Come "Escape the Ordinary" with The Atlanta Opera

By Ellen Sturgill

Last night at our Season Snapshot event, The Atlanta Opera proudly presented the three mainstage operas of the 2012-2013 Season. They are... drumroll please...

      

With fiery gypsies, tragic love stories, and a comedy for the ages, Atlanta audiences can expect to be transformed, transfixed, and transported through these well-known and loved operas.

With this exciting season announcement, who better to give our readers a look at why these operas were chosen and what to expect than our Zurich General Director, Dennis Hanthorn.  Below is a Q&A with Dennis as he presents a first-look at the 2012-2013 season.  Enjoy!

1.  The theme for this season is “Escape the Ordinary.”  How does this theme speak to the opera experience?  Why do you think this theme represents the three operas of the season, and how does it relate to Atlanta audiences? Each of the three operas has something exotic, yet familiar in it.  Carmen is one of the most exciting, entertaining, passionate operas ever written. There are so many characters that audience members can, or would like to, associate with! Maybe audiences will place themselves in Spain, and imagine what it would be like to be a soldier, or a gypsy.  

In La traviata, the high society of Paris before the French Revolution had an elegance to it, with all the parties and excitement of meeting ambassadors, dignitaries, and friends from the world. Violetta was a woman who knew people in high places, and the opera depicts a very glamorous time to live in Paris. 

We’ve decided to set our production of The Italian Girl in Algiers in the 1930’s.  We also added another element by changing the shipwreck accident into a plane crash. With Isabella in a plane crash rather than a shipwreck, you have this “Amelia Earhart-like” quality: where does she land, how, etc.  

Italian Girl in Algiers is also unique in the opera world because it turns the table on the traditional “rescue opera.” In this production, the woman is the hero.

For each of these operas, there is an excitement in the unknown and exotic locations, and we hope this will allow Atlanta audiences to “Escape the Ordinary”.  We also hope that new audiences will “escape the ordinary” by trying an opera experience for the first time.  Each of these operas are great introductions for first-timers!  

2.  Why did you choose Carmen, La traviata, and The Italian Girl in Algiers for the 12-13 season? Carmen is one of the four all-time great operas- including Aida, La bohème, and Don Giovanni- that people want to see.  It is incredibly popular and contains music that people can hum along to.

Out of Verdi’s 28 operas, La traviata is one of his most famous and most performed operas.  2013 is also the bicentennial year of his birth, so it is exciting to commemorate Verdi’s life with a production of one of his operas.  

With both Carmen and La traviata being grand and serious operas, we are excited to end our season with The Italian Girl in Algiers, Rossini’s comic opera.   This opera is one of Rossini’s three most performed operas, and will be a debut production for The Atlanta Opera.  It promises to be a fun experience for the audience, as well as a look into a great 19th century bel canto work.

3.  The Atlanta Opera has produced Carmen and La traviata before.  How will these productions be different?  Both Carmen and La traviata were traditional productions in our past seasons. The Atlanta Opera also owns both productions. This season’s Carmen and La traviata will be traditional, as well.  That being said, the personnel involved will be different, and with new directors, conductors, and performers comes new interpretations.    


4.  The Atlanta Opera will be producing The Italian Girl in Algiers for the first time. Why has it taken 30+ years for The Atlanta Opera to produce this Rossini comedy? There certainly has been a large gap in the history of Rossini repertoire that has been produced here at the Opera.  Between our first production of The Barber of Seville, and our most recent production of it in 2006, there was this gap of almost 20 years were no Rossini work was produced.  However, in my eight seasons at The Atlanta Opera, we have produced The Barber of Seville, Cinderella, and now, Italian Girl.

I particularly love Rossini’s music, and there are singers today who specialize in singing Rossini very well.  I am excited that we have identified some of them for Italian Girl.  Atlanta audiences can expect a high level of talent and delightful performances.  

5.  Describe the concept for The Italian Girl in Algiers.  How does setting the opera in the 1930’s change the characterization? When changing or updating a production, you still must remain true to the original direction and characterization of the opera. Isabella, Lindoro, and Mustafà (to name a few characters) will retain their original qualities.  Yet the time and place will be different.  Changing the period of the piece adds a fresh perspective to both performers and audiences alike, as well as lending itself to the exotic feel we are capturing with this 2012-2013 season.  

Audiences can also look forward to a different type of stage craft with this production of Italian Girl.  Instead of a standard set, with pieces moving in and out, our opera will be performed in a storybook set.  The stage will have the feel of a pop-up children’s story, which will bring a lot of whimsy and fantasy to the opera. 

6.  Each opera in the 12-13 season contains a very powerful and iconic female role.  What can Atlanta audiences expect from Maria Jose Montiel as Carmen, Mary Dunleavy as Violetta, and Sandra Piques Eddy as Isabella?  Atlanta audiences can expect a very authentic portrayal of Carmen in Maria José Montiel.  Because of her native Spanish culture, her interpretation is believable, and she is able to bring a special flavor to the performance. Maria is in high-demand, and performs in Europe, as well as all over the U.S.  We are looking forward to having her sing on our stage in her Atlanta Opera debut. 

Photo courtesy of Maria José Montiel.

Mary Dunleavy has performed Violetta many times around the world. This is one of her signature roles.  This production will also be her debut with us. I’m just so pleased and proud to bring her to Atlanta. She is a tremendous actor and musician, and gives a very exciting interpretation of Violetta.  She will thrill our audiences.

Photo courtesy of Mary Dunleavy.

Sandra Piques Eddy sang the role of Cherubino in our 2008 production of The Marriage of Figaro, and we are pleased to have her back. She is a consummate artist as far as Rossini and classical repertoire goes.  She performs many styles of opera-  romantic, late 19th and 20th century- but thoroughly understands the Rossini style and technique. Sandra is also one of the great mezzos of our day.  

Photo courtesy of Sandra Piques Eddy. 

7.   The 11-12 season received some criticism about the decision to produce The Golden Ticket?  Why do you think this opera was effective in our season and to the Atlanta Opera’s growth as a company? Opera companies across America have the responsibility to produce a balanced season.  Choices are also made based on how much money you can raise, and while producing what’s called the war horse operas (opera classics) may seem the only option, audiences will grow tired.  

There are traditional, contemporary, early music, and new operas that our audiences have not seen.  It is one of our goals to provide as broad a variety as possible.  And while doing that, we know that not all audience members are going to like everything. 

However, The Golden Ticket had a tremendous effect and positive response from our younger audiences.  One of our favorite reviews was from a 13-year-old boy in the audience who wrote an excellent article of his experience for Macaroni Kid. He stated that the production was “creative, colorful, and really inventive.”  This is the kind of feedback that we were hoping for. We also had a large amount of first-timers to the opera, and we are optimistic that these people will want to come back.  As an opera company, we have to think of ways to bring in a new audience, and while many of our more traditional audience members questioned why we included it in our season, The Golden Ticket delivered in terms of building new audiences. 

8.  What are you most looking forward to in the 12-13 season? We are looking forward to broadening our audience.  Ticket sales only make up a portion of direct production costs, so we are also hoping to grow in the amount of contributions.  But simply put, I am excited to produce the highest quality opera possible and to know that audiences enjoyed the performances! 


Production dates are as follows:  Carmen will be on November 10, 13, 16, and 18, 2012; La traviata occurs March 2, 5, 8, and 10, 2013; and The Italian Girl in Algiers runs April 27 and 30, and May 3 and 5, 2013.

Wait… there’s more!

The “season snapshot” also included the announcement of a donor benefits program called MyOpera, a completely new approach to issuing donor benefits in the world of the performing arts; 2012-2013 community engagement initiatives, including the hugely successful 24-Hour Opera Project and High School Opera Institute; and the details of the 2012 Atlanta Opera Ball: A Night in Seville, a fundraiser supporting and sustaining the exceptional artistic quality of The Atlanta Opera.
You can read more about these initiatives in our 2012-2013 season press release.

This season promises to be unlike any other. Subscriptions are available here.


We hope you’ll join us to:

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.

Q&A with Adam Cannedy, Oompa Loompa Aficionado

By Ellen Sturgill

Everyone has heard of Roald Dahl’s classical book Charlie and the Chocolate Factory. But people may not know that composer Peter Ash and librettist Donald Sturrock took this iconic story, and turned it into a larger-than-life opera.  The Atlanta Opera is excited to bring The Golden Ticket to our stage this March.  If you love chocolate, beautiful music, and Oompa Loompas, this opera is for you.  

To give readers an inside scoop on what being a part of this innovative opera is like, this week’s blog features a Q&A with baritone Adam Cannedy.  Adam has been in the past two productions of The Golden Ticket, once in the world premiere with the Opera Theatre of Saint Louis in June 2010, and later at the Wexford Festival Opera in October of 2010.  As someone who has a great deal of personal experience with this opera, Adam shares why working with Peter Ash was exciting, and yet intimidating, and why creating the characterizations of the first “big” Oompa Loompas is something he’ll never forget. Enjoy! 

1. What was it like being a part of the world premiere of The Golden Ticket? Working on the world premiere of The Golden Ticket was rewarding and daunting at the same time.  When I received the score, all we had to reference was an electronic sampling of the music, which really meant we were starting from a blank pallet.  I remember working on the music for hours in the practice room trying to figure out where I would find the notes, how the harmonies fit together, etc.  It took a lot of time, but it was worth it.  This wasn't my first premiere, and with any premiere performance, it is great to feel like you are putting your stamp on something that will hopefully be performed for many years to come.

2. How was it different performing in an opera with a living composer? Did you enjoy working with Peter Ash? I have worked with several living composers, and it is always such a thrilling experience for me.  Working with the composer really raises the stakes.  I had the great pleasure of working with Peter on Wonka's music, and coaching Wonka's Welcome aria.  It is such a rare experience to have the person responsible for putting the music on the page say, "Now, Adam, I wrote that as a sixteenth note, and you sang an eighth note.  I want you to enjoy the rest, and let the silence speak!"  Talk about accountability!  You have this opportunity to ask questions and feel confident that your performance is an honest representation of what the composer wants. Peter is wonderful to work with, and his vision for this opera is clear and inspiring.  

3. How was portraying such iconic characters as the Oompa Loompas? Ah, the Oompa Loompas.  In every representation of this story to date, there is one constant: the Oompas are little people.  This is simply not possible for the opera stage.  The music for the Oompa Loompas is some of the most interesting and difficult music in the score, so you just can't have a children's chorus running around as these characters.  They are too important.  So we found ourselves, fully-grown adult men, being thrust into the world of the Oompas... and it was awesome. 

What is really exciting about being the first "big" Loompas ever was we got to create the characters. The characterization of the Oompas that the Atlanta audience will see started with us in St. Louis.  We knew audiences would expect little people, so we countered that expectation by creating a sort of in-human and weird character in the Oompa Loompas.  The way they walk, the way they laugh, the way they interact with other characters: the audience will no longer feel like they are watching human adults. It was a lot of work, but some of the most fun I've ever had on stage... the sky was the limit.  We all had the motto that "the weirder, the better," and that really seemed to work in translating these characters to the opera stage. 

4. Musically speaking, what do you like about the composition? How does this opera translate the things we love from Roald Dahl's classic story into music?  It had been years since I read the book Charlie and the Chocolate Factory, so I bought a new copy to research this opera.  For anyone unfamiliar with the original story, it is filled with strange and bizarre scenarios and characters.   Peter did a fantastic job putting these unexpected oddities in human behaviors into a musical score.  The story really delves into the world of human behavior, focusing a lot on the horrible bratty behavior of four of the five children in the story.  

What I really love about this score is the way Peter references other eras in operatic composition.  For example, to have the gluttonous child, Augustus Gloop, sung as a tenor who milks every high note was a genius move.  Also, the gum-chewing, mile-a-minute girl who never seems to stop talking, Violet Beauregard, is a coloratura soprano, with moving notes that never seem to stop in speed or range.  It could very well be a Handel aria, and it's amazing to hear anyone sing some of the stuff he's written.  I think the audience will really love seeing and hearing these characters portrayed as singers.  And Charlie, he's the only character who is actually a boy - a boy soprano in fact.  It really adds to the purity of that sweet character that he is the only actual child on stage. 

But of course, my favorite music is that of the Oompa Loompas.  Peter created their music as a sort of Vaudeville interjection of commentary on the behavior of these kids that the audience is witnessing on stage.  It is the Oompa Loompas who end up teaching the lesson as each child meets his or her demise throughout the factory tour, and their music is just the best.

5. What do you want audiences to take away from this opera? What I really want the audience to take away from performances of The Golden Ticket is the lesson at hand.  We see such exaggerated versions of really heinous behavior by these children and their parents, but by the end of the opera, the audience is rewarded to see that Charlie, the real hero of the story, wins in the end.  His life is made better because he is GOOD.  

From a musical perspective, I hope the audience will discover something new about opera.  To this day, people who don't know much about opera are surprised to learn that there are operas that exist in English.  People still assume that opera is about the "fat lady" and Italian plots no one understands...but there is so much more to opera!  This opera is so accessible.  It is a story people know in our own language, and I hope that it will open people's eyes to the vast world of music and story that opera has to offer.  In the end, I hope it will create a whole new age of opera fans.  

 6. What are some of your favorite memories from past performances of The Golden Ticket? Really, my favorite memories were experiencing something new during each and every performance.  There were no rules to how this opera should be performed, so with each performance, we [tried to] create something special.  During the initial run, I don't think the Oompa Loompas had two performances that were alike.  Each night we found a new way to be weird and crazy, and it was a blast. 

The best memory I have is getting nine guys together on stage to see who could be the weirdest.  How often do you get to do that?  Our first time in costume, we transformed.  All of a sudden, it wasn't Adam, Jonathan, and Adrian...we became characters in a fantasy world.  When we took the show to Ireland, only two of us were returning Oompas, so the process started all over again.  What a thrill!  Each production of this opera became a new opportunity to find something different in this crazy world.  And I'm very excited to see what the talented Atlanta Opera does with this wonderful show.

© Opera Theatre of Saint Louis

© Opera Theatre of Saint Louis

© Cherokee Rose Productions

For more information on how you can get your own "golden ticket" to this opera, check out the Atlanta Opera's website.

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.

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

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.

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.

On the Cutting Edge of Opera

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.

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.

"The Walter Huff Magic..."

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.

BEHIND THE SCENES with Ashley Gilleland, Accounting Manager

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

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

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..."

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

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!