing, Atlanta feels like a home away from home. I love working with Dennis and Arthur, and I feel like there are a few key things about The Atlanta Opera that set it apart.

First, the casting choices here are always very strong and exciting. Dennis and Arthur are good at finding singers for difficult roles like "Lucia" and the "Flying Dutchman." They cast singers who are not only musically and vocally suited to the roles, but also dramatically strong actors. Also, working with the chorus and Walter Huff is one of the highlights of my time in Atlanta. They are a great group of people who are very strong musically, and are led by a truly outstanding chorus master.

The Cobb Energy Performing Arts Centre is a state of the art performance space. It is an excellent technical facility with great acoustics, which is very important in opera. I love getting to work there.

The audience here in Atlanta is something that I like. They are very open to new ideas and new interpretations. What proved this to me was The Magic Flute, in 2010. It was an unusual production, but the audience was so engaged in the piece. This upcoming production of Lucia is also different, but I have no doubt Atlanta audiences will like it.

3. What is it like working with Arthur Fagen? We are personal friends, so it is very easy to communicate artistically about things. We can say anything to each other, and trust each other’s taste and support. This is our fourth production together in the past two years, and we have a great partnership. We have quite a few projects planned for the future.

4. What do you like about the Atlanta Opera’s Lucia cast? I love it that the whole cast are singing actors. They are not just superb singers. Many times, when you do a bel canto opera, it is all about the melismas and the flourishing beauty of the voice and music. But in the Atlanta Opera’s case, we have intensely committed actors that are very interested in characterization and story-telling, but can also sing this music beautifully.

5. Who have you worked with previously in this cast? I have worked with a lot of the cast before. Arthur Woodley is an old collaborator of mine from the Seattle Opera’s productions of The Ring Cycle and Lucia di Lammermoor. I also worked with Tim Culver on Lucia at Opera Cleveland and am very happy that he’s here. Stephen Powell and I worked together at the New York City Opera, and I was also able to direct Susan Nicely in The Flying Dutchman here. I have not, however, worked with Jonathan Boyd until this production, but I love what he is doing with his interpretation of Edgardo so far.

I’ve never created a show from scratch with Georgia Jarman before, but we have known each other forever. I worked with her at the Met when she had to step in when a singer in La Rondine was sick. So, working on this show is like a reunion!

6. Tell me about the members of the production team, other than Arthur, that you’ve worked with before. The fact that we were able to get the same designers who originated the Seattle and Cleveland productions is one of the most exciting things about this production. The choreographer, Rosa Mercedes, is a leading choreographer in the business, and a fantastic collaborator who I am happy to have here. We worked together in Seattle on this same production. Also, three people who are really crucial to bringing the stage to life are Scenic Designer Erhard Rom, Lighting Designer Robert Wierzel, and Projection Designer Ruppert Bohle. Erhard Rom is one of the busiest designers working in the business today, and we are very excited to have him here for his debut with The Atlanta Opera. I enjoy collaborating with Robert Wierzel, who was nominated for a Tony® last year. Finally, Projection Designer Ruppert Bohle was flown in from France for this production, and we worked together on Opera Cleveland’s production of Lucia, so it is wonderful to have him here.

7. Tell us more about the Seattle Opera and Opera Cleveland’s productions of Lucia that you previously worked on, and how you’ve combined those two shows to create the Atlanta Opera’s production. Each production (Seattle and Cleveland) had very successful elements to them. Cleveland's concept for Lucia was very bold and original. We transposed the setting of the opera to a mafia world. I am a film buff, so movies influenced me and helped inspire me to create a Sicilian or Godfather Lucia. The set was a unit set, which utilized lighting and projections in new ways. It was very successful in Cleveland, and I loved the concept.

Seattle Opera’s production was more traditional than Cleveland's, but still unique. We decided to set it in the early Victorian period- mid-19^th century. What we are taking from this production are the costumes. They work very well with the themes in Lucia di Lammermoor because the Victorian world, and society conventions, were very suffocating to women. Even in the way they dressed with corsets and hoopskirts. Lucia had no control over her life and is forced to fit certain social conventions and expectations that are expected from women in that time. Working on these two productions helped create the vision for this upcoming production.

Tomer working with Aleksandra Kurzak, who performed the title role of Lucia in The Seattle Opera's production. Photo by Bill Mohn.

With the influences of Opera Cleveland and Seattle Opera’s productions, as well as some tricks of our own, the Atlanta Opera’s production of Lucia di Lammermoor promises to be a spectacular experience. For a video of Tomer directing Lucia at Opera Cleveland, visit our Tumblr blog. If you haven’t purchased your tickets yet, there is still time before the show opens this Saturday, November 12^th. Please visit our website or call 404.881.8885.

On the Cutting Edge of Opera

2011-11-04T15:20:00.003-04:00

By Ellen Sturgill

Are you confused about opera? Do you find your head spinning when people use the terms “bel canto,” “coloratura,” or “libretto” (especially if used in the same sentence)? Then have no fear! This Sunday, November 6^th, The Atlanta Opera will be presenting “Opera with an Edge,” a live sneak preview of this season’s operas. Hosted by long-time Atlanta Opera supporter Bob Edge, this event promises to de-mystify your questions about opera and educate you about the upcoming season.

To get a sense of what we can expect to see on Sunday, we asked Mr. Edge a few questions about this event and what he is looking forward to this season. Enjoy!

1. How long have you been presenting the Opera with an Edge program? I have been doing opera previews since 1971—first for The Met (until 1986) and more recently for The Atlanta Opera.

2. What can people expect in the presentation this Sunday? Some very fine young singers will present arias, trios, duets, etc. , on the program—and I will provide some comments and listening tips that hopefully will help audience members enjoy these performances even more.

3. What do you hope people will gain from the upcoming Opera with an Edge presentation? Our goal for Opera with an Edge is to give the audience some additional information about the operas being presented in the forthcoming season and also a taste of the musical treats in store.

4. What are you looking forward to most about this upcoming season? The upcoming season offers three wonderfully diverse operas that Atlantans will love. It will be a treat to see a brand new opera—The Golden Ticket based on the Willy Wonka children’s story—because it was a smash hit when it was introduced in St. Louis in 2010 and will have an appeal to children and adults.

This event will be at 7:30 p.m. Sunday, November 6^th at the Cobb Energy Performing Arts Centre. It is free, but does require reservations. Call 404.892.3132, emaileducation@atlantaopera.org, or click here to RSVP for what will surely be an entertaining, exciting, and enlightening evening.

Lights, Camera, Action!

2011-10-28T14:20:00.020-04:00

By Ellen Sturgill

There is never a dull moment at The Atlanta Opera! Today, Atlanta Opera chorus member Megan Mashburn, and Director of Development, Bert Wesley Huffman, were able to participate in a photo shoot for The Atlantan magazine. Here is a behind the scenes glimpse of how a photo spread for a major magazine is put together, and how The Atlanta Opera is reaching new audiences.

Creatively set at Westside Foundry Home Furnishings, photographer Derek Blanks, the production team, and Editor-in-Chief, Stephanie Davis-Smith, transformed the warehouse-like feel of The Foundry into a scene straight out of a 20’s movie. The entire team was wonderful to work with and both Stephanie, who has written for GQ, Allure, and SELF Magazine, and Derek, who has worked with a wide variety of celebrities like Nikki Minaj and the Real Housewives of Atlanta, were down to earth and professional.

The shoot began with Megan evoking true Hollywood glamour. Dressed in a beautiful navy gown with jewels, fur, and the pin curls to match, Megan treated those of us present at the shoot (and those shopping around for furniture!) to a lovely rendition of Puccini’s “Quando m’en vo” while posing for the cameras.

Following Megan’s photo shoot, Bert joined the set in a bow tie and sports coat. His set up was simple and elegant, with a beautiful wooden bench serving as part of the backdrop.

The article, which will be featured in the December "Arts and Power" issue of The Atlantan, will center on "The Patron and the Player"- why performers need and appreciate their patrons, and the reasons patrons support the arts. Editor-in-Chief Stephanie Davis-Smith personally interviewed each of the participants for the article. Other Atlanta area arts organizations that will be featured are the Atlanta Symphony, the Atlanta Ballet, the Alliance Theatre, and the High Museum. You’ll have to wait until December for the finished product. Check out more behind-the-scenes photos below. Enjoy!

Photographer, Derek Blanks, captures the moment.

The Atlantan's Stephanie Davis-Smith interviews Bert Wesley Huffman.

Megan Mashburn reviews one of her photos.

A Sneak Peek of Rabbit Tales!

2011-10-21T14:42:00.017-04:00

By Ellen Sturgill

Just last week, I was able to watch a dress rehearsal of Rabbit Tales! And let me tell you, it was one of the best I've ever seen! I laughed, I enjoyed great music, and I even got to cluck like a chicken! This show is creative, clever, heartfelt, and incredibly funny.

After last week's blog about the show from the point of view of the performers, it was exciting to watch them bring their answers to life. I was able to understand how the show was different from a mainstage opera, why it was taxing musically and physically, and most importantly, why they loved the show so much.

Below are some pictures from the rehearsal and of the cast and crew. If you haven't already planned to spend a beautiful afternoon at The Wren's Nest for the official world premiere of Rabbit Tales, these snapshots and our previous blog entries will inspire you to add the performance to your calendar!

Teenchy Duck (sung by Elexa Bancroft), Sister Fox (sung by Elizabeth Claxton), Br'er Rabbit (sung by Welsey Morgan), and King Lion (sung by Wade Thomas).

Accompanist Catherine Schaefer and director Park Cofield join the cast.

This picture includes the cast, and one of the great interaction cards for the audience! By utilizing these cards, Rabbit Tales is able to reach out to young audiences and inspire them to participate and join the fun! During the show, children get to clap, be gusts of wind, cluck like a chicken, and feel like they are not just watching an opera, but are in it.

And just to let you know, these parts aren't just fun for kids. They're also a great time for grown-ups, too! Those of us watching the dress rehearsal were in stitches the whole performance, and loved showing off our clucking skills!

The Rabbit Tales cast and director are joined by composer Nicole Chamberlain and librettist Madeleine St. Romain.

If you would like to have Rabbit Tales come to your school, check out the Atlanta Opera website for more information. We promise this show will be a lot of fun!

A Children's Opera from the Grown-Ups' Point of View!

2011-10-12T09:17:00.028-04:00

By Ellen Sturgill

One of the most exciting additions to this season is the children’s opera Rabbit Tales, the Atlanta Opera’s first-ever commissioned opera. Rabbit Tales is based on the stories of Br’er Rabbit and will take children on a fun adventure through the hilarious antics of Br’er Rabbit and his friends, while introducing children to the musical genre of opera.

Rabbit Tales is a touring production of The Atlanta Opera Studio and will be traveling to elementary schools throughout Georgia. It will also have a public premiere on October 29^th at The Wren’s Nest. You can read more about the project in our previous blog entry “I’ll tell you a rabbit story…”

For this week’s blog, we thought it would be fun to speak to the performers in Rabbit Tales and give you the inside scoop on why performing in a children’s opera is unique, challenging, and very rewarding.

Because Rabbit Tales is performed in a variety of spaces, such as small stages, libraries, and even school cafeterias, the cast is as compact as the traveling set! But make no mistake, the musicians in this show deliver anything but a small performance!

Playing the role of the “clever and mischievous” Br’er Rabbit is tenor Wesley Morgan. Wesley has worked with The Atlanta Opera many times, and is no stranger to children’s opera. His first children’s opera was The Baker of Seville three seasons ago.

Soprano Elexa Bancroft is making her debut with The Atlanta Opera in the role of Teenchy Duck, the brave and charismatic duckie, "out to make her way in the world."

Joining Br’er Rabbit is Sister Fox, sung by Elizabeth Claxton, who performed with the Atlanta Opera’s Studio Tour Production of The Pirates of Penzance.

The role of King Lion will be performed by baritone Wade Thomas. This will be his fifth production with The Atlanta Opera. Wade has not only participated in children’s opera here in Atlanta, but also with Opera Birmingham and Tri-Cities Opera in Binghamton, New York.

We will also be hearing from Rabbit Tales accompanist Catherine Schaefer, who is excited to be performing in her first opera written specifically for children.

1. How is performing in a children’s opera different from performing in a mainstage opera?

Wesley Morgan- “Performing in a children’s opera is different than performing in a mainstage opera for many reasons. The practical differences include number of performances- mainstage operas only perform a few times, with breaks between performances. We perform the children’s operas a couple of times a day, 4-5 times a week, for a couple of months.”

Elexa Bancroft - "Playing Teenchy Duck is different from other mainstage roles I have done because I want my characterization to be very animated, yet simple, for the children in the audience to understand. I also like being silly with the character to make the kids laugh with little quirks to keep them engaged."

Elizabeth Claxton- “With children, one does seem to have to be a bit more active. Also, the downsizing of a production can be challenging.”

Wade Thomas- “We have to be able to transport our set to different schools and perform in a number of different environments, such as café-gymno-toriums, or even in small classrooms.”

Catherine Schaefer- “In mainstage productions, our job as pianists… is to provide music for rehearsals and… to play as part of the pit orchestra for performances. Children’s operas are usually written for piano accompaniment only [because] it’s not feasible for a large orchestra to travel around to elementary schools. [Also], the pianist must be able to see and communicate with the singers, since there is no conductor.”

2. Is this opera musically different from mainstage operas that you’ve performed in?

WM- “The music for Rabbit Tales is different from what I’m used to singing, in that it is influenced by blues and folk music.”

EB - "This is a musically challenging opera from my past roles, but it has been fun. There are a lot of blues stylings in the opera, which are not the most common styles you find in classical settings, of course. It's nice to be able to be creative and swing with it all."
EC- “[It is], but you still approach the music the same way. Every opera has its differences, and you just make it your own.”

WT- “I would say it's different in that in a mainstage opera we usually sing with an orchestra, whereas we sing with just a piano in the children's opera. Plus, children's opera is in English...I think little kids would look at us weirdly if we sang to them in Italian or German.”

CS- “I don't think that Nicole Chamberlain, the composer of Rabbit Tales, used an entirely different musical language for this opera than she would have if she had been writing for adults. However, there IS a lot of humor in Rabbit Tales, and she definitely uses certain musical devices to achieve that humor. As in any opera, the music gives important clues as to what the characters are thinking and feeling. This opera quotes or refers to a wide variety of musical styles--from jazz and Gospel to Classical opera arias. That is one of the most fun things about working on new music: composers today have so many different traditions and styles to inspire them and inform their craft.”

3. What do you like best about performing for children?

WM- “The best part about performing for children and families is being able to really experience their reactions- since we’re working extra hard to keep their attention and keep them entertained, and they are usually not far away in a dark theatre, we get to witness their reactions, and sometimes participation, up-close and personal.”

EB - "Performing for families is fun because the feedback from them is so energetic. I was in Peter Pan when I was younger, and I loved answering all of the kids' questions about being a singer and being [the character] Wendy. It's so funny when the kids talk to you like you are still in character the whole time after the show is over, too. I guess they'll know this time I'm not really a duck."

EC- “It is wonderful to see kids really get into the performances and ask questions. They seem to be very intrigued with the whole concept.”

WT- “I feel that children really appreciate our performances and are usually very enthusiastic audiences. It’s always fun to see them smile, and wave at you when the show is over, and tell you how much they liked the performance.”

CS- “My favorite part of playing for children's opera is observing the children's reactions to opera! Many of them have never heard an opera or an opera singer before, and the looks on their faces when someone starts singing high notes is always entertaining. Often they don't quite know what to make of it, but they are usually pretty impressed. It's a lot of fun to introduce kids to that world.”

# # #

After reading these cast interviews, it’s easy to see why The Atlanta Opera is excited to have Rabbit Tales as part of our 2011-2012 season. This show gives children the opportunity to become immersed in the world of opera in a fun, interactive, and unique way. Though it is a lot of hard work, you can see that the performers love what they are doing.

If you are interested in coming to the world premiere of Rabbit Tales, or having it come to your school, check out the Rabbit Tales page on our website, and be a part of this wonderful opportunity!

Carter Joseph's Evenings with Opera.....

2011-09-30T09:03:00.037-04:00

By Ellen Sturgill

The Atlanta Opera has a wide variety of extra events and classes that are designed to help people not only enjoy seeing an opera, but become immersed in it.

One of the most popular ways to do this is with Carter Joseph’s Opera 101 and Evening at Emory class series. Carter is a long time opera-lover, and an Atlanta Opera Board member, and his classes have been incredibly successful. I was able to sit down with Carter and find out why.

“I just love turning people on to the art form [of opera],” says Carter. However, he wasn’t always an opera guy. Studying Art at UGA, he had hoped to be a painter. However, it was a trip to Europe that ignited his passion for a different kind of art. He began to enjoy listening to, seeing, and studying all kinds of opera, and within the first five minutes of our interview, I could tell he knew his stuff.

We discussed everything from why Mozart is his favorite composer (“he’s just so human… and [if] you learn Mozart, it prepares you for everything”) to how Donizetti’s own life has many connections with his opera, Lucia di Lammermoor. We also focused on what he enjoys most about teaching his opera classes, and what makes them so successful.

Opera 101 began in 1985, and has continued to be an outlet for those interested in opera. Carter began this class when “the Met stopped touring, and Alfred Kennedy and William Fred Scott decided to convert the Atlanta Lyric Opera to The Atlanta Opera. I was in a young support group [for the opera], and someone said ‘You seem to know what you’re listening to. Can you teach a class for us?’”

Carter agreed, and though the groups supporting the class ran into trouble throughout the years, Dennis Hanthorn’s arrival as Zurich General Director of The Atlanta Opera brought new life to the class. When Carter invited Dennis to an Opera 101 presentation, Dennis was impressed, and knew he wanted to continue such a great educational outlet for the opera. “Dennis has been so supportive” of the class, Carter states.

This year’s class is on Monday, November 7 at 7:00 p.m. at The Atlanta Opera Center, and will be an hour and fifteen-minute presentation on the life of Gaetano Donizetti, what was occurring in the world during Donizetti’s life, and how Lucia di Lammermoor was created. Carter loves this class because it is “designed for beginners and lifelong opera goers.” Opera 101 is free, fun, and informative and you won’t want to miss it!

With the success of Opera 101 came an idea for not just one class, but a whole class series. Evening at Emory is a month long course taught by Carter that meets on Tuesday evenings (October 25 through November 15), and culminates with a class trip to see The Atlanta Opera’s Lucia di Lammermoor.

This upcoming class is entitled “The Life of Donizetti: Joy, Tragedy and Madness,” and promises to take you on a journey of not only Gaetano Donizetti’s life, but how it correlates with his operas, and especially with Lucia.
The course will be divided into four sections. The first class will discuss Donizetti’s life, the historical perspectives of his time, and his comedies. The second class will focus on the three tragedies he wrote, and the third class will center specifically on Lucia di Lammermoor. When I asked Carter what he loves about Donizetti, he stated that “of the three kings of Bel Canto, Donizetti has the biggest heart… [He] is sympathetic and his plots are deeper.” In this class series, Carter will put a large focus on the correlation between Donizetti’s own life, his descent into madness, and Lucia’s own tragic unraveling.

When asked what his favorite part of the class was, Carter immediately responded with “Everything!” Seeing those involved with the class grow to understand and appreciate the opera is something he never gets tired of. Also, by the end of these three classes, Carter says going to see the opera on the last session is a wonderful finale because now the students are informed, and can enjoy the opera in an entirely new way.

“I’ve had people come up to me and say ‘This is my first opera, and it’s the best night I’ve ever had,’ and others say ‘I’ve seen this opera all my life, and I’ve never enjoyed it so much.’” Being informed makes a difference, and reading the supertitles can only do so much. Carter feels that you must know the background, the music, and the reason the composer wrote the opera to appreciate the performance for what it is.

Carter Joseph can teach you everything you need to know to enjoy the upcoming performance of Lucia di Lammermoor. He says he is “not there to tell you what to think. [The classes are] a journey of discovery.”

Carter’s passion for opera is evident and his knowledge is vast. Even in our interview, I learned information about Donizetti, and cannot wait to apply it to Lucia. I can promise that his classes will be beneficial to you. I know I will certainly be attending, and I hope to see you there too!

For more information, see The Atlanta Opera website or click here: “Opera Extras.”

I Could've Danced All Night!

2011-09-23T09:18:00.060-04:00

By Ellen Sturgill

Glamour and excitement were in the air at The 2011 Atlanta Opera Ball. Last Saturday, opera-lovers came together at the St. Regis-Atlanta for a night of good food, great music, wonderful people, and lots of fun! The ballroom was stunning with design provided by Tony Brewer and Company and truly captured this year's theme of "Indulge Your Senses."

Guests at the Ball were able to participate in silent and live auctions, partake in a gourmet dinner, and enjoy performances from The Atlanta Opera Chorus. Also, as mentioned in last week's blog, the Ball honored The Atlanta Opera Chorus and Chorus Master Walter Huff.

Below is a photo of Zurich General Director Dennis Hanthorn (right) honoring Walter Huff for his 23 years of dedication and work with The Atlanta Opera.

Performances by members of The Atlanta Opera Chorus followed and provided guests the opportunity to hear some of opera's greatest repertoire from The Pearl Fishers by Georges Bizet, Porgy and Bess by George Gershwin, and the sextet "Chi mi frena in tal momento" from Gaetano Donizetti's Lucia di Lammermoor. If you missed these fabulous performances, don't worry! You can still hear The Atlanta Opera perform the sextet when Lucia di Lammermoor opens this November!

Former and current chorus members performing the sextet included (from left to right) Rob Cromwell, Brent Davis, Nathan Munson, Melissa Kelly, Megan Mashburn and Zachary Brown.

Maria Clark (above) delighted the audience with "Summertime" from Porgy and Bess.

Once the program ended, the band "The American Flyers" took to the stage and guests danced the night away! For more photos from this evening, check The Atlanta Opera's Flickr and Kodak pages.

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's Marketing Department at 404.881.8801.

"The Walter Huff Magic..."

2011-09-14T15:33:00.033-04:00

By Ellen Sturgill

Elegant gowns swirl on the dance floor. The smell of a fabulous dinner wafts through the air. A rush of excitement and anticipation hits as The Atlanta Opera’s talented singers perform selections from the quickly approaching season. These are just a few of the sights, sounds, and experiences that one can expect on September 17th at The 2011 Atlanta Opera Ball: “Indulge Your Senses.” Always a stunning event, this year’s celebration is held at The St. Regis Atlanta and will include a special feature in which Chorus Master Walter Huff and The Atlanta Opera Chorus will be honored.

In his 23 years of working with The Atlanta Opera Chorus, Walter Huff has transformed the chorus into a highlight of The Atlanta Opera. Though many people think of the Violetta’s or Don Giovanni’s as the most significant roles in an opera, Walter Huff knows that having a great opera chorus is key to producing a memorable performance. And if anyone knows how to create such a chorus, it’s Walter Huff. He has received numerous awards, worked with celebrated singers like Elly Ameling, and has recently taken The Atlanta Opera Chorus on a European tour of Porgy and Bess that garnered rave reviews, and the longest curtain call Walter has ever received - given to him by a French audience, no less! However, these awards only give you a small glimpse into why Walter is being honored at the Ball. Below, we’ve included two interviews from an Atlanta Opera soloist and a chorus member who will be performing at the Ball, because we feel the best way to get to know Walter is through the people he works with every day. Enjoy getting to know some of our fabulous singers a little better, and learning why Walter Huff deserves high praise.

First up is Nathan Munson, a tenor from Kalamazoo, Michigan. He studied at the University of Kentucky and the University of Illinois at Urbana-Champaign. Nathan has worked with Walter as a featured soloist.

1. What do you like best about working with Chorus Master Walter Huff? “Walter Huff has impeccable taste as a musician, and an amazing ability to transfer this to his singers' preparation and performances.”

2. What have you learned from Chorus Master Walter Huff that you will utilize in your professional performing career? “There are many things, but one item that stands above the others is his matter-of-fact manner of inter-personal and musical communication. I'll be working hard to be as transparently good and as honest a musician as Mr. Huff.”

3. What is your favorite memory of Chorus Master Walter Huff? “Since I've only been working with him a short while, every new experience creates a new lasting memory. When I first auditioned for Dennis Hanthorn, Mr. Huff accompanied me at the piano. His warmth on our first introduction put me at ease immediately.”

4. What do you enjoy most about singing and performing opera? “I most enjoy the preparation of a role, from the first time I hear it, to the musical preparation, and through the staging and character development.”

Next we have Megan Mashburn, a 28 year-old Lyric Coloratura Soprano who’s lived in Greenville, South Carolina, Boston, and now Atlanta. She received her Undergraduate Degree from Furman University, her Master’s from Boston University, and has enjoyed working with Walter as a member of The Atlanta Opera Chorus.

1. How long have you performed with The Atlanta Opera Chorus? What is your favorite Atlanta Opera Chorus memory? “2008-2009 was my first season with The Atlanta Opera Chorus. Some of my favorite memories occur when we finally get to the Cobb Energy Centre for dress rehearsals. Seeing everyone in costume, and finally seeing the sets really brings new life to the music we've been rehearsing for months. Our singing seems to improve, and we have more energy when we can see the ‘whole picture.’”

2. What do you like best about working with Chorus Master Walter Huff? How is he different from other Chorus Masters? “Chorus Master Huff is very specific and clear about the sound and work ethic he wants from his chorus. He is very careful to honor the style of each composer, but adds his ‘Walter Huff Magic’ to our sound. The Atlanta Opera Chorus is one of the best, if not the best opera chorus in the country because of Walter's dedication. Walter is a great Chorus Master, because he reminds us that the chorus is a very important character in each opera we sing. He constantly reminds us that though we function as a group, we have an individual responsibility of making art for our audience. Walter also has the best set of ears - he can hear everything - every detail and even the tiniest of mistakes! But this is so great, because this attention to detail helps us be the best!”

3. What have you learned from Chorus Master Walter Huff that you will utilize in your professional performing career? “Walter has taught me about excellence in musicianship and a high-quality of professionalism. More importantly, Walter never loses sight of our human need for expression and communication. He constantly challenges us to give more for the sake of the audience.”

4. What is your favorite memory of Chorus Master Walter Huff? “During my first opera with Atlanta Opera Chorus, my husband found out that he had to have open-heart surgery. 6 weeks after being informed of a congenital heart defect, Mark, who was at the time 25, went in for surgery. We were newly married and I didn't know what to expect. Walter was one of the most supportive and kind people I talked to during that time. I will never forget how he gave me a big hug and assured me that my new family at The Atlanta Opera would support me. I ended up missing several rehearsals, but Walter Huff was always asking for an update on Mark's health and my emotional stability!”

5. What do you enjoy most about singing and performing opera? “I love the challenge of operatic music and the unique skills that are required to sing it. I also love getting to live as someone I'm not, for a little while on stage - learning to embody a specific character. It seems like being an ‘opera singer’ is all very glamorous, but singing opera and performing is very hard work! I love all the research, translating, diction-work, and practice that goes into forming the final product. It is all so fulfilling, especially when you finally get the chance to offer a great performance to an audience, after putting so much time and effort into a production.”

From reading these interviews, it’s easy to see why Chorus Master Walter Huff is being honored at this year’s Atlanta Opera Ball. With his technical prowess and ability to draw out an excellent chorus performance, his caring nature and devotion to each member of the chorus, and his “Walter Huff Magic," The Atlanta Opera is proud to have him as a part of our team!

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's Marketing Department at 404.881.8801.

“I’ll tell you a rabbit story…”

2011-08-26T13:18:00.045-04:00

By Lauren Turner

For the first time ever, The Atlanta Opera has commissioned a children’s opera for the 2011-2012 Studio Tour! The opera is called Rabbit Tales, and is based on the whimsical Br’er Rabbit stories made famous by Joel Chandler Harris. Many of you have probably heard the news already, but we wanted to share with you a little bit about the process of commissioning, writing, and premiering Rabbit Tales, and how excited we’ve been to see this idea grow into a full-fledged operatic gem.

“It all started with an idea,” said Atlanta Opera Education Director, Emmalee Iden. “But the question was, 'How do we make this idea come to life?'”

After visiting The Wren’s Nest House Museum, the former home of Joel Chandler Harris, Ms. Iden was very impressed. She returned to The Wren’s Nest to meet with Executive Director, Lain Shakespeare, to discuss the idea, and she found that, “He was whole heartedly behind it.” Since the Br’er Rabbit stories are now in the public domain, there were so many possibilities and places the opera could go.

To begin the transformation of this idea into an opera, the next step was finding a composer and a librettist. Nicole Chamberlain had been a composer who participated in the 24-Hour Opera Project in 2010, and is active in the Atlanta music community. Nicole was enthusiastically on board to compose the musical score for the opera. Madeleine St. Romain, who was recommended by our Foundations and Grants Manager, Greg Carraway, was asked to adapt the stories of Br’er Rabbit, and add her own twists with other folklore from around the world.

Nicole and Madeleine spent hours writing, composing, and putting together words and music that adequately portrayed the stories of Br'er Rabbit and his silly adventures. “Rabbit Tales is not a literal translation or transcription of the stories that inspired it,” says Madeleine St. Romain. “I cut, added, and rearranged things to make an opera that works as a touring production performable in all sorts of venues with four singers, an accompanist, and a set that fits into a van.”

The backbone of so many great works of art is the vision that inspires the creation of the piece. When asked what her vision was while composing the music for Rabbit Tales, Nicole Chamberlain said, “I wanted to create an entertaining American opera that children, adults, and the performers could enjoy. I also wanted not only to incorporate the influences of the music of diverse cultures that make up the United States, but also use themes from the standard opera repertoire in the hopes that children may get a taste of those operas as well.”

“One of the things the Br’er Rabbit stories are about," said Madeleine St. Romain, "is what it's like to be a small person thriving among bigger, physically stronger people, by being clever and convincing. I wanted to get that feeling into the libretto.”

Librettist Madeleine St. Romain. Credit: Hollis Ellison.
Once the score and libretto had been completed, Emmalee Iden tracked down area director and puppeteer, Park Cofield, to bring the story to life. His eye for details, and experience with creating imaginary worlds for children, has been instrumental in staging the production. Cofield created storyboards that illustrate each scene of the opera. The set designs, by Atlanta Opera Production Manager, Michael Benedict, and costumes by Atlanta Opera Costume Designer Joanna Schmink are so vibrant and full of life. Characters include Br’er Rabbit, Teenchy Duck, Sister Fox, and King Lion.

“This has been by far one of the most rewarding experiences I have had writing music,” said Nicole Chamberlain. “The Atlanta Opera has been nothing but encouraging, supportive, and trusting throughout the whole process. I hope this fills a void in children's opera, gives more to the repertoire, and encourages others to write serious music for children. There's obviously a need for children's opera, and I hope this puts new music and opera in a fresher perspective for kids.”

Rabbit Tales will have its public premiere on October 29, 2011 at The Wren’s Nest on the outdoor stage in the natural grass amphitheatre. The audience will have an opportunity to meet the creative visionaries of this project, in person.

The Wren's Nest.
The production team of Rabbit Tales was recently featured on WABE's City Cafe with John Lemley. To listen to this story, please visit pba.org.

To book a performance of Rabbit Tales, and to find out more information, contact Emmalee Iden at 404. 881.8883 or eiden@atlantaopera.org.

BEHIND THE SCENES with Ashley Gilleland, Accounting Manager

2011-08-08T13:27:00.012-04:00

In our last BEHIND THE SCENES feature, we speak with Ashley Gilleland, our Accounting Manager. I bet you didn't know we have one of those! We do, and she's terrific. Ashley keeps us in line and organized, and makes sure all our financial ducks are in a row and accounted for. But it's not just about crunching numbers. Ashley also helps us manage our database, and assists us with documenting pivotal financial information needed to keep us running smoothly.

These features have only provided you with a sample of the incredibly creative and hardworking staff at The Atlanta Opera. It would have been wonderful to feature all of us, but we hope you've learned a little more about how we work together behind the scenes to bring you the art that sings.

And now, last but not least, Ashley....

1. What is your role with The Atlanta Opera?
I am the Accounting Manager at The Atlanta Opera. I am responsible for daily accounting functions, such as receiving income and preparing bank deposits, recording invoices from all the departments, and processing those invoices for payment. I assist with month-end reporting, as well as with the annual audit. I also manage transactions and reporting in our Tessitura database.

2. Why is it important to have an Accounting Manager?
The Accounting Manager position is important because I act as a liaison for the staff and the Finance department. I aim to answer questions, research, and assist with reports for staff, so they may use their time and efforts towards reaching their budget goals.

3. What skills are necessary to be a good Accounting Manager?
I believe organization, time management, attention to detail, and patience are necessary skills for an Accounting Manager.

4. What is your background and experience, and what led you here?
I graduated from Auburn University with a BFA in Production Management. I started my career in the arts as a stage manager, and then worked in the box office for two performing arts organizations. My first box office job introduced me to the Tessitura database that we currently use at the Opera. I have been fortunate to have been using and learning the database for the last 6 years. Before working at the Opera, I worked at the High Museum of Art in the membership department. The High had just converted to Tessitura, so I was happy to have already been familiar with the system. I began working with the accounting staff at the High and found I really enjoyed the finance side of the arts. I came to the Opera last June, after I was thrilled to see the job posting for an accounting manager. I am a self-proclaimed opera geek and fan, so it was a dream come true to accept this job!

5. Why do you do what you do?
I have a passion for performing arts, especially opera! I love that I get to be a part of the amazing work that The Atlanta Opera presents every season.
I enjoy being a part of the behind-the-scenes operations of arts administration, and work with a fabulous team of talented people every day.

BEHIND THE SCENES with Michael Benedict, Production Manager

2011-08-01T11:05:00.024-04:00

Sets, lights, props, and stagehands do not just magically appear. In the newest blog post, Atlanta Opera Production Manager, Michael Benedict, sheds some light on the role he plays in making spellbinding opera happen.

1. What is a Production Manager? What do you do?

A production manager is primarily responsible for managing budgets, schedules, and personnel. I organize and manage all of the pieces that make up the physical side of the production: scenery, electrics, sound, costumes, props, wigs & makeup, and wardrobe. As for what I do - lots of emails, telephone calls, spreadsheets, CAD drawings, research, sourcing equipment, arranging logistics, etc. The people working on a particular production only tend to come to me when there is a problem that needs a solution or a decision. If the production is moving along on schedule and on course, then the personnel just do their jobs. Basically, I am a facilitator. I help the crews and designers get what they need to stay on track.

2.What is your background and experience, and what led you here?

I have a BFA in Fine Arts from Auburn University. I got involved in technical theatre a few years after moving to Atlanta in 1991. I have worked for a number of theatres in the Atlanta area, with the majority of my time spent with the Alliance Theatre. I have also been a project manager for commercial scenery shops. Most of my background is in scenic construction, sculpting, and painting. I have also designed and built a number of unique mechanical projects as a Props Master. I was working as a Project Manager for a commercial scene shop, and was not satisfied with my day to day work environment, so I began looking for alternatives, and I also missed working in the arts. Production facilities can be a grueling, mind-numbing place to work, and I needed to experience the creative collaboration that came with all of the theatre work I have done over the years. A friend told me about the opening here at The Atlanta Opera, and I came in to interview with Eric Mitchko, who is the Opera’s former director of artistic administration. The rest is history.

3. What skills are necessary to be a good Production Manager?

Patience, diplomacy, ability to multi-task, and organization. I think it helps to come from a technical production background, because it gives me an understanding of how to schedule and the expenses involved in many production problems. I think it also helps to know how to get the right people into position to ensure that the details don’t get overlooked.

4. What productions did you find especially challenging to manage?

I’d have to say The Magic Flute and Porgy and Bess were the most difficult to manage. One was because of the sheer volume of scenery, and the other because of conflicting personalities.

5. What is your favorite Atlanta Opera production? Why?

It is between Orfeo & Euridice and La bohème. I really enjoyed the music and singing in both of those productions, but I also think that Lillian Groag staged a beautiful production of Orfeo. And for La bohème, I loved the music and how well the principal cast brought the music to life. They had a true synergy that is not always easy to maintain on the stage.

6. Why do you do what you do?

I love the collaboration that is involved in live theatre and opera. I get to work with a number of truly creative individuals, and it is a pleasure to see a production come to life, and know that I was a part of that. To be able to see the effect that this work has on our patrons is a true gift.

BEHIND THE SCENES | The Atlanta Opera's "One-Stop Design Shop," Dallas Duncan Franklin

2011-07-15T13:57:00.021-04:00

1. What is your role with The Atlanta Opera?

I am the Creative Services Manager for The Atlanta Opera, which means that I am responsible for the creation and production of all print, advertising, exhibition, emarketing, and web materials for the organization. I have been in my current position for the past three years, and have eight years of experience working as a professional designer.

2. What is your background and experience, and what led you here?

Prior to moving to Atlanta and working for The Atlanta Opera, I held the position of Senior Designer at an award-winning design firm called Evenson Design Group in Los Angeles, CA. I have worked at a variety of agencies and in-house design departments in California, including CFNAPA, EMI Capitol Records, 4sight Communications, and Sebastian International. My work has been published in Communication Arts, Graphic Design USA, Graphis, LogoLounge, and CMYK among others.

In 2008, I decided to leave California and move to Georgia to get married. Serendipitously, my husband, Sam, was looking for work at the same time and saw an Atlanta Opera job posting on Opportunity Knocks. The position was a fit and I came in for a last minute interview. The company was about to hire someone and my application came in at the last possible moment. Shannon McClure, then the Director of Marketing, liked me, liked my work, and made me an offer in a matter of days. I remember being so thrilled and jumping up and down when I received the call. Working in the performing arts had always been a dream of mine, and I feel very fortunate to have been in the right place at the right time!

3. Why do we have a Creative Services Manager?

Having an in-house creative is a luxury for any organization. Most companies have to "farm out" their design work to agencies and freelancers, which can be time-consuming and expensive. It's wonderful that The Atlanta Opera understands the value of having someone "on call" at any time to create and fulfill artwork needs as they arise. Having an in-house designer also allows more control and consistency over company branding so that all materials coming out of the organization have a unified look and feel.

4. What are some of your favorite campaigns or projects?

The Atlanta Opera's 30th Anniversary Season in 2009-10 was a wonderful opportunity for me to show off my skills. Not only did we create an award-winning logo that was published in LogoLounge Volume 6, but we also curated a 30th Anniversary Costume Exhibit in conjunction with the Costume Shop. This bright and vibrant exhibit was on display at every production during the 2009-10 Season at the Cobb Energy Centre.

The award-winning 2009-10 Season artwork is another favorite of mine. I shot all of the imagery with my medium format hasselblad camera(the same camera model that was used on the Apollo Moon Landings). Many of the final shots were taken right outside in the parking lot using Atlanta Opera staff. The Aida image of the great pyramid of Egypt was taken when I was in college during a trip to Cairo. The Elixir of Love image on the grass was taken in my front yard.

For the creation of the 2010-11 Season imagery, I decided to partner with The Portfolio Center photography department and create a class competition in which students would compete to create artwork for La bohème, Porgy and Bess, and Così fan tutte. The students came up with the ideas and I helped to coordinate the photo shoots. The experience was incredibly rewarding and we were again able to use staff for one of the three pieces (thank you Lindsay Smith and Charles Swint!)

The annual La Belle Soirée invitations allow us to play with beautiful spring themes and colors. The 2009 invitation flowers "blossomed" from a 1-color green “Save the Date” postcard, to a 4-color invitation.

These Student Discount Posters were fun, vibrant, and perfect for a college audience. I feel that they embody, in one image, the dynamism and spirit of an Atlanta Opera production.

Finally, The Atlanta Opera Ball poses a yearly challenge for me to create artwork that is new and fresh, but palatable to a wide range of artistic sensibilities. The Ball Artwork for 2010 was particularly beautiful, as we were able to use vintage 19th Century Poster Artwork designed by Jules Cheret on the invitation package.

5. Why do you do what you do?

I have always been a visual person. Design has so much to offer as a discipline because it touches on so many different things: branding, communication, marketing, psychology, and more. I find that I am consistently challenged and forced to tap into all of my knowledge and experience on a daily basis. Ultimately, I am an avid believer in strong, simple communication that informs, as well as surprises.

I know that a design is successful not when there is nothing left to add, but when there is nothing left to take away. I hope to add a little bit more white space to a visually saturated world.

BEHIND THE SCENES with "Captain Itinerary..."

2011-07-08T11:30:00.010-04:00

Have you ever wondered who handles all those pesky details for our major social events of the season? Who comes up with creative partnerships, barters with vendors, and rallies the troops to make these events fun and efficient? Her name is Amanda Wilborn… otherwise known as “Captain Itinerary,” and she’s taking over the planet, one event at a time… Let’s see what she has to say about what it’s like to be an Event Manager at The Atlanta Opera. Enjoy!

1. What is your role with The Atlanta Opera?
I am the Event Manager and I work with each department to handle the planning and logistics for all of the Atlanta Opera’s events. This includes managing all the details leading up to the event and the logistics on the day of the event. I manage everything from the annual Opera Ball to small cocktail parties in private homes, group trips for our Zurich General Director, and our staff holiday party.

2. Why does the Opera have an Event Manager?
The recent growth of the company means that the management of our events can no longer be haphazard. All of our events have a large impact on showcasing the Opera’s vision and brand, and having one person manage all the events has made the process more organized and efficient.

3. What are the annual events the Atlanta community can look forward to?
The 2011 Atlanta Opera Ball, our biggest fundraiser of the year, is coming up on Saturday, September 17 at the St. Regis. I’ve been working with our Co-Chairs since April on all the details, and I know it’s going to be a big success. Every year, we also produce an Artist Luncheon featuring artists from one of the season productions; La Belle Soirée, the spring garden party; and an onstage dinner for members of the Society for Artistic Excellence, our special group of donors who make three-year commitments to The Atlanta Opera.

4. Talk about some of your favorite events.
My favorite event was the 24-Hour Opera Project back in the fall of 2010. Our Director of Education and I cooked up the idea at the lunch table one day and went for it! We secured composers, librettists, directors, and singers to produce an opera scene in 24 hours. It was a big hit and we’re already planning the next one for January 2012. Other fun events include Bon Appetit! at The Cook’s Warehouse, the Porgy & Bess Artist Luncheon, and of course the annual Opera Ball.

5. Why do you do what you do?
I really enjoy planning and organizing, and I’m really good at it. In fact, my friends call me Captain Itinerary! And, the glass of wine at the end of the party always makes up for the long hours.

BEHIND THE SCENES with Emmalee Iden, Director of Education

2011-06-24T15:35:00.043-04:00

1. What is your role in the organization?
I am the Director of Education. I manage all of the company’s education and outreach initiatives.

2. What are the education offerings at the Opera?
We have educational programs for young children all the way through adulthood. Our programs are divided into four categories: Programs for children and families, In-school programs, professional development, and community programs.

Programs for children and families: Include Opera Family Day, Girl Scout workshops, and other similar programs that are created through community partnerships and change from season to season.

In-School Programs:
• The Atlanta Opera Studio Tour, in which productions of children’s operas go out to all types of schools in the state of Georgia. The schools and students are provided with preparation materials that correspond directly to Georgia Performance Standards in Language Arts and Reading, Social Studies, Science and Mathematics.

• Opera Workshops that feature a singer and accompanist, directors, set and costume designers, or other professionals who contribute to a production and are tailored to meet the needs of a particular class/group and curriculum and are available year-round for schools, camps, youth groups, etc.

• Opera Trunks which are opera-related resources for the classroom, after-school programs, and youth groups. Each Trunk contains both a DVD and CD recording of a featured opera. They also feature additional books, CDs, activities and costume/prop elements which can make opera come alive for students while weaving its study throughout the various classroom subjects.

Professional Development Programs:
• High School Opera Institute, a training program for students, grades 10-12, who are interested in pursuing a career in music. Participants in this eight-month program attend monthly workshops and vocal coachings on topics that include: preparing and auditioning for a role; selecting a music school; characterization; diction; and vocal technique.

• Music! Words! Opera!, an arts-integrated curriculum that promotes opera as an excellent tool to aid students and teachers in their explorations of history, language, literature and music.

• Professional Development Workshops for Teachers.

• Arts Administration Internships that are designed to connect the learning goals of interns to hands-on experiences and training in the field of arts administration.

Community Programs include Opera Chat, which is an informal conversation with singers and artists from our upcoming productions at Barnes & Nobles – Buckhead; Opera 101, a multimedia presentation, hosted by board member Carter Joseph, introducing each of the main stage productions. We also offer Master Classes, National Opera Week activities and special collaborative programs with community partners in conjunction with our mainstage productions.

3. What are the reasons for having education and outreach programs?
The programs support the audience development goals of The Atlanta Opera with the hopes of helping to continue to grow our future audience base. The programming of the Education Department also supports Atlanta’s arts community by supporting arts education programming in the public and private schools and institutions of higher learning throughout Metro Atlanta and the state of Georgia.

4. What are some of your favorite programs and accomplishments?
I’m really proud of our 24-Hour Opera Project that we started last year. It was so much fun, and I’m looking forward to doing it again this year and in the future to see how it grows and changes. I’m also really excited about our opera commission, Rabbit Tales. This is something that started as a “what if” discussion between myself and a colleague of mine several years ago. It’s really exciting to see it through the process as it starts to take form. I can’t wait to see it in its entirety, and more importantly, to see the community reaction to the piece.

5. Why do you do what you do?
I love music. I love opera. Music education, and the performing arts in general, have always been an extremely important part of my life. I love putting programs together for people to see all of the different aspects of this magical art form. It’s so multi-faceted - there’s really and truly something in it for everyone. My job is so fun! A lot of times it’s just a matter of putting together programs that I would find interesting and entertaining, or things that I think other people would find fun and entertaining!

BEHIND THE SCENES with Greg Carraway, Foundation and Grants Manager

2011-06-17T14:58:00.009-04:00

Producing operas and educational outreach programs takes a village, and here at The Atlanta Opera we have a talented group of people who work “behind the scenes” to ensure that the art that sings continues to flourish in the Atlanta community. For those of you who have ever asked, “How’d they do that?” these next installments of The Atlanta Opera Blog are just for you!

This week we go BEHIND THE SCENES with Greg Carraway, our Foundation and Grants Manager. With great precision and creativity, Greg helps us find ways to fund our opera productions and education programs. Grant writing requires a multitude of skills and patience and Greg excels at all of them. So, without further adieu, here’s Greg….

1. What exactly is a grant?A grant is money contributed by a foundation, government entity or corporate charitable giving program to an organization classified by the IRS as not-for-profit. For instance, this year The Atlanta Opera received grants from The Sara Giles Moore Foundation (private foundation), the Georgia Council for the Arts (government entity), and the JPMorgan Chase Bank Foundation (corporate giving program).

2. What is a grant writer?A grant writer is a person who writes the proposals to ask the funding entities described above for a monetary contribution in the form of a grant.

3. What are the different types of grants?Restricted grants are for specific projects or purposes as described in the grant proposal. For instance, the Norfolk Southern Foundation granted money to support our production of Porgy and Bess, which meant their money had to cover expenses for that show only. Unrestricted grants can be used however the Opera sees fit. Within the boundaries of our mission, unrestricted grant monies can go toward the myriad of educational programs the Opera offers, such as the new High School Opera Institute, or toward our main stage programming.

4. How do you decide which grants we should apply for? What is the process?At the beginning of the process, I ask:
• What expense does the Opera have that a grant might pay for?
• What funder might give money to answer the Opera’s needs? Making this determination requires researching the funder’s giving priorities.

If there seems to be a fit between the Opera’s needs and a funder’s priorities, I research to determine:
• If the funder has awarded us a grant before
• If they haven’t supported us or it has been a long time since they did, have they been contributing to non-profits like us?
• Who are their board members, trustees or staff? Do I know any of them? Does anyone on our board or staff know any of them? Are any of them in our database? Have they ever bought a ticket to an opera?
• Do they give grants only to preselected organizations or do they have an open call for proposals?
• What are their application deadlines and when is the next one?
• How much money do they generally give per grant?

If I feel the Opera has a ghost of a chance of being invited to submit a grant proposal, I either:
• See that the appropriate board member, staff, volunteer or consultant opens the door for us by setting up a meeting, making a phone call, writing a letter, or sending an email to the funder
• Or contact the funder myself to get the go-ahead (or not) from the horse’s mouth

We stand an infinitely better chance of being awarded grant money, if we take the time to research and talk to the funders first.

This is just one way the process might work. Sometimes a funder calls out of the blue and invites us to apply (the best!). Sometimes a board member contacts me with ready-made instructions for applying to a foundation. Sometimes a foundation we’ve never contacted sends a check accompanied by a cover letter of two short paragraphs (the trick then being to cultivate a relationship). As you can see, grants come about in a variety of ways.

While we’re on the subject of process: it doesn’t stop with submitting a grant proposal. Progress and final reports, invitations to Opera performances and events so that the funder can experience what they’re funding, personal visits to update funders on the state of the Opera, seasonal greetings, all these and more help keep the relationship running smoothly with a funder.

5. What information goes into grants?A typical proposal includes: cover letter, application form, executive summary, narrative (the “ask,” needs statement, description of communities/populations served, description of programs/services, goals, objectives and outcomes, evaluation plan, organizational background), project budget, organization’s operating budget, audit, IRS tax determination letter, board of directors list, support materials (programs, brochures, list of schools served, reviews, photos).

6. What are some of your proudest accomplishments as a grant writer?I especially love grants that I research, cultivate and secure pretty much on my own. These are often not the largest grants, but they do make me feel validated in a way that more collaboratively secured grants may not.

That said, let it be known that securing grants, like all aspects of fundraising, is mostly a collaborative effort. Doors open, ears attune and advocacy on the Opera’s behalf blossoms due to the efforts of our board members, staff, volunteers and consultants.

7. Why do you do what you do?Grant writing is what I know how to do to help make the world a better place. To be happy in my job, it’s important that I feel like I’m helping people and the community.

We laughed, we cried, and we applauded the future of opera....

2011-06-08T14:18:00.067-04:00

On Sunday, June 5 at Morningside Presbyterian Church in Atlanta, graduates from The Atlanta Opera’s High School Opera Institute showcased their work in a performance featuring arias and small ensemble pieces from some of opera’s greatest works.

The High School Opera Institute is the only preparatory program of its kind offered by an opera company in the nation. Participants in this eight-month program attend monthly workshops and vocal coachings on topics that include: preparing and auditioning for a role; selecting a music school; characterization; diction; and vocal technique. These workshops are taught by leading professionals in the opera field: Atlanta Opera Chorus Master Walter Huff, Stephanie Adrian, Laura English-Robinson, Michael Spassov, and Beverly Blouin.

The packed house was moved is so many ways by the experience of seeing fresh, young talent working to make their dreams come true. Here are some of the highlights.

Tenor Nathan Munson and soprano Elizabeth Claxton joined the ensemble in Guiseppi Verdi's "Brindisi" from La traviata. Photo by Dallas Duncan.

Soprano Carolyn Balkovetz and baritone Samuel Itskov charmed the audience with the Papageno/Papagena Duet from Mozart's The Magic Flute. Carolyn Balkovetz graduated from Starr's Mill High School and will be attending Georgia State University in the fall. Samuel Itskov graduated from Park View High School, and will be attending the Manhattan School of Music. Photo by Tim Wilkerson.

Soprano Becca White, who will be studying vocal performance at Boston University in the fall, sang "In oumini, in soldati" from Mozart's Così fan tutte. Photo by Tim Wilkerson.

Soprano Caroyln Balkovetz (top) and baritone August Bair (middle) performed Gian Carlo Menotti's comedic duet from The Telephone. Photos by Tim Wilkerson.

Tenor Justin Van Scyoc, who will be attending Columbus State University, wowed the audience with not only his singing but his dancing skills as well when he performed Beppe's Aria from Pagliacci. Photo by Tim Wilkerson.

Soprano Ella Radcliffe played the perfect ingénue when she performed "Deh vieni, non tardar" from Le nozze di Figaro. Ella will be attending Boston University. Photo by Tim Wilkerson.

Soprano Kate Kasmier (top left and below) and soprano Kaitlyn Johnson (top right) sang the duet "Sull'aria" from Le nozze di Figaro. Ms. Kasmier followed the duet with another aria from Le nozze di Figaro, "Non so piu." Photo by Tim Wilkerson.

Baritone Samuel Itskov performed "Non piu andrai" from Le nozze di Figaro. Photo by Tim Wilkerson.

Soprano Felicia Wilkins (left), who will be attending Dartmouth College, and mezzo-soprano Anne Stillwagon (right), who is a rising senior at Walton High School, performed "Evening Prayer" from Hansel and Gretel. Photo by Tim Wilkerson.

Bass-baritone Emory Mulick prepared for the daunting "Il faut passer" from Jean-Baptiste Lully's Aceste. Emory will be attending Florida State University. Photo by Tim Wilkerson.

Kaitlyn Johnson, Becca White, Kate Kasmier, and August Bair performed an excerpt from The Old Maid and the Thief. Photo by Dallas Duncan.

High School Opera Insitute Music Director Walter Huff accompanied the students in the very difficult sextet from Le nozze di Figaro. Photo by Tim Wilkerson.

Soprano Kaitlyn Johnson wowed the crowd with the sweepingly romantic "Vilja's Song" from The Merry Widow. Kaitlyn will be attending Rice University in the fall. Photo by Tim Wilkerson.

The concert ended with the touching and appropriate "The Promise of Living" from Aaron Copland's The Tender Land. Photo by Dallas Duncan.

The Atlanta Opera Honors its Volunteers

2011-05-26T10:57:00.039-04:00

April 10-16, 2011 was National Volunteer Appreciation Week. Non-profits all over the country honored the men and women who help us stay afloat – in many, many ways. We honored Atlanta Opera Volunteers at a reception on April 21, 2011 at The Atlanta Opera Center in Atlanta, GA. Without a doubt, The Atlanta Opera’s Volunteers are instrumental to our survival, and we are grateful for those who devote their time to The Atlanta Opera Family.

The gift of time and expertise is just as valuable as a monetary gift. Last year, Atlanta Opera volunteers contributed more than 6,000 hours! Volunteers help keep costs low and help us fulfill our mission of presenting world-class opera productions, while fostering education about this important art form.

There are many volunteer opportunities for opera-lovers in the Atlanta-area. Some are more traditional responsibilities including assisting with mailings, receptionist duties, filing, assistance at special events like Opera 101, Opera Chat, and Final Dress Rehearsals, but we also offer uncharacteristic opportunities that let our volunteers experience the day to day aspects of mounting an operatic production. Volunteers are needed to meet visiting artists at the airport and take them to their residences. This is often an artist’s first introduction to the city and The Atlanta Opera. After the set is loaded into the theatre, volunteers are needed to help set the light cues. The task involves standing and moving around on stage following the lighting director’s instructions as the cues are set. Volunteers are also asked to help monitor and coordinate chorus and principal auditions, which is always a thrill for opera lovers!

The Atlanta Opera also has an extensive archive full of historical data, media coverage, marketing materials, programs, and recordings. Volunteers review online and print media, clip, copy, catalog, and work with various departments to file company pieces that should be added to archival records. This incredibly important and time consuming responsibility is spear headed by Mary Ruth McDonald, who has created a comprehensive and organized archive that The Atlanta Opera can use as a resource, and that can ensure our legacy is properly preserved. At this year’s Volunteer Reception, we presented Mary Ruth with the Rachel Rosen Lehmann Award for her time and devotion to The Atlanta Opera.

Zurich General Director Dennis Hanthorn names Mary Ruth McDonald as recipient of the Rachel Rosen Lehmann Award. Credit: Tim Wilkerson.
In this age of digital media, The Atlanta Opera has changed a lot of its focus to how to reach audiences through social media and videos that inform and educate about opera. With the unfaltering dedication of board member and volunteer, Stewart Searle, who films, produces and post-produces all of our videos, we have expanded our online video library to comprehensively educate and inform the public using many forms of media – music, audio, and video. To date, we have had over 30,000 page views to our website! For Stewart’s incredible dedication he was presented with special recognition for his tireless efforts on behalf of The Atlanta Opera.

Stewart Searle (left) receives special recognition for his tireless work on The Atlanta Opera Video Library. Credit: Tim Wilkerson.
We, like all organizations, are understaffed for many projects that require a keen eye for detail and extra time, so we are especially grateful when a volunteer can step in and help us with incredibly important and necessary organizational work. It is not glamorous work, and it is not thrilling work, but it helps us stay organized and allows us to have quick access to information. Our 2010-2011 Volunteer of the Year, Denise Andersen, helped us with extensive filing and organizational projects that we would never have been able to do alone. She accumulated the most hours donated to The Atlanta Opera! For her time we are infinitely grateful.

Staff members Stephanie Cantillo (left) and Rae Weimer (right) congratulate Denise Andersen (center) on being the 2010-11 "Volunteer of the Year." Credit: Dallas Duncan.
Often we forget that Board Members are also volunteers. We have an exceptional board that devotes its time and resources to ensuring the future of this beloved organization. This year, we honored board member Dr. John O’Shea with the Rachel Rosen Lehmann Award for Outstanding Leadership in Fundraising. Dr. O’Shea continues to host cultivation lunches with donors, make telephone calls to thank patrons for their generous donations, and he also makes solicitation calls. Dr. O’Shea leads by example. He and his wife, Clara, are major donors to The Atlanta Opera and his passion for the art of opera and his belief in doing good things has benefitted The Atlanta Opera in more ways than can be measured. For his devotion and involvment, we are most grateful.

John O'Shea, and his wife Clara. Credit: Tim Wilkerson.
Thank you to all of our volunteers for their dedication to the art that sings. They are The Atlanta Opera’s uncompensated staff and more importantly, members of the opera family!

Industry Trends from an Intern’s Point of View

2011-05-02T11:33:00.009-04:00

Our spring interns are nearing the end of their term here at The Atlanta Opera, so we’ve asked them to think about what they will take away as they move on to their next adventure. In this post, intern Victor McMillan gives opera lovers something to talk about – production trends in the industry – and opens the floor for discussion.

***

One of the most important lessons I’ve learned as an intern at The Atlanta Opera over the past several months is the need to be informed of what is happening in the industry. Every opera company is different with unique challenges specific to its local environment. In order to continue to grow and develop, it’s important to see how things are being done elsewhere, whether or not they have been successful, and what about this information could be useful. I have made it my mission to become a dedicated student of the industry and, as a result, have begun to develop a sense of industry trends.

I want to talk about three exciting things happening in the opera world that all have to do with changing the environment in which we experience opera. This involves change, in some cases, to the aesthetic elements of the production itself, but what is most interesting is how changing the entire environment can alter audience perception, as well as the potential for promoting enhanced artistic quality.

Atlanta Opera Intern Victor McMillan (left) helps volunteers prepare for Opera Family Day.

The Metropolitan Opera’s live HD broadcasts have rapidly become an integral part of the dissemination of opera to a broad public without access to live performance in the same way that Metropolitan Opera radio broadcasts have for decades. The various camera angles and up-close views available to HD broadcast watchers offers, in my opinion, an expanded range of dramatic possibilities both to performers and audience members. The HD broadcasts afford the audience a proximity that allows for a more intimate experience and potentially more nuanced dramatic content. In addition, the backstage shots and interviews with singers further break down the barrier between production and audience. This change also has the potential to necessitate a new focus on previously underdeveloped aspects of an opera performer’s training and will perhaps encourage singers to reach even deeper into character development. There are legitimate concerns about the broadcasts as well. Some argue that filming influences directorial decisions in a way that is detrimental to the live audience (though the Met denies this). Another argument is that watching the production in a movie theatre takes away the critical element of hearing an unamplified voice. These are legitimate concerns; however, we have not yet reached a point (nor is it likely that we will ever) where people are choosing to see Met productions in movie theatres instead of the opera house. At this time, the broadcasts are a useful experiment in how audiences and performers respond to a different aesthetic environment.

Another recent example is the fledgling opera company OperaUpClose. Their production of La bohème, performed in a London tavern to an audience of a few dozen with little more than piano accompaniment, ran for months with sold out performances. The production won an Olivier Award, beating out English National Opera and the Royal Opera House. This stamp of legitimacy and cultural relevance begs the question: why is it that all of our “legitimate” operas happen on proscenium stages with orchestra in the pit and a few thousand folding seats in the house? Is the art itself contingent upon upholding a traditional viewing environment? The production is an example of how bringing audiences close and really making them part of the action has been well received critics as well as audiences. Not only does there seem to be a hunger for this connection but there is the potential for newfound artistry.

Finally, the Salle Modulable is a unique theatrical space designed for the Lucerne Festival, where an extraordinary variety of staging designs are possible. The concept is similar to a black box theatre in which there are many different configurations for the stage and audience seating. This flexibility affords directors the fewest possible limitations and a new world of spatial relationships between performer and audience. This type of space, long coveted by legitimate theatre actors and academics, is also highly suited to training as well as experimental theatre. Thus, the space, utilized by the Lucerne School of Music, will be highly beneficial to students in bridging the gap between training and practice.

All of these exhibit an effort to fully integrate audiences into the opera theatre experience. This is not just an opera trend. The recent 3D push in movies and television is aimed at the same thing, making observers part of the action.

As they relate to opera, I believe these changes have the potential to make the genre better. But is there something sacred about that fourth wall? Are we opening up a new possibility of what the lyric theatre can be, allowing it to develop and evolve as it should, or are we destroying a critical characteristic?

This brings me to my final point. Whether you think these things will save the genre or destroy it, are artistic or blasphemous, I hope that you will have an opinion and be inclined to share it. Ultimately, my goal for this blog post is to start a discussion. So, what do you think?

A Day in the Life of an Atlanta Opera Intern

2011-04-21T13:26:00.037-04:00

In this week's edition of The Atlanta Opera Blog, intern Ashli Cribb channels Matt Lauer and answers everything you could ever want to know about a day in the life of an Atlanta Opera Intern.

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In early February, I began my tutelage in the life lessons of becoming an arts administrator. In case I have managed to hold anyone in suspense for a line, I must confess now, that I am one of the two new interns with The Atlanta Opera. After deliberating and calculating precisely how I wanted to debut my first Atlanta Opera Blog - the first blog of my life- I concluded that I liked the “interview style” of blogging the best. Since I am neither an upcoming opera star nor cultural aficionado, I decided to go boldly where no intern had gone before and ask the kind of mind probing questions that would make Matt Lauer quiver in his loafers. Well… maybe the questions are not all that thought provoking, (Mr. Lauer you and your loafers have been spared), but nonetheless it got me thinking about my past couple of months as a student and intern at The Atlanta Opera. I have learned more about music, and about life, than some of my years in undergraduate school combined. It has completely redefined my musical parameters, and helped me to remember why I made music a special part of my life. So here it goes, my self-interview about what The Atlanta Opera has taught and given me.

Atlanta Opera Intern Ashli Cribb (far right) helps renew subscribers.

What is a typical day at the opera like? To be honest, a typical day for me usually begins and is fuelled by immense amounts of caffeine - a substance we take very seriously here at the opera. Not a day goes by where any employee will refuse a cup of coffee. We as interns begin our day by attending a meeting or two, and then we usually receive our departmental project assignments. Since we work for and with everyone, it is possible that any number of projects will cross our desks. I have attended classes, seminars, helped with ticketing, and was even a light walker for our latest production of Così fan tutte. There is never a dull moment here at The Atlanta Opera.

What is the most interesting thing you have seen since coming to the opera? I think the phenomenon that was Porgy and Bess was pretty amazing. It was incredible to see people of all ages, places, and walks of life come together and enjoy a musical performance. To me, music’s ability to cleverly tie different people and cultures together is what makes it so unique. The energy that surrounded that opera was incredible.

What lessons are you taking with you into your future endeavors?I will definitely be taking the skill sets that I have acquired into my future endeavors. However, if I had to choose the thing that I consider most important, it would definitely be the idea of perseverance. I have come to realize that any task you set your mind to can be achieved if you are willing to keep an open mind and test yourself.

What do you find inspiring about The Atlanta Opera? Having had four years of musical study under my belt I assumed I knew a thing or two about the inner workings of an opera company. Thinking about it now, I have the urge to point and laugh at myself because I could not have been more wrong. I had no idea what an undertaking it was to mount a full scale opera production, and I was completely clueless about how many people work behind the scenes to create the polished finished product. Are you familiar with the phrase, “It takes a village to raise a child?” Well, after working at the opera I am convinced it takes a village and tons of patience to create an opera. When I look around our office it amazes me how supportive and receptive everyone is to each other. I find that everyday my coworkers bring me new inspiration with their sense of dedication, ingenuity, and their genuine love of music.

What is the most interesting part of being an intern? I guess by some standards being an intern may not be the most glamorous lifestyle, but the amount of information that I have learned about opera and about business cannot be paralleled. Every day we have the chance to learn and to meet someone new. I have found that I have slowly begun to rekindle some of my passion for opera. As a freshman in college, I worshiped the stage that opera singers walked on, wished to the song gods above that I could open my mouth and Renee Fleming’s voice would come out, but that never happened. I used to sit and think of nothing but all the glorious things that music had to offer. But like anything else, performing had begun to lose its luster. I had simply grown tired. The mere thought of exerting more energy to keep up exhausted me. It wasn’t until I came to work in Atlanta that the passion for music returned to me. Watching my coworkers utilize their skills and talents breathes new life into my commitment to music.

To my fellow interns, and to all the opera fans out there, I leave you with these words, “Life is one grand, sweet song, so start the music.” ~Ronald Reagan

The Atlanta Opera Volunteers – We can’t do it without you….

2011-04-15T16:21:00.028-04:00

Sara Frooman (right) accepts her Rachel Lehmann Memorial Award for her dedication to The Atlanta Opera.
April 10th through 16th is National Volunteer Appreciation Week. Non-profits all over the country will be honoring the men and women who help us stay afloat – in many, many ways. We will be honoring Atlanta Opera Volunteers at a reception on April 21 – stay tuned for pictures!

The history of volunteerism in America is rich and complex. As long as we have been a nation focused on helping and improving the lives of others, we have had volunteer opportunities. Without a doubt, The Atlanta Opera’s Volunteers are instrumental to our survival, and we are grateful for those who devote their time to The Atlanta Opera Family.

There are many loyal volunteers who make a difference. For Sara Frooman, volunteering for The Atlanta Opera is more than just a time commitment for a worthy organization – she has a profound and inherent passion for opera and a love of the community that opera creates. She even has a very creative way of expressing this dedication… through her famous, “conversation starting” lapel pins.

In this week’s blog entry, Sara Frooman, last year’s recipient of The Rachel Lehmann Memorial Award for her dedication and devotion to The Atlanta Opera, shares with us the many reasons why she volunteers, why she will continue to volunteer, and the secrets behind… “the pins.”

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Why volunteer? To be closer to where the music is made and to give support and hospitality to the persons involved, whether in the office or on the stage. This is what "following one's bliss" means to me. If I had not been in so many other careers, this is where I would have concentrated, earlier, using my skills. Meeting and working with others who give their time is an immeasurable pleasure. I think we are always learning from each other and we have an excitement and passion about opera that I treasure. Working on a project in groups also touches on something primitive and satisfying, I think.

On a purely personal note, I have always loved being able to watch the behind the scenes process of producing operas - the moments when something goes from being art to not art, then back to art, and so forth. That happens in master-classes and rehearsals, when the stop-and-start leads to growth and beauty.

Why opera? I once heard a conductor chastise an American singer for her Italian accent: southern rather than northern. She was letter-perfect in her music, was utterly prepared in her role, but this matter was not tolerated. That opened my eyes to how profoundly hard it is to do what these artists do and to how much respect they are owed for seeking, and giving us, that perfection. Bravo, indeed!

When opera? As a child of about six, I discovered how our big cabinet Zenith radio worked on the phonograph side. After a few false starts with the controls, and possibly destroying a few of our one-sided Victor Red Seal discs, I learned about inserting fresh needles and dropping the tone arm softly. Something wondrous came out of the grille-cloth: opera. The tone was a bit tinny, but who knew, then? Caruso and Galli-Curci were singing arias and I was hooked; the hairs on my arms went up at the gorgeous sounds of the human voice.

Later, the Columbia Record Club and I had a lovely thing going. The culture at that time brought Voice of Firestone and Bell Telephone Hour over the radio, giving the pleasure that, perhaps, only one who is truly vocally-challenged can know. An aunt in NYC took me to see Carmen at the old Met. Later, I started ushering for Chicago Lyric Opera, walking home on air after hearing Leontyne Price as Liu and Aida, Cossotto as Amneris and Eboli, and all the great male singers of the '60s.

When I lived in Los Angeles, I was moved by a young tenor named Eduardo Villa who performed at the Met auditions. I had the pleasure of discovering how far he had developed, years later, when I visited family in Atlanta and heard him in an Atlanta Opera production of Otello. Following the careers of those who have devoted their lives to this art has been fascinating to me. They don't know I cheer for them, but I do. In various forms, I think a spirit of hospitality is at the heart of everything in life that is good.

Sara Frooman wears her pin from this season's production of La bohème.
The pins? I'm a marketer at heart, having had successful businesses, and a history of producing advertising and editorial illustrations that told a story in one image. I also have a love of charming jewelry. So, before every production I search on eBay to find figural ornaments with themes from the upcoming production, and put the elements together. I wear the pins (and make others for staff use, should they wish) for the powerful effect of person-to-person conversations stimulated by onlookers' reactions. I carry Atlanta Opera handouts and materials and invite those persons to share the excitement of great music with us. In fact, while in a restaurant writing this, the waitress commented on my Così fan tutte pins, so I gave her the handout and we had a lovely conversation, recalling her best experiences. We shared this thought: opera is the only art that has moved me to tears.

Next? Gasoline is my drug of choice, so I hope to continue driving to the Center to help as needed to advance the opera’s mission, and to the airport, to give arriving artists the warmest and most personalized greeting possible, so they will remember The Atlanta Opera highly among the places they would always prefer to return.

ARTIST PROFILE | Matthew Plenk

2011-04-07T13:59:00.016-04:00

Così fan tutte is Mozart’s comedic 18th century reality show, and caught in the mix is the charming, beguiling, and fairly naive, Ferrando, played by Matthew Plenk. This is Matthew's debut with The Atlanta Opera, and already he's making a lasting impression. All’s fair in love and war? All’s well that ends well? Let's have Matthew help us decide, and learn a little about "real life" along the way...

1. Where do you live when you're not traveling?
I live at home in NYC with my wife and our 2 cats.

2. What was your first opera experience?My first operatic experience wasn’t until I started to audition for colleges as a Music Education major. I had to learn an aria for the auditions. Also as a high school senior a group from the National Honor Society went into “the city” to see Taming of the Shrew, a new production for American Ballet Theatre, and it was at the Met. It was my first time in that building, and it looked so big and grand. The dream of actually singing there had barely even crossed my mind.

3. Why did you choose to be a singer?
Mostly because I had been strongly encouraged to do so when I auditioned for the Hartt School. I can still remember Jerry Pruett and Fritz Moses sitting in the audition asking if I would consider at least a double major if not completely switching to performance.

4. What's the best thing about this profession? What's the worst thing?
Best: Being able to make music my job, and also the ability to hopefully let someone be in another world only for a few hours.
Worst: The traveling is hard. It is tough to be away from home and your loved ones. It is not the 9-5 house-in-the-‘burbs lifestyle that we all look to as the “perfect family,” but “c’est la vie.”

5. When did you realize that opera was your career?
I think I am still realizing it. I had been in the shelter of the Lindemann Young Artist Development Program (LYADP) for the past 3 years, and taking off the training wheels is a shock at first.

6. What has been the biggest challenge in your performance career?
So far it has been developing all the skills needed to do this well. The LYADP certainly helped by letting me figure out what I needed to work on and also giving me the tools to take with me out in the real world of opera.

7. What is your dream role?
Hard to say, but right now I am happy to sing almost anything people ask me to. But to throw one out there let’s say . . . Faust!?

8. Who do you most admire in the opera business?
That has to go to Maestro James Levine. Having the opportunity to work with him for a number of years in a close setting has certainly changed my understating of music. To see that man work is incredible.

9. Do you still get nervous after all these years?
There is always a certain nervous feeling that comes with any performance and also at the beginning of the rehearsal period. You never know who you are going to work with for a month, and you always hope the group is as great as this group is for Così fan tutte. With the performance anxiety, I try and find a way to use the stress as a way to build up energy for the performance, not let it get the better of me, and use it for the betterment of the performance.

10. Who has influenced you most throughout your career?Mo. Levine in the recent past, but in the longer term, I would say that my wife has played a big part. We met over 10 years ago, and she has always been ultra supportive, and we talk about music and the biz a lot. We also try and make decisions together, especially when it comes to travel and time away. It certainly affects her life too. She also has just about the best pair of ears out there, so I always know that I am getting great true feedback.

11. What do you like to do when you're not singing?
It depends on the weather. If it is warm enough, I like getting out on the golf course. I have only played once here in Atlanta. And in the winter I love to ski. The rest of my time I like to get outside as much as possible, and do a whole range of things.

12. If you were not a singer, what would you be?
I guess the next choice would be voice teacher, but that is a little too related. How about something more practical like a lawyer, or doctor? I certainly went through that amount of school.

13. Obviously you travel extensively in this profession. What has been your best travel experience? What has been the worst?Best: A concert I did in LA. I was able to see my brother, and the weather was great. I like when the place I go has a different weather pattern than where I have been. Worst: Probably the commute from NYC to ATL. The travel wasn’t bad but starting Così here while finishing Lucia at the Met made for a long weekend!!

14. How do you think performing in Atlanta is different than in other cities?
Not sure yet. I get the feeling that the audience will be more die-hards who only get the 3-4 shows that The Atlanta Opera puts on. NYC is so saturated with performances one tends to take them for granted sometimes.

15. Is it more exciting to perform for a hometown crowd, or does it make you more nervous?
I like the hometown crowd. It is great to know that you have your own built in fans. But hopefully I can build up those fan bases in more places. The more people you know the closer it feels to home.

16. Do you have any quirky routines or superstitions that you follow before a performance?
Not really. I guess the singers’ warm-up has some funny things in it, but other than that I just like to get a good stretch in so that I can move well on stage.

17. What has been your most memorable stage moment – good or bad?
Singing at the opening night concert at Tanglewood with Mo. Levine. It was great weather and to see all 6,000 people out on the lawn truly enjoying it was a great time.

18. If you were stranded on a deserted island, what three CDs would you most want to have?That’s tough. Meat Loaf – “Bat Out of Hell”; Sir Thomas Allen – “On the Idle Hill of Summer”; and Pavarotti and Freni – La bohème. The last one is hard to choose. And wouldn’t I just bring my iPhone with a solar charger : )?

Every opera has its drama.... and its fun facts... especially Così fan tutte

2011-04-01T15:04:00.024-04:00

You never know when you may be called upon to summon up obscure opera facts for a game of Trivial Pursuit. Have no fear... we've got the antidote below. Enjoy some fun facts from our upcoming production of Mozart's mischievous and brilliant Così fan tutte.

1. Mozart’s full name was Johannes Chrysostomus Wolfgangus Theophillus Amadeus Gottlieb Sigismundus Mozart. Theophillus, Amadeus, Gottlieb and Sigismundus all mean “beloved of God,” just in different languages.

2. Mozart was appointed concertmaster of the Archbishop of Salzburg’s court orchestra at the young age of 13. This appointment marked the beginning of Mozart’s popularity and he received multiple commissions for his work. However, Mozart did not get along with the Archbishop and quit in 1781.

3. Mozart’s life slightly resembled the story of Così fan tutte for a time – a few years before he married his wife Constanze Weber, he was engaged to her sister Aloysia.

4. The storyline of Così fan tutte was considered very scandalous in the 19th century, so anytime the opera was performed it was usually altered, completely rewritten or accompanied by an apology for the frivolous plot. Although he liked Mozart’s music, composer Beethoven called the story concept “immoral.”

5. In 1994 two works by Mozart’s contemporary Antonio Salieri were discovered, showing that Salieri attempted to set the libretto of Così fan tutte to music as well, but did not complete the project.

6. The full title, Così fan tutte, ossia La scuola degli amanti translates to "Thus do all [women]," but it is often simplified to "Women are like that." The words are sung by the men in Act II, just before the finale. Librettist Da Ponte also used the line "Così fan tutte le belle" previously in Le nozze di Figaro.

7. Actor Alfred Lunt staged the 1951 Metropolitan Opera production of Così fan tutte that established it as a repertory opera in the United States.

8. Librettist Lorenzo Da Ponte went bankrupt soon after the premiere of Così fan tutte and emigrated to New York to escape his European creditors. He ran both a grocery store and bookstore, but still remained an esteemed teacher of languages and the classics. He oversaw the American premieres of Don Giovanni and Le nozze di Figaro and co-founded the school for Italian studies at Columbia University. Da Ponte died in 1838 and is buried in Queens.

Photos by JD Scott

Get to know Michael Redding ... "Porgy" in Porgy and Bess...

2011-02-24T13:33:00.011-05:00

1. Where do you live when you're not traveling?
When I'm not traveling I live in Chicago. I would travel to Chicago for auditions during my grad work, and just fell in love with the city!

3. Why did you choose to be a singer?
I didn't choose to be a singer... singing chose me! I simply wanted to be in front of an audience performing. It always felt like stage was my second home.

4. What's the best thing about this profession? What's the worst thing?
I would say the best thing about this profession is traveling. I would say that the worst thing about this profession is traveling. There's always two sides to every coin and for me it lies in what I do. I'm a home-body who needs quiet and solitude, so as eager as I always am to perform, I am equally eager to just sit down!

5. When did you realize that opera was your career?
I think it's safe to say that I'm still realizing that opera is my career.

6. What has been the biggest challenge in your performance career?
The biggest challenge, and I say this in all honesty, has been me! So often in this field we are encouraged and self motivated to compete with everyone else. I mean, that is the nature of a vocal competition, right? To me, there is no outside competition. It's more like a celebration of the differences. That has been the biggest hurdle for me in this career and life in general- realizing I can only be better than myself.

7. What is your dream role?
My dream role, and I know my old teacher is going to berate me, is Eugene Onegin. Yes, yes, you would think I would be pining after Rigoletto or Wotan. But no, my dreams, at least for right now, are modest. I respond to music, and those Russian composers hit home the most.

8. Who do you most admire in the opera business?
I admire Renée Fleming most, I must say. The fact that she is still growing after all these years is incredible. Renee is not my favorite singer of all time, (although she has certainly given me some of my greatest chills), but she is by far my most admired.

9. Do you still get nervous after all these years?
I do still get nervous. It has become an annoying little signal from my body that tries to say "what are you thinking, Michael... you can't do this!" Which is always followed by a quick "Hush!... I have work to do."

10. Who has influenced you most throughout your career?
That's hard to narrow down because it seems that the more I live life and allow things to be as they are, the more everything influences me. Some of my greatest teachers have not been in classrooms or masterclasses, but on R&B albums or movie screens. Meryl Streep, James Taylor, Sidney Poitier, my mother and the list goes on and on. Whatever sticks and continues to guide me on my journey is what I call "influence."

11. What do you like to do when you're not singing?
I do love a good "sit-down and do nothing" most of the time when I'm not performing. I recently picked up the guitar, and it has served me well in my moments of solitude.

12. If you were not a singer, what would you be?
According to my mom, I think I would be some kind of an adviser. She says a therapist, but that's too stressful for me! I do believe that I would be, in some capacity or another, helping people discover themselves.

14. How do you think performing in Atlanta is different than in other cities?
Atlanta is my home! For years and years my family has been saying "when are you coming to perform here!?" At the time, with my little bit of experience and dreams, I didn't have the heart to tell them that Atlanta is a major opera house and I'm not sure when or if I'll ever sing there. It has yet to hit me now. The only difference performing here is that I will know most of the people in the audience!

16. Do you have any quirky routines or superstitions that you follow before a performance?
I get up, do some yoga, meditate and read, take a nice little walk around the neighborhood, listen to some Norah Jones or John Legend or whomever I'm in the mood for, sing a little bit to see how the "chops" are, and then it's off to the theater!

17. What has been your most memorable stage moment – good or bad?
I was performing Porgy & Bess in some European city, and the detective could not get onto the stage from the door because it was jammed! After a long pause of "crickets" and confused faces and many shoulders bouncing desperately trying to hold in laughter and embarrassment (on and off the stage), somehow he made it through the door. I just remember everyone onstage trying to pull or hold it together while "acting" as if nothing had happened! That's live theater for ya'!

18. If you were stranded on a deserted island, what three CDs would you most want to have?
Erykah Badu's “Mama's Gun,” James Taylor's Greatest Hits and “The Devil Wears Prada” (even in just audio form it must still be hilarious!)

Indulge Your Senses During The Atlanta Opera's 2011-2012 Season

2011-01-28T11:42:00.024-05:00

© 2010 TOKY Branding + Design
The Atlanta Opera’s Zurich General Director Dennis Hanthorn announced the details of the company’s 2011-2012 season, celebrating its fifth anniversary in the Cobb Energy Performing Arts Centre, and welcoming Arthur Fagen as its Music Director. The Atlanta Opera’s new season will feature Donizetti’s chilling Lucia di Lammermoor; The Golden Ticket, a comic opera based on the book “Charlie and the Chocolate Factory” by Roald Dahl; and Mozart’s brilliant Don Giovanni, and will be presented November 12, 2011 through May 6, 2012.

"The variety in this season’s selections is exciting. Longtime opera fans, families and first-timers looking to indulge in a unique evening out will all find something appealing,” said Zurich General Director Dennis Hanthorn. “Season tickets start at an affordable $75 for three operas, so we hope our current subscribers will entice their friends to share the opera experience with them. Artistically, each production features debuting singers, many of whom are making headlines on the world’s opera stages. Additionally, I am especially pleased to welcome Arthur Fagen this season as music director.”

The 2011-2012 season is the inaugural season with Arthur Fagen as music director. Fagen will conduct two of the three operas. His other responsibilities as music director include building and developing The Atlanta Opera Orchestra and assisting Hanthorn with singer and orchestra auditions, repertoire selection, and casting for future seasons. Maestro Fagen has had an extensive history with The Atlanta Opera which includes critically acclaimed productions of La traviata, Turandot, Cold Sassy Tree, Akhnaten, The Flying Dutchman, and The Magic Flute.

The Atlanta Opera opens its 2011-12 season at the Cobb Energy Centre on November 12, with Donizetti’s chilling Lucia di Lammermoor. Other performances will be on November 15, 18 and 20, 2011. In Donizetti’s dramatic tragedy, Lucia is forced to marry against her will, setting off a chain of tragic events that leads to the most spectacular mad scene in opera. The tragedy is played out on a grand scale leaving onlookers breathless.

© Tim Wilkerson
Soprano Georgia Jarman sings Lucia, with Stephen Powell in the role of her brother, Enrico. Edgardo is sung by Jonathan Boyd, and Timothy Culver performs the role of Lucia’s bridegroom, Arturo. Atlantan Susan Nicely sings the role of Lucia’s handmaid, Alisa.

© Cleveland Opera
Arthur Fagen, in his inaugural season as Atlanta Opera music director, conducts. Stage direction will be provided by Tomer Zvulun who delighted Atlanta Opera audiences with his engaging staging of The Magic Flute in 2010 and The Flying Dutchman in 2009. Lucia di Lammermoor will be sung in Italian with English supertitles projected above the stage.

The second production in The Atlanta Opera’s 2011-12 season is a comic opera called The Golden Ticket, based on the classic children’s book “Charlie and the Chocolate Factory,” by Roald Dahl. The Golden Ticket, written by Peter Ash using a libretto by Donald Sturrock, will be presented on March 3, 6, 9 and 11, 2012.

© Opera Theatre of St. Louis
Commissioned by American Lyric Theater (Lawrence Edelson, Producing Artistic Director) and Dahl’s widow, Felicity Dahl, The Golden Ticket features all the sweet delights familiar from the book, including chocolate rivers, inflating blueberries and magic elevators. This Atlanta Opera production will be the third production of The Golden Ticket since it premiered in June 2010 at Opera Theatre of Saint Louis. Many singers from the original Saint Louis cast will reprise their roles in Atlanta including bass-baritone Daniel Okulitch as Willy Wonka/Mr. Know, tenor Andrew Drost as Augustus Gloop, and baritone David Kravitz as Lord Salt.

© Opera Theatre of St. Louis
Mezzo-soprano Abigail Nims, who sang the role of Veruca Salt in Wexford Festival Opera’s production, will sing the role in Atlanta. The roles of Grandma Josephine/Mrs. Teavee will be sung by mezzo-soprano Jamie Barton. The role of Charlie, sung by a boy soprano, will be cast closer to the production. James Robinson, who directed the original production, will direct in Atlanta, as well. Composer Peter Ash will conduct. This production will be sung in English with English supertitles projected above the stage.

The Atlanta Opera closes its 2011-2012 season with Mozart’s masterpiece Don Giovanni on April 28, May 1, 4 and 6, 2012. Widely regarded as the greatest opera ever composed, Don Giovanni is a brilliant combination of comedy and tragedy, telling of the devious schemes and hijinks of history’s most beguiling scoundrel, Don Juan.

© Tim Wilkerson
Bass Andrea Concetti makes his Atlanta Opera debut in the role of Don Giovanni. His sidekick, Leporello, will be sung by debuting bass-baritone Eduardo Chama. Sopranos Lori Guilbeau and Maria Luigia Borsi sing the roles of Donna Anna and Donna Elvira, respectively. The role of Don Ottavio will be sung by tenor Nicholas Phan, who was last heard on The Atlanta Opera stage in 2008 singing Ramiro in Cinderella. The betrothed lovers Zerlina and Masetto will be sung by soprano Angela Kloc and Atlanta baritone Brent Davis. Bass Andrew Kroes sings the Commendatore.

© Tim Wilkerson

Richard Kagey, who designed the set for this season’s Porgy and Bess and directed the Atlanta Opera’s production of Philip Glass’s Akhnaten in 2008, directs, with Atlanta Opera Music Director Arthur Fagen conducting The Atlanta Opera Orchestra. Don Giovanni will be sung in Italian with English supertitles projected above the stage.

Diary of a self-proclaimed musical arts fanatic...

2011-01-03T11:16:00.015-05:00

Opera is known for its fanatics. It is a rare artform that inspires and exhilarates all of the senses, and more often than not, procures life-long aficionados. But, what does it mean to be an aficionado - a true admirer and devotee of music? To guest blogger, Alex Gross, it means being an active supporter, as well as a fan. It also means enjoying the complete experience - the "spectacular sensory feast."

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Some people are sports fanatics, others are pop music fanatics; I am a musical arts fanatic! Nothing excites or impresses me more than a well executed opera, ballet, or symphonic performance. The great maestros, tenors and sopranos, ballet dancers, and virtuosos are my rock stars. Watching 4 or 5 guys with electric instruments playing music loud enough to destroy your high frequency hearing can be entertaining, but experiencing the coordination of a full orchestra with a corps of dancers, a chorus, or operatic soloists is a spectacular sensory feast - especially if you are seated toward the front of the balcony, where you can watch the musicians in the pit, as well as the performers on the stage.

The Atlanta Opera has become increasingly successful in attracting world class artists for its productions. Following the final dress rehearsal of last season’s Magic Flute, I had the pleasure of meeting one of my opera idols, Kathleen Kim. Ms. Kim is a diminutive soprano with opulent range and projection. It is difficult to believe that such a huge voice emanates from such a tiny body. Portraying Mozart’s “Queen of the Night,” she beautifully performed the opera’s notoriously challenging arias with requisite bravado.

During the Metropolitan Opera’s 2009-2010 season, Kathleen Kim stole the show (in my opinion) from Anna Netrebko as the robotic Olympia in Les comtes d’Hoffman. When I shared this insight with her, she humbly accepted the compliment, and agreed to oblige me with a picture. I also have an autographed photo on the “music wall” in my home theater, proudly displayed in my collection of arts memorabilia.

The quality of The Atlanta Opera’s productions has been improving with each season. Local audiences have been reacting enthusiastically, but I look forward to the day when arts travelers chose Atlanta as a destination in the same manner that I visit other cities. This should be happening anytime now that we are getting coverage by Opera News! As patronage increases, the ability to finance increasingly ambitious productions improves, which in turn attracts larger audiences in a continuous cycle. And our weather is (usually) better.

Deck the Halls with Mismatched Ornaments....

2010-12-08T13:08:00.021-05:00

Decorating The Atlanta Opera Christmas Tree is a yearly tradition which began way back in 1999. One of the staff members went out and bought a Christmas tree, but neglected to get any ornaments. The Opera staff has always been resourceful, though; they used some ribbon and leftover Atlanta Opera stickers from a mailing and created some ornaments!

This is the only one of them that still exists.

It now adorns our tree with the rest of the Opera family’s bizarre, mismatched ornaments:

We call this sleepy angel "Precision Brew," after our coffee maker.

No opera would be complete without the orchestra! Legend has it that at one time we had an entire set of musical instrument ornaments. Unfortunately, all we have now are three violins and two French Horns (and a partridge in a pear tree).

The ballerina bear is Lindsay in Ticketing’s favorite ornament of all time.

We call this one "Wendy Loo Who," because it looks like a cross between the Wendy’s mascot and Cindy Loo Who from “How the Grinch Stole Christmas." You may not be able to tell from the picture, but she’s dragging a Christmas tree behind her.

Snoopy!

And finally, Alfred and Hitchcock, the turtledoves.

We also have an assortment of more normal ornaments. Today we dragged them out of storage, turned on some Christmas music (Rockapella, Manheim Steamroller, and the London Philharmonic were the most popular), noshed on Christmas cookies, and spread some festive cheer!

Here is the final product... Happy Holidays!!!

An Opera About... Pirates?

2010-11-23T09:32:00.017-05:00

In addition to mounting a new experiment with the 24-Hour Opera Project amid the madness of National Opera Week, we in The Atlanta Opera Education Department also had our hands full managing a band of pirates. Add in some young, enthusiastic lads and lassies, and what do you have? A rollicking good time!

For National Opera Week, we took our studio touring show, The Pirates of Penzance, into the community and welcomed a new, younger audience to the exciting world of opera. From a children’s museum to a workshop created specially for Girl Scouts, the pirates traveled across dry land to bring their story to landlubbers of all ages.

We began the week at Imagine It! The Children’s Museum of Atlanta as a part of their current exhibit “Making America's Music: Rhythm, Roots & Rhyme.” The kids loved the performance and enjoyed the opportunity to ask the artists questions about opera, performing and pirates. We had a great time exploring the exhibit as well.

Next up, we welcomed the Girl Scouts of Greater Atlanta to The Atlanta Opera. The girls saw a performance of The Pirates of Penzance, made their own Jolly Roger pirate hats, played dress-up with opera costumes and accessories, and saw a stage make-up demonstration. These lassies (and lad) had the time of their lives, and somehow by the end of the workshop, The Atlanta Opera Center was shipshape and ready for the 24-Hour Opera Project to begin!

Below are some highlights from the Girl Scout workshop…

Elizabeth Claxton (Mabel), Wade Thomas (Pirate King) and Lara Longsworth (Ruth) in The Pirates of Penzance.

Lara Longsworth (Ruth) performing with one of our amazing troops. A big thanks to Girl Scout Troops 10708 and 1166 for their great performances in the show!

Elizabeth Claxton and Wesley Morgan play the love-struck couple Mabel and Frederic.

The Girl Scouts decorated their own pirate hats to take home.

Love this “You rock!” pirate hat.

Oh, the treasures found in the costume shop…

An old pirate aged from life on the high seas?

No, just an unsuspecting volunteer for the stage make-up demonstration. How amazing!

Among all the activities, many of the Girl Scouts still found time to write thank-you notes – we think this one says it all…

“When I was younger I thought opera was just singing, nothing fun, but I was wrong!”

By Jillian – Nov. 6, 2010

Thanks for an amazing National Opera Week, everyone. Hope to see you again when the pirates set sail this spring!

24-Hour Opera Project... in 25 hours!

2010-11-08T15:48:00.051-05:00

Daylight savings time is only annoying when you're not trying to create, produce, and perform a 10 minute opera in 24 hours! That extra hour meant the mayhem and joys of the creative process could last a little longer, and we all could revel in good ole' fashioned fun -- with a hint of drama and a few death scenes... oh, and a rubber chicken.

You've probably heard by now that The Atlanta Opera embarked on a little experiment called the 24-Hour Opera Project. Composers, lyricists, stage directors and opera singers from all over the country -- randomly put into teams -- had 24-hours to compose, stage and rehearse a 10-minute opera. The theme was “Family Reunion” – an appropriate topic for opera, don’t you think?

The project was created for National Opera Week, OPERA America’s annual celebration of opera. Opera companies across the United States were charged with ways to actively engage their respective communities with events and concerts that can expose new audiences to opera. We think we were quite successful in this calling.

With the help of many, many enthusiastic partners, staffers, volunteers, media, and our panel of celebrity judges, we conducted an experiment we may just want to try again! So keep in touch, will ya'? Maybe next year you can join us!

Below is a recap of the 24-Hour Opera Project... in 25 hours!

Bass Larry Frazier, tenor Charles Baugh, and mezzo-soprano Sharon Blackwood rehearse their black comedy, A Toast for all Toasts.

Stage director Bari Newport rehearses Eye of the Needle with bass J. Robert Adams.

(left to right) Mezzo-soprano Andrea Green, tenor Dennis Shuman, soprano Vivian Clifton and Stage Director Beth Suryan rehearse a scene from Scrub a Dub-Raw, a country reunion gone horribly awry.

Mezzo-soprano Andrea Green, tenor Dennis Shuman, and soprano Vivian Clifton perform Scrub a Dub-Raw.

Soprano Jennifer Zuiff, bass Larry Frazier, tenor Charles Baugh, and mezzo-soprano Sharon Blackwood perform A Toast for all Toasts.

The cast and creators of A Toast for all Toasts receive their prize. The recipients are: Valerie Pool (accompanist), Chadwick Hagan (lyricist), Jennifer Zuiff (soprano), Patrick McColery (stage director), Sharon Blackwood (mezzo), Marie Incontrera (composer), Larry Frazier (baritone), Charles Baugh (tenor)

The creators and singers of Scrub a Dub-Raw receive their prizes for “Audience Favorite.” They are (clockwise from left) Beth Suryan, director; Nicole Chamberlain, composer; Andrea Green, mezzo-soprano; Vynnie Meli, librettist; Dennis Shuman, tenor; Vivian Clifton, soprano; Stephen McCool, baritone; Catherine Schaefer, accompanist/music director (not pictured).

The “Judges' Favorite” Award went to Eye of the Needle, an opera about a “family reunion” in the “dust bowl.” Pictured here are (front row, from left) Robert Adams, bass-baritone; Catherine Striplin, accompanist/musical director; Bari Newport, director; (back row, from left) Dennis Hanthorn, judge, Zurich General Director of The Atlanta Opera; Nicole Jones, emcee, Editor in Chief for Atlanta PlanIt; Sondra Collins, soprano; Bart Gilleland, baritone; Karen Wyatte, mezzo; Curtis Krick, librettist; Lois Reitzes, judge, Program Director, host of Second Cup Concert and ASO Broadcast, WABE; Dwight Coleman, judge, Director of the School of Music, Georgia State University; (not pictured) Edwardo Perez, composer.

Halloween .... Atlanta Opera style!

2010-10-29T14:04:00.027-04:00

And the winner is... Stephanie... for "getting her Frida on!"

Where's the monkey?

The Atlanta Opera gang in all their costume glory.

The phantom helps this young lady pay off her student loans.

If you donate to The Atlanta Opera, you can get a palm reading!

Ashley Ga Ga, Hera, and Frida.

Mr. Strange.

Rae and her "white lies." She really DOES want to work this weekend...

Frida and Bret, the astronaut, plan a trip to Mars -- but WAIT.... you can't take the monkey!

CIA? A man in black? Secret service? Johnny Cash? It's anyone's guess...

Cowgirl Dallas and her trusty side-kick, Indi.

Kitty Litter.

Disgruntled employee...

The reviews are in....

2010-10-18T16:27:00.006-04:00

Thank you loyal patrons and first-time opera-goers, for your overwhelming response to our 2010-2011 season opener, La bohème! We love to hear about your experiences. Thank you for sharing them with us. Here are some of our favorites!

“I am not going to read another review until after I have seen a performance in the future, as the AJC reviewer must not have seen the same production I did! I thoroughly enjoyed the singers, their acting, the chorus, the orchestra, the staging--the whole afternoon was a joy to behold. May your other endeavors be as entertaining and enjoyable and a pleasure to the ear and the eye. My wish is for your continued success. Better yet, I don't think I will read any more reviews!”

By Barbara – Oct 18, 2010

“We had never seen La bohème before. It was a great production- the music, singing, sets etc. La bohème ranks with the best opera we have seen, which includes Tosca at La Scala and many at the N.Y. Metropolitan.”

By Frank & Frances - Oct. 18, 2010

“We just wanted to let you know how much we enjoyed the Sunday matinee of La bohème, which happens to be the very first opera I'd seen many years ago at The Met. The performers were fantastic, the sets magnificent, the music splendid. We had invited another couple to join us. They had moved to this area from NYC several years ago, and had enjoyed front row center seats at The Met for many years. He said the performance was “world class,” and he's much more experienced than I. Congratulations to all… glad we are season subscribers!”

By William - Oct 18, 2010

“The Sunday matinee performance was the second Atlanta Opera production my wife and I have attended since moving to Smyrna from Boston late last year. We saw and thoroughly enjoyed Aida in the Spring and subsequently purchased season tickets. La bohème was every bit as good, and we are eagerly looking forward to the Gershwin and Mozart productions that will be coming up in 2011”

By Berni - Oct 18, 2010

“Magnifique.......the only word I can use to describe it! This opera is more than 100 years old, yet it is just as beautiful as if it were the first time I had seen it. I can only put myself into the seat of those who first heard this magnificent piece of music. My compliments to the cast, chorus and supernumeraries. You have all put Atlanta onto the Opera Map.”
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By Bonnie - Oct 18, 2010

“We are new to the greater Atlanta area and attended with 5 of our neighbors. Sensational is the best I can come up with! The [orchestra], staging, preformers, quality, and “awe factor” all exceeded expectations. When the second act closed and everyone froze in action, it looked like a famous painting. It was so exquisite.”

By Jim - Oct 18, 2010

“Beautiful singing, gorgeous orchestral music, terrific costumes, wonderful sets, fabulous production. Fantastic!”

By Jim & Trudy‎ - Oct 18, 2010

The lighter side of La bohème...

2010-10-08T12:55:00.028-04:00

We all know that our beloved Mimì perishes in the end. It is tragic to see two lovers torn apart, but La bohème is also very funny. Below is Tim Wikerson's picture gallery of the "lighter side" of this season’s production of La bohème.

Photos Courtesy of Tim Wilkerson

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's Marketing Department at 404.881.8801.

Mrs. Woodward Goes to the Opera

2010-10-01T14:50:00.007-04:00

The Atlanta Opera has a great tradition - Mrs. Jerrie Woodward's reviews of our Final Dress Rehearsals. Mrs. Woodward is the mother of one of our board members, Bob Woodward. For years, The Atlanta Opera staffers have come in to work to find her impressions of our newest productions in our inboxes. They are delightful, observant, and constant reminders that what we do touches many lives. She writes these reviews as "thank you letters" to her son. That alone, tugs at our heart strings.

As we open our 2010/2011 season with Puccini's La bohème, let's take a moment to reflect on what Mrs. Woodward has to say, and try to put our own impressions into words.

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Dear Bob,

When I leave a performance of Atlanta Opera, I’m eternally grateful for the Cobb Energy Center. What a difference it has made in the enjoyment of the Opera and the ease of my getting there and back. As I think back on how it was at the Civic Center, I utter a prayer of thanks. Beauty begets beauty, whatever the art.

Now, to tonight’s final rehearsal of La bohème that enchanted the fairly large audience in attendance. I imagine most everyone attending knew the sad story, but the director presented a cast that brought the story to life in a beautifully unique way. The four “good ole boys” exhibited true comradeship, sharing what little material things they had, as well as the frustration and pain of trying to find true love.

After beginning a bit timidly, Hymel’s Rodolfo soon won me over as the sensitive lover and soul mate of Mimì. His beautiful tenor filled the hall, and his personality made me fall in love with the poet, too. I love a guy who can empathize with a lonely and sickly maiden, as well as listen to her story of common poverty portrayed in poetic language - I guess that’s the poet in himself. A close rival for my affection was Marcello. In fact, the entire cast was excellent - all strong and commanding. I wish Mimì had let her hair down sooner, though.

The orchestra was very, very good – with a full, great tone. It was the best the orchestra has performed in many performances. The sets worked well in all scenes, whether the mood was up or down.

The scene at Café Momus was somewhat overcrowded, making it difficult to find which one was singing, and subsequently how the story was going. I think less would have been more.

The death scene really pulled my heart strings. Rodolfo was magnificent in his portrayal of heartbroken grief, Mimi looked more beautiful in death than life, and a real tear rose in response to this tragic ending. I do wish the audience could wait until the orchestra has ended the last note and let it settle in the heart before applauding.

It is a terrific beginning for the 2010-11 season. I truly hope Atlanta takes advantage of the excellent opportunity to experience live opera on its home turf. Why go anywhere else for an evening of pure dedication and delight?

Thanks for the tickets. All of us were in one accord of praise for the company of The Atlanta Opera.

Love, Mother

Children's Chorus? Do We Need a New Name?

2010-09-24T12:07:00.019-04:00

Well, Ladies and Gentlemen -- fans of The Atlanta Opera -- after a 5 month hiatus, our blog is up and running again. So much is happening around here, and we are thrilled to be sharing the ins-and-outs of our company with you. Absence makes the heart grow fonder.... or so they say. Have you missed us?

As many of you know, we open our 31st season on October 2 with Puccini's LA BOHEME. So romantic, so sad, so.... many things that touch our hearts. But there is one facet of the production that, we believe, is underexplored -- the Children's Chorus. They are so ingrained in the fabric of the production, that we sometimes forget how uncommon it is to have children appear in an opera, and how lovely the on-stage dynamic becomes.

Will Breytspraak, this season's Children's Chorus Master, is not a stranger to cultivating young voices. Below, he asks the question -- should we call these budding performers a "Children's Chorus?" They undergo the same arduous audition and rehearsal process as the adults, and are an integral part of ACT II of LA BOHEME. In many ways, they serve as a necessary foil to the tragedy about to unfold. Are we reducing their importance by calling them, simply, a "Children's Chorus?"

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There are few scenes in opera more exuberant than LA BOHEME’s famous Christmas Eve street scene, and the Children’s Chorus is an indispensable part of the excitement. Whether delighting in the toys of Parpignol, or taking part in all sorts of other mischief on the street, children are able to bring the sort of unrestrained quality to the action that a lavishly joyous Christmas Eve scene demands. If the children do their job, which I am certain they will, they will appear to the audience just to be ordinary, "happy-go-lucky" kids having the time of their lives.

Behind the scenes it's quite a different story. Through a highly competitive audition process (with more than 55 kids auditioning for 13 spots), these are kids who have made the cut. They come from all over the Atlanta metropolitan area, and one (Brett Cooper) even commutes all the way from Chattanooga, Tennessee!

These kids have learned their music and roles with a childlike curiosity and zeal, but with the professionalism of seasoned performers. Their maturity allows them to not just sing and act their parts, but to precisely fit them in with all of the excitement going on around them. Each singer must operate like an intelligent soloist, and be able to sing their complicated parts from wherever they find themselves in the elaborate staging.

It has been an imaginative process for us to place ourselves in 1830's Paris, when street urchins and other children would have run freely around the streets. This sort of scene is foreign to these kids, who have not experienced that sort of freedom on busy modern day streets. When we tried to explore the excitement children would have felt at the sight of the toy seller, Parpignol, the kids lit up at a comparison to how they might feel and act when the ice cream man drives through.

Interestingly, I think “Children’s Chorus” is something of a misnomer now that we have reached dress rehearsals and performances. Even though we have done all of this work together toward collective precision (as a choir does), performing at this level demands a Herculean mental and physical effort. And every bit of the scene must be as fresh and spontaneous as the falling Christmas Eve snow.

I am so impressed by the unique qualities of each of these kids, that “Children’s Chorus” is not an adequate name for the group. The only other name I can think of is probably too long:

“Andrew, Brett, Cassady, Emma, Eric, Francesca, George, Jonah, Marguerite, Sara, Sophia, Taylor, and Thomas!”

But then I think back to how we started -- to how we worked so hard together and got to know each other through this shared experience. And then I like the name -- “Children’s Chorus." We are "The Atlanta Opera Children’s Chorus!"

Life as a Supernumerary: An Insider's View of The Magic Flute

2010-05-10T09:25:00.008-04:00

In April I discovered one of the best kept secrets in all of opera-going. And that is the opportunity to be a supernumerary. Supers are the folks standing around holding spears, or the officers come to arrest the tenor, etc. They are typically a function of the set more than a character in the story.

I was invited to be one of fourteen supers in the Atlanta Opera’s The Magic Flute. This experience would turn out to be the operatic equivalent of what I imagine baseball fantasy camp must be like, except that at the end you get to play in four real games. And you are not playing with the superstars of yesteryear, but those of today and tomorrow.

People with beautiful, well-trained voices might survive the competitive auditions to join the highly respected Atlanta Opera Chorus. But the need for supers means the rest of us, including the vocally disabled such as myself, can strap on the pads and go in the game too.

I have never had any desire to call attention to myself on stage. Quite the opposite. But I learned that the stage is by orders of magnitude the best seat in the house. This became apparent the first night I had the privilege of kneeling in the shadows beside the Queen of the Night’s throne during her famous First Act aria. Kathleen Kim’s voice, only feet away, paralyzed my breathing and caused my eyes to fill up. It was a surreal moment. And I later had the thrill of describing the experience to Ms Kim as we walked up the stairs backstage to have our respective wigs removed. Her grin said she was one part amused and two parts pleased for me.

I imagine the main reason the Atlanta Opera isn’t flooded with requests to be a super is the month-long commitment to rehearsals (some held during normal working hours). I was particularly surprised at how many full-on rehearsals there were on consecutive days leading up to opening night. And at how many things were still being fixed and changed during those rehearsals. Time was quickly running out, but to avoid having to pay overtime, rehearsals ended abruptly at 11:00 each night.

During rehearsals (and performances) there is a lot of “hurry up and wait” for all cast members, but especially for supers with microscopic roles. I might practice my part for less than ten minutes during a four hour rehearsal. But the constant excitement kept me occupied every minute, even past my normal bedtime. I came away with a good sense of what directors and stage managers actually do and how long and hard they work.

The most appealing aspect of the rehearsals for this production was the opportunity to meet and listen to the world class principals up close – very close. Without exception, every one of them was absolutely amazing, from those singing regularly at the Met, to some wonderful local talent.
Initially, expecting hyperactive extroverts, half again normal size, I was slightly befuddled when I met them face to face. For instance, Ms. Kim is not much more than five feet tall but could effortlessly engulf the room with her literally stunning voice. While all of the principals were friendly, most seemed quieter and more reserved offstage than my pre-existing stereotype of the profession.

That is not to say that there were not some very engaging extroverts in the cast. Becca Kier (Papagena) jumps first to mind. She was largely responsible for talking me into being a super, though we had only met minutes earlier. Watching her in rehearsals I felt she didn’t have to practice becoming Papagena very hard, she already was Papagena, or at least Beccagena.

I especially enjoyed getting to know Nicole Cabell (Pamina). She is the operatic total package on and off stage. It is obvious to even the uppermost balcony that her voice is extremely beautiful and well trained, and her stage presence regal. But it was chatting one on one with a neophyte super that she really showed just how warm and genuine she is.

The final performance of The Magic Flute was a Sunday matinee. I read on Facebook that the crew began dismantling the set that same night. I had a very empty feeling the next morning as I looked at my calendar and did not see the blocks of rehearsals and performances that gave April such purpose. The month of May looked sort of bleak by comparison.

While it is sad to think that this production is gone forever, my tiny role entitled me to share in the pride of ownership of something large and very extraordinary. Many, many thanks to The Atlanta Opera for this opportunity!

When La bohème opens in October, I will be back in my seat in the front row of the first balcony. It will probably seem smaller, more confining and much further from the stage than I remembered. But having been a super I will now notice and be aware of so many things I never was before.

-John King

The inspirational Kathleen Kim as The Queen of the Night:

The Magic Flute Production Photos!

2010-04-23T09:54:00.011-04:00

Photographer Tim Wilkerson took some great photos last night during the Final Dress Rehearsal of The Magic Flute, so here's a sneak peek:

The three ladies and Tamino (Sean Panikkar):

Papageno (Hugh Russell) and the bird puppets:
The Queen of the Night (Kathleen Kim):

The Queen of the Night (Kathleen Kim) and Tamino (Sean Panikkar):

Sarastro (Denis Sedov) and Pamina (Nicole Cabell):

The three genies and Tamino (Sean Panikkar):

Tamino (Sean Panikkar) with his flute:

Papageno (Hugh Russell) and Papagena (Rebecca Kier):

Sarastro (Denis Sedov) and the Atlanta Opera Chorus:

Tamino (Sean Panikkar) and Pamina (Nicole Cabell):

If you want to hear what other people thought of the Final Dress Rehearsal, check out our Twitter page. We had about eight tweeters show up for Social Media night and tweet live during the performance. It was a great success, and we appreciate everyone who participated!

Interview with Baritone Hugh Russell

2010-04-21T15:18:00.000-04:00

A singer known not only for his vocal skills but also for his engaging acting, baritone Hugh Russell sings the role of Papageno in The Atlanta Opera's current production of The Magic Flute. Recently, we sat down with Hugh to talk about his career in opera, the difficulty of performing comedy onstage, and his take on Atlanta. TAO: You were a comic hit as Dandini in The Atlanta Opera’s 2008 production of Rossini’s Cinderella. How is performing comic roles different than performing other roles?
HR: Comic performance is entirely dependent on timing, and I think that most performers would agree that it's one of the toughest things to do. The difficult thing is to have everyone synched together like a little machine, and have it seem improvisatory at the same time.

TAO: What is your favorite role to sing?
HR: Figaro, in The Barber of Seville, is a great fit for me and is always lots of fun to sing.

TAO: You just made your role debut as Papageno with Pacific Opera Victoria and Orchestra London. What appeals to you in his character, and how are you able to use humor in The Magic Flute?
HR: Papageno is the "everyday guy" character of The Magic Flute and is just trying to live his life and find food, drink, and a girlfriend as all of this crazy, magical stuff happens around him. He tries to act bravely, but is rather cowardly, and gets swept along on the Prince's noble quest to rescue the Princess. Much of his comedy comes from how out of place he feels in the serious, high-minded world of the nobility and the Priests. He functions as an invitation to the audience to relax and to not take things too seriously.

TAO: How did you decide to pursue a career in opera?
HR: I started studying voice when I started university, and during high school had thought of doing music in some form, probably in the area of choral conducting. I had always liked classical music, having started piano studies at age five, and also liked musical theatre, but opera had never been part of my listening. When I started vocal studies, my teacher invited me to go to the library and watch and listen to recordings of operas. I quickly realized that opera was basically all of the things I loved in one medium. So, as my studies continued, it became very natural to continue with an opera track and after school, to pursue further studies in operatic training programs with companies.

TAO: You’ve sung with The Atlanta Opera several times starting in 2006 with Rossini’s The Barber of Seville. Is there anything you especially like about this city?
HR: I find Atlanta to be a very friendly city, and I love that there is so much plant life everywhere. Having only performed here in the fall up until now, I'm seeing a flip-side to those plants and trees right now in the spring, with the presence of the unbelievable amounts of pollen! Every trip I find new, fun restaurants, and always make a return trip to one of my favorites, The Flying Biscuit!

TAO: After The Magic Flute here in Atlanta, where are you headed next?
HR: I will go home to Chicago for a minute or two, then take a little vacation time in San Francisco, where I concluded my training doing a fellowship with the San Francisco Opera. It will be great to see the city and old friends again. After that, I'm off to my homeland of Canada for concerts, a short stop in Oregon at the Oregon Bach Festival, and then I'll travel to Ireland to perform at the Wexford Festival.

Video: Stage Director Tomer Zvulun

2010-04-19T15:40:00.002-04:00

Get a behind-the-scenes look at our upcoming production of The Magic Flute in this video interview with Stage Director Tomer Zvulun!

Help Figaro Get Married!

2010-03-26T13:19:00.007-04:00

I’m always excited when Jason Hardy comes to sing with us because I sang in choir with him when we were both undergrads at Emory University, so it feels like a class reunion. He’s exactly the same guy now that he was back then – talented, handsome, fun, and so, so nice. He’s got a great work ethic, too, which is another reason we love having him here (and possibly the reason he’s an opera singer and I just sell the tickets, but let’s not make this all about me).

Jason had a few really rough years. He stood by the side of his wife, Bevelyn, as she fought with cancer, and he took sole custody of her son, Lucas, and their daughter, Sabrina, after her death in 2007. He stayed as upbeat and friendly as he could during that time, but I could see and feel the spark missing from his eyes.

Well, guess what? Jason’s engaged!!! He proposed onstage, in full Figaro costume, to singer Carrie Kahl (whom the complicit director had sneakily hired as a last-minute replacement for the role of Barbarina), and let me tell you, his spark is back! He stopped by today to say hello, and he is obviously a man who is giddy in love.

The only problem? With both of them working as professional singers and raising two children, there has been no time or money to plan a wedding. Well, Jason, The Atlanta Opera wants to help! We’re asking all of our staff, singers, patrons, and fans to vote for you in Crate & Barrel’s Ultimate Wedding Contest!

Go here to read Jason and Carrie’s story and to place your vote for this couple, who made it through a Puccini-style romantic tragedy to find a happy ending worthy of Mozart.

(Guest blogger Lindsay Smith works in The Atlanta Opera’s Ticketing Services office.)

Getting to Know Soprano Nicole Cabell

2010-03-23T13:22:00.000-04:00

Looking forward to our production of The Magic Flute, we're getting very excited about all the singers who will be new to The Atlanta Opera stage, including soprano Nicole Cabell. Nicole, our Pamina in Flute, quickly gained fame after winning the 2005 BBC Singer of the World Competition in Cardiff and has been rising in the world of opera ever since.

Check out this video on her debut album:

Also, read up on Nicole Cabell in this great Met interview to find out how she approaches the character of Pamina and which profession she wanted to pursue when she was a teenager!

If you want a chance to catch Nicole before The Magic Flute, she'll be singing at the Savannah Music Festival on Monday, March 29 at 6:15 p.m. at Telfair Academy. More information is available here.

For info on Nicole's recordings and other videos, visit her website.

Pre-Performance Entertainment

2010-03-09T14:40:00.008-05:00

If you attended one of our performances of Aida, you no doubt noticed the great student musicians who played in the lobby beforehand.

For our opening night performance on Saturday, February 27, we were joined by a woodwind quintet made up of players from the Atlanta Youth Symphony Orchestra.

Especially popular were the Urban Youth Harp Ensemble, which played before last Friday's performance:

At Sunday's matinee, we enjoyed hearing a string quartet from the Cobb Youth Symphony Orchestra.

We want to thank all of these talented students for giving their time to entertain us before our Aida performances!

Aida Production Photos!

2010-02-26T14:49:00.008-05:00

Photographer Tim Wikerson was on hand at our Final Dress Rehearsal of Aida last night to take some photos for us, so take a sneak-peek!

Mark Delavan (Amonasro) and Mary Elizabeth Williams (Aida):

Morris Robinson (Ramfis):

Kenneth Kellogg (King of Egypt):

Mary Elizabeth Williams (Aida) and Antonello Palombi (Radames):

Elizabeth Bishop (Amneris):

Q&A with Mary Elizabeth Williams, our Aida

2010-02-23T11:06:00.010-05:00

Since Soprano Mary Elizabeth Williams is singing her very first Aida here with us, we want to give you a chance to get to know her a bit better. A resident of Philadelphia (when she's not on the road), Williams answered the following questions for us:
What was your first opera experience?I'm not exactly sure, to be honest. I remember that a group of young opera singers came to my elementary school and put on a show for us, which I really liked--but my parents also liked classical music of all kinds, and took me with them to see concerts and shows from an early age. I was very lucky in that respect. I'm pretty sure the first fully staged opera I attended was I Puritani, by Bellini. I was about 14 years old.

When did you realize that opera was your career?In my opinion, the life of an artist is always in flux, and there are times when I feel more and less like I'm having an "opera career", but I always feel like a singer. I would say that I have been on this particular career path for about 4 years, which is when I moved back to America after living and studying in Paris. I began working with an agent in New York have been gradually finding work ever since.

What has been the biggest challenge in your performance career?There is no proven path to securing a prosperous career as a singer, so we artists need not only to be good performers, but also good businesspeople; it's like owning a business for which you are the product! Learning how to balance the stresses of being an artist while also running my "business" has been a big challenge, but I'm getting better at it every season.

What do you like to do when you're not singing?I love the movies, so when I'm in a new town, the first place I scout out is the nearest movie theater. I'm a pretty good cook, and I like to entertain. I make jewelry, and can be rather crafty (knitting, cross stitch, etc.). I enjoy working out to stay in shape; when it's sunny, I really like to walk around in town and people-watch. Sometimes, I drag my friends to go bowling with me. I'm not very good at it, but it's great fun. I've always loved to read, so I'm always in the middle of some book or another.

If you were not a singer, what would you be?

When I was a kid, I wanted to be the Chief Justice of the Supreme Court, but I have since reconsidered the advisability of that plan! Sometimes, now, I daydream about being a jeweler. I LOVE jewelry—especially semi-precious gems. I also think I'd like to work in the magazine business as a writer or editor.

You have to travel a lot in this profession. What has been your best travel experience?They have all been pretty good, to be honest. I have managed to find something fun and interesting in every place I have ever been for work. Most recently, I had a very fun trip to Poznan, Poland. I sang just one concert, so I was there for only 5 days! It was a quick trip and the jet-lag was horrible, but I enjoyed walking around in the city and practicing my pitiable Polish on the shopkeepers. It was great fun, and very beautiful.

Aida Rehearsal Photos!

2010-02-19T14:38:00.012-05:00

The Atlanta Opera's production of Aida opens this Saturday (we're so close!), so we want to share some photos from staging rehearsal:

Soprano Mary Elizabeth Williams and Tenor Antonello Palombi:

Conductor Yoel Levi with Baritone Mark Delavan, Antonello Palombi, and Mary Elizabeth Williams:

Mary Elizabeth Williams talks with Stage Director Trevore Ross:

Mary Elizabeth Williams, Mark Delavan, and Antonello Palombi:

Mezzo-Soprano Elizabeth Bishop:

Antonello Palombi and Bass Morris Robinson:

If you're wondering about some of the emotions behind these photos, check out our Aida Opera Guide to learn about the characters (and the love triangle!) of Aida. This guide also includes some great information on composer Giuseppe Verdi and some interesting Aida facts.

Morris Robinson WSB Interview

2010-02-16T16:41:00.002-05:00

Atlanta native bass Morris Robinson-who is making his Atlanta Opera debut as the high priest Ramfis in our production of Aida-taped a great interview with WSB's Scott Slade earlier today. The interview will air on the radio later this week, but we've got a sneak preview for you. Take an afternoon break, and enjoy listening!

Morris Robinson WSB Interview

Video: Mary Elizabeth Williams at First Congregational Church

2010-02-16T13:40:00.003-05:00

This past Sunday, soprano Mary Elizabeth Williams sang during the morning service at First Congregational Church of Atlanta, and we've got a short video for you to watch:

Thank you to First Congregational for inviting us, and thank you to Mary Elizabeth Williams who was so gracious (and even helped us sell some tickets!).

Aida Opera Chat Photos

2010-02-12T11:07:00.006-05:00

We had a great time at our Opera Chat last night!

Soprano Mary Elizabeth Williams, mezzo-soprano Elizabeth Bishop, tenor Antonello Palombi, and The Atlanta Opera's Director of Artistic Administration, Eric Mitchko, talk about Verdi and Aida:

Upcoming FREE Aida Events

2010-02-11T14:15:00.002-05:00

Here at The Atlanta Opera, we’ve been gearing up for our next production, Verdi’s Aida, and we want to make sure you know about all the related—and FREE—events that will be taking place over the next few weeks.

Opera Chat (TONIGHT!)Thursday, February 11, at 7:00 p.m.
Barnes and Noble Buckhead, 2900 Peachtree Road NW, Atlanta, GA

Join us for an informal conversation with soprano Mary Elizabeth Williams, tenor Antonello Palombi, and mezzo-soprano Elizabeth Bishop from The Atlanta Opera’s upcoming production of Aida. Gain inside information on The Atlanta Opera production, rehearsal process, and life as an artist. Hosted by Eric Mitchko, Atlanta Opera Director of Artistic Administration. This event is free and requires no reservation.

Mary Elizabeth Williams at the First Congregational ChurchSunday, February 14, at 11:00 a.m.
First Congregational Church, 125 Ellis Street, Atlanta, GA

Soprano Mary Elizabeth Williams—our Aida—will sing during the worship service at First Congregational Church. Don’t miss this free opportunity to hear such a great talent!

Opera 101Monday, February 22, at 7:00 p.m.
The Atlanta Opera Center, 1575 Northside Drive NW, Building 300, Suite 350, Atlanta, GA

Led by longtime opera connoisseur and Honorary Board Member Carter Joseph, Opera 101 is a prep course for the upcoming production of Aida. Patrons are introduced to the history, background and story line of the opera. The composer, librettist, key characters, musical theme and selected arias are featured in an entertaining and interesting multi-media presentation. This event is free, and reservations are required by calling 404.881.8801.

The Atlanta Opera Master Class with Mezzo-Soprano Elizabeth Bishop
Thursday, March 4, at 11:00 a.m.
Georgia State University, Florence Kopleff Recital Hall, 10 Peachtree Center Avenue, Atlanta, GA

Mezzo-Soprano Elizabeth Bishop—Amneris in The Atlanta Opera’s production of Aida—will lead this exciting master class. This event is free. Visit www.music.gsu.edu or call 404.413.5901 for more information.

We hope you’ll join us for one or more of these events as we prepare for Aida. For tickets to Aida performances (2/27, 3/2, 5, 7), visit our website or call 404.881.8885.

Also, be sure to bookmark our handy calendar; it’s a great way to keep up with upcoming events!

2010-2011 Season Announcement

2010-02-09T11:22:00.013-05:00

Welcome to The Atlanta Opera’s brand new blog! We’ll be posting several times per week with news, photos, and more, so be sure to check back soon.

To open this blog, we want to share our recently announced 2010-2011 season, which will be our fourth in the Cobb Energy Performing Arts Centre! In an effort to remain fiscally responsible during these tough economic times, we’ve scaled back to three productions, so we’ve made sure that our three choices all have great audience appeal, for opera aficionados and novices alike. This new season features Puccini’s beloved La bohème, Gershwin’s American classic Porgy and Bess, and Mozart’s funny and poignant Così fan tutte.

La bohème by Giacomo Puccini
October 2, 5, 8, 10 (M), 2010

This incomparable opera classic tells the tale of six penniless artists full of idealism, beauty and unbridled love. Their harsh encounter with the realities of life is heart-wrenching—don’t forget to bring tissues.

Italian soprano Grazia Doronzio and tenor Bryan Hymel star as Mimi and Rodolfo, the ill-fated lovers. Doronzio is a recent graduate from the Metropolitan Opera’s Lindemann Young Artist Development Program, and New Orleans native. Hymel (pronounced “ee-mel”) is the Top Prize Winner of the 2009 Gerda Lissner Foundation Competition. Be sure not to miss great young artists in this ever-popular classic opera as we expect the two weekends of performances to fill quickly!

Bryan Hymel singing “Recondita Armonia” from Tosca, another great Puccini opera:

Porgy and Bess by George Gershwin, DuBose and Dorothy Heyward, and Ira Gershwin
February 26, March 1, 4, 6 (M), 2011

Set in Charleston, Porgy and Bess depicts the people of Catfish Row struggling with hard work and tough times and yearning for a better life and great love. Porgy and Bess features some of the most popular tunes in opera including the lullaby “Summertime.”

Why this production is a must-see: Boston Pops conductor Keith Lockhart in his Atlanta Opera debut, Atlanta native baritone Michael Redding as Porgy, and The Atlanta Opera Chorus. The Chorus, which is prominently featured in Porgy and Bess, received such great attention after The Atlanta Opera’s 2005 production that Paris’ Opéra-Comique commissioned them for a European touring production during the summer of 2008!

The Atlanta Opera Chorus in Opéra-Comique’s production:

Così fan tutte by Wolfgang Amadeus Mozart
April 9, 12, 15, 17 (M), 2011

Mozart’s brilliant masterpiece tells the story of two officers who boast of their girlfriends’ faithfulness, only to have a clever friend put it to the test. Disguises, charades, mischief, and heartbreak result, but in the end, all are much wiser in the ways of love.

This production includes a cast of great up-and-coming artists! Soprano Kiera Duffy and tenor Matthew Plenk (Così’s Despina and Ferrando, respectively) are both featured in the Metropolitan Opera’s behind-the-scenes documentary, “The Audition.” “The Audition” follows the dramatic final week of the Metropolitan Opera's 2007 National Council Auditions and is a great chance to get a rare behind-the-scenes look at what it takes to become an opera star!

Read up on the documentary here, and check out this preview (be sure to look for Kiera!):

For more details on our 2010-2011 season—including casting and ticketing details—be sure to visit our new and improved website.