A Weekend of Accidental Affairs...

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

 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

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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.

A Sneak Peek of Rabbit Tales!

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!

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.

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

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.”

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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!

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…”

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.

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

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.