Atlanta Opera, The Marriage of Figaro, March 2026

The Marriage of Figaro

Mar 14, 17, 20, 22, 2026

Cobb Energy Performing Arts Centre

The brilliant music and quicksilver comedy of The Marriage of Figaro have led many to call it the “perfect opera.” I’m delighted to welcome you to this new to Atlanta production, a sparkling staging that reveals both the wit and humanity of Mozart’s masterpiece. Carried by a cast of remarkable singing actors, every vocal and dramatic detail lands with vivid immediacy. In a moment when questions of class, gender, and justice again shape our public life, Figaro’s faith in wit, courage, and the dignity of ordinary people feels more timely than ever—and it’s a privilege to share it with you tonight.

This season continues that spirit of urgency and risk. We’ve expanded what an opera company can be—from our genre-bending collaboration on Fiddler on the Roof (which sold out 45 performances at the Alliance Theatre) to presenting Philip Glass and Jean Cocteau’s La Belle et la Bête, fusing live music and cinema. Later this spring, we return to Puccini’s Turandot with a grand new production marking its centennial, and we complete our first-ever RING cycle with Götterdämmerung—a historic milestone, the first performance of both this opera and the full Ring in Atlanta and the South. We still remain deeply committed to new work. Our 96-Hour Opera Project has matured into the NOW Festival, featuring five new short operas, and the world premiere of Water Memory at Georgia Tech’s Ferst Center. Together, these projects keep opera in living dialogue across genres and forms.

As we look ahead, our new home at the Molly Blank Center for Opera and the Arts will give architectural form to this philosophy of openness. Our mainstage productions will continue here at Cobb Energy Centre, while the Molly Blank Center, opening in fall 2027, will become a dedicated companion campus for chamber opera, musicals, cabaret, film, recitals, and hybrid work. With two flexible performance spaces—a recital hall and a 6,000 square foot immersive theatre—the Center will be a home where opera lives as an ongoing conversation between stories, styles, spaces, and communities. This evolution would not be possible without your support, dear audience, so sit back, enjoy the show, and join us for the adventures ahead.

Tomer Zvulun

Carl W. Knobloch, Jr. General & Artistic Director

COMPOSER W.A. Mozart

LIBRETTIST Lorenzo Da Ponte BASED ON “La folle journée, ou le Mariage de Figaro” (“The Mad Day, or The Marriage of Figaro”) by Pierre Beaumarchais FIRST PERFORMANCE May 1, 1786—Vienna, Austria, Burgtheater

VETERANS TICKET PROGRAM

The Atlanta Opera receives support from the City of Atlanta Mayor’s Office of Cultural Affairs and the Georgia Council for the Arts through the appropriations of the Georgia General Assembly. GCA also receives support from its partner agency—the National Endowment for the Arts. Funding for programming is provided by the Fulton County Board of Commissioners. THE ATLANTA OPERA IS GRATEFUL FOR PUBLIC SUPPORT FROM THE 2025-26 DISCOVERIES SERIES IS SPONSORED BY   The Molly Blank Fund of the Arthur M. Blank Family Foundation  WITH ADDITIONAL SUPPORT FROM The Livingston Foundation

CONDUCTOR Christopher Allen

DIRECTOR Stephen Lawless

SCENIC & COSTUME DESIGNER Leslie Travers

LIGHTING DESIGNER Thomas C. Hase

WIG & MAKEUP DESIGNER Melanie Steele

ORIGINAL PRODUCTION CHOREOGRAPHER Eric Sean Fogel

ASSOCIATE LIGHTING DESIGNER Natalia Carlson

ASSOCIATE CHOREOGRAPHER Gwynn Wolford

CHORUS MASTER Lisa Hasson

FILMED MEDIA Felipe Barral

CAST (IN ORDER OF VOCAL APPEARANCE)

FIGARO Brandon Cedel

SUSANNA Sydney Mancasola

DR. BARTOLO Patrick Carfizzi

MARCELLINA Marianne Cornetti

CHERUBINO Rihab Chaieb

COUNT ALMAVIVA Luke Sutliff

DON BASILO/DON CURZIO Wayd Odle*

COUNTESS ROSINA ALMAVIVA Iulia Maria Dan

ANTONIO Kyle White*

BARBARINA Amanda Sheriff†

SERVANTS, PEASANTS, VILLAGERS The Atlanta Opera Chorus

SUPERNUMERARIES Jerry Hunter, Anthony Madore, David van Mersbergen, Spiro Winsett (captain)

ASSISTANT CONDUCTOR Maura Tuffy

ASSISTANT DIRECTOR Stephanie Smith

ASSISTANT DIRECTOR José Israel Garcia, Jr.*

MUSICAL PREPARATION Nyle Matsuoka, Elena Kholodova

CALLING STAGE MANAGERS Jen Shaw, Caitlin Denney-Turner

ASSISTANT STAGE MANAGERS Aletha Saunders, Lily Welsh

PROJECTED TITLES BY Jeremy Sortore

PROJECTED TITLES OPERATED BY Brendan Callahan-Fitzgerald

Approximate runtime: 3 hr, 15 min, including one intermission: Act I & Act II: 95 min | Intermission: 25 min | Act III & Act IV: 75 min

Performed in Italian with English supertitles

*Member of The Atlanta Opera Studio | †Alum of The Atlanta Opera Studio

Significant support for The Atlanta Opera Studio Artist Program from the Donald & Marilyn Keough Foundation, John & Yee-Wan Stevens, and Jerry & Dulcy Rosenberg.

Scenery for this production was constructed by Lyric Opera of Kansas City. Costumes for this production were constructed by Kansas City Costume Company. This production is jointly owned by Lyric Opera of Kansas City, Opera Philadelphia, San Diego Opera, and Palm Beach Opera.

All I Need To Know I Learned from Comic Opera

WRITTEN BY Jonathan Dean

The Act II Finale comes to a rousing peak as the Countess, Figaro, and Susanna stand off against Bartolo, Marcelllina, Basilio, and the Count.

In the history of comedy, The Marriage of Figaro owes its special place to its extraordinarily perfect balance of humor and wisdom. Its philosophy, when embraced, can bring to lowly mortals a nearly divine joy. Among Figaro’s chief lessons:

PEOPLE ARE WEAK. BUT THAT’S ALSO WHY WE’RE LOVEABLE.

We go to tragedy to experience pity and fear as we witness how the mighty have fallen. But when we go to comedy, watching a bunch of idiots screw up their lives makes us supremely happy. We may admire or respect the mighty martyrs of tragedy; but we love the delightful, deluded dopes of comedy. Why is it so easy to connect with them? Because they’re just as flawed as we are. We recognize Figaro’s conceit, the Countess’s passivity, Cherubino’s raging hormones, Susanna’s bossiness, Bartolo’s pompous arrogance, and the Count’s quick temper and wandering eye. And the golden rule of

comedy offers consolation: we know that no matter how ridiculous these people are, how foolish their choices, a happy ending awaits them.

THERE’S A LOT GOING ON. PAY ATTENTION!

The Marriage of Figaro rewards those who keep their eyes and ears open and think on their feet. Figaro, for instance, scores big at the end because he catches every ball that comes his way. He observes Cherubino jump out the window, notices the Count prick his finger with the pin, even sees through Susanna’s disguise in the darkness of the garden. (He wins that little game, first by playing along, to get back at her for tormenting him; and then by instantly transforming her fury into affection with an argument she can’t refuse: those magic words, “I recognized the voice I love.”)

Meanwhile the Count, Figaro’s antagonist in this comic plot, loses points because he’s just not that quick on the uptake. He has a hard time noticing Cherubino, who’s like his shadow, hiding everywhere he goes; he falls for the ruse of Figaro’s letter, and he bets on the wrong horse when he supports Marcellina. More damningly, he underestimates Susanna and fails to recognize his own wife, even when he’s making love to her. Lucky for him, everyone around him understands that despite all his bluster, he’s harmless, so it’s easy for them to love and forgive him.

NOTHING IS CERTAIN.

BUT

IF YOU CAN ADAPT, YOU’LL SURVIVE.

Characters in comic operas usually announce their desires, goals, and plans early on. But nothing ever goes according to plan. You think you’re singing a duet? It’ll turn into a trio (then a quartet, a quintet, and so on and on, as more and more unwelcome people crowd into wherever you are). No sooner has Character A hidden behind a curtain upstage left, than someone else will enter and hide behind a chair downstage right. Life in comic opera is constant chaos; it’s sailing in rough seas, and it’s not enough just to keep from drowning: the successful character learns how to surf. Cherubino has the right idea. He seizes every possible opportunity, whether that means kissing any available woman or going for the window when the door is locked. The Count and Figaro want to make a man of him? He goes along with it. And a few minutes later, Susanna and the Countess want to transform him into a girl? Why not! He gives everything the old college try, and at least earns an ‘E’ for effort.

A scene from The Atlanta Opera’s 2015 production of The Marriage of Figaro, featuring Jason Ferrante as Don Basilio, John Moore as Count Almaviva, and Lauren Snouffer as Susanna.

LOVE SHOWS US OURSELVES.

When a mirror isn’t available, you need a lover in order to see yourself and learn who you are. As Cherubino sings in his brilliantly paired arias, he doesn’t know who he is or what he’s doing anymore; but perhaps the ladies, who know what love is, can teach him. All personal growth in this opera is accomplished through the mechanism of love. Bartolo and Marcellina are transformed when they finally acknowledge the love that connects them to each other and to Figaro. Despite the cooling of their original ardor, the Count and Countess need each other desperately. Figaro is only Figaro because Susanna forces him to stay on top of his game. And without Figaro’s jealousy and mistrust, Susanna would never sing her Act Four love song—a fake, a cheat, and a ruse, but simultaneously the most sincere love music in the opera and her one opportunity to figure out who she really is.

FORGIVENESS MAKES THE WORLD A GREAT GOOD PLACE.

Dr. Bartolo was the villain of this opera’s prequel, Barber of Seville Marriage of Figaro Count, and Countess Rosina for getting the better of him: “Forgiveness is for cowards,” he sings. But he learns better. The Marriage of Figaro conspicuously few moments of darkness or minor keys. Its crucial, final moment of forgiveness makes this opera’s extreme happiness possible. In the context of the plot, it may be possible to dispute the wisdom of that ultimate act

TOGETHER, LET’S MAKE A

DIFFERENCE IN THE LIVES OF OUR NATION’S HEROES

The Home Depot Founda tion is proud to partner with The Atlanta Opera to honor our U.S. militar y and their families.

A promotional press photo from The Atlanta Opera’s first-ever production of The Marriage of Figaro in 1990, featuring Andrew Wentzel as Figaro, Jennifer Ringo as Susanna, David Malis as Count Almaviva, and Teresa Hopkin as Countess Rosina.

of forgiveness. But Mozart’s music for that scene lifts us out of the plot. None of its twists and turns matter anymore; what matters now, and we hear it, is that that spring of love will never run dry.

GOD MUST EXPERIENCE CREATION AS A MAGNIFICENT ENSEMBLE COMEDY.

None of the characters in The Marriage of Figaro really understands everything that happens on this exhausting, baffling, wonderful day. But we in the audience do. The clockwork brilliance of Beaumarchais’s plot, the luscious lines of Da Ponte’s verse, and Mozart’s effortlessly perfect music combine to create an adorably entertaining whirligig. We’ll never get tired of winding up this toy and playing with it; it offers a bliss that can only be described as divine. Don’t you think that’s what God feels when smiling down upon creation, watching our lives, and listening to the song of all our hearts? I just hope we put on half so good a show.

Synopsis

COMPILED BY Michelle Winters

Marcellina, Bartolo, Figaro, and Susanna—a recently formed happy family—begin to plot revenge on the Count.

ACT I opens in a room being prepared for Figaro and Susanna’s wedding. Figaro happily measures the space in the buoyant aria “Cinque, dieci,” while Susanna admires her wedding veil. Their joy is threatened when Susanna reveals that Count Almaviva intends to revive the abolished droit du seigneur (“Right of the Master”) to seduce her before the wedding. Figaro responds with mock bravado in “Se vuol ballare,” a deceptively light aria that signals his resolve to outwit his master.

Dr. Bartolo and Marcellina enter with plans of their own. Marcellina holds a contract stating that if Figaro cannot repay a debt, he must marry her instead. Bartolo, still seeking revenge on Figaro for past humiliations, joins the scheme. Their plotting culminates in Marcellina’s sharp aria “La vendetta,” dropping with comic malice.

The act introduces Cherubino, the adolescent page hopelessly in love with all women, whose aria “Non so più cosa son” captures youthful longing in a rush of breathless melody as he reveals his amorous yearnings for the Countess. When the Count unexpectedly appears intending to pursue Susanna, Cherubino must hide—

leading to a farcical sequence of entrances and exits. The act builds to a jubilant finale as villagers arrive to celebrate the wedding. Figaro cleverly involves the Count in a public renunciation of the droit du seigneur, compelling him to give his protection to the bride. The villagers celebrate, Figaro enjoys a brief victory, the Count is momentarily trapped by his own reputation, Cherubino is banished into military service, and Mozart’s mastery of large-scale comic construction is firmly established.

ACT II shifts to the Countess’s chamber and deepens the opera’s emotional stakes. Alone and melancholy, the Countess mourns her husband’s infidelity in “Porgi, amor,” one of Mozart’s most poignant laments. Susanna, Figaro and the Countess plot to expose the Count by luring him into the garden with news of an alleged assignation between the Countess and a lover and then trap him into revealing his own licentious impulses toward Susanna. The central plot twist is the conspirator’s trick of dressing Cherubino as Susanna—setting a trap that begins playfully but grows increasingly complicated. Before Cherubino joins the plot, he offers a tender song “Voi che sapete,” sung to the Countess, blurs lines between comedy and genuine emotion. The plot twists again, when the Count unexpectedly returns, Cherubino hides, doors are locked, identities confused,

Figaro and the Supers help prepare the young Cherubino to enter into military service with our favorite Barber of Seville showing off the very skills that first made him famous.

The young page, Cherubino, reveals to Susanna that he loves all women, but the Countess most of all.

and truth narrowly evaded. The extended Act II finale is a tour de force, layering surprise upon surprise as characters enter one by one, culminating in the Count’s temporary humiliation and a fragile reconciliation.

ACT III brings shifting alliances and deeper intrigue. The Count puzzles over the earlier antics and feeling he’s been duped, plots revenge, suspecting Susanna’s loyalty and still attempting his seduction. He arranges a rendezvous with her in the garden. Susanna’s apparent submission to the Count in the duet “Crudel! perché finora” is overheard by Figaro, who mistakenly believes himself betrayed—not knowing that the Countess and Susanna have already planned to trade places in the garden. Meanwhile Figaro faces a legal challenge from Marcellina, who claims he must marry her unless he can repay a debt. The Count, increasingly infuriated over being mocked by his servants, intends to force Figaro into marriage with Marcellina. The courtroom scene resolves in one of opera’s great comic reversals when Figaro is revealed to be the long-lost son of Marcellina and Bartolo. Susanna enters the scene, misunderstands the affection between Marcellina and her long-lost son, and is only convinced by one of Mozart’s most charming sextets, “Riconosci in questo amplesso.” Later, the Countess reflects on lost love in the majestic aria “Dove sono,” expressing sorrow tempered by hope. The crazy game of disguises continues to swirl around the Count as Cherubino, again disguised as a girl, shows up to flirt with all the ladies, especially Barbarina. Her love saves him as she implores the Count to allow them to marry.

His head spinning, the Count is then called upon to marry Susanna and Figaro. They depart with the intention of having a proper celebration that evening.

ACT IV, set in the garden at night, weaves together disguise, deception, and revelation. Figaro believes that Susanna is meeting the Count and warns of the deceptions of women in his great aria, “Aprite un po’ quegl’ occhi.” He then overhears Susanna sing the radiant aria “Deh vieni, non tardar” ostensibly addressed to the Count but filled with genuine affection for Figaro. Now, Susanna and the Countess change costumes and the action speeds up even more. Cherubino flirts with the faux Susanna (the Countess) and gets chased away by the Count, who starts his own courting of faux Susanna. (He is, of course, wooing his own wife without knowing it). Figaro pretends to flirt with the faux Countess, but he has penetrated the secret and knows she is Susanna (cross and double cross!) until Susanna boxes his ears. The opera builds to its moral center when the Count, exposed and humbled, begs forgiveness. The Countess grants it in the opera’s final ensemble, restoring harmony and affirming compassion over authority.

The Marriage of Figaro endures because it balances laughter with humanity, virtuosity with truth. Its revolutionary use of ensemble writing, its richly drawn characters, and its compassionate view of human frailty secured its place as one of the greatest operas ever written—and a cornerstone of the operatic repertory.

The wily Susanna has once again outwitted the Count, as the Countess stands stunned.

Twilight: A Season Note

WRITTEN BY Tomer Zvulun

A rendering from the The Atlanta Opera’s new production of Götterdämmerung, the final installment of the RING cycle.

The Marriage of Figaro is, at its core, a story about what happens when power is placed in the wrong hands. The Count lives in a world of privilege and entitlement, and he uses that status to pursue Susanna and to test Figaro, assuming their lives and bodies are his to command. Mozart and Da Ponte turn that abuse of power into comedy, but just beneath the laughter is something darker and painfully familiar. Shortly after the premiere in 1786, the world experienced the French Revolution.

We see a very different version of the same impulse in Turandot. There, a terrified princess builds an icy palace around herself, and her fear of intimacy is written in blood across her kingdom. Her need to control, leaves a trail of executions behind her. Premiering in 1926—exactly a 100 years ago—this opera stands on the edge of a century marked by world wars and the rise of Fascism.

In Götterdämmerung, we move into yet another world disfigured by power: the decaying world of the Gibichungs, led by a weak figurehead and quietly ruled by Hagen, a character who is pure manipulation. This degradation eventually leads to the twilight of the gods and a cataclysmic change in the world. The premiere in 1876—exactly 150 years ago—later became associated with a culture that prepared the ground for some of the darkest chapters of the twentieth century. In all three works, a society is bent out of shape by leaders who cannot master their own fear, greed, or desire.

I believe art should never be partisan. Our work is not to take a side, but to tell stories about human beings. I believe in this fiercely. There is nothing political about our spring season. Puccini, Mozart, and Wagner understood something that Shakespeare knew long before them: if you tell the truth about human nature, your story will feel contemporary in any century without naming a party, a policy, or a headline. That is why these stories travel so easily across borders and generations. The faces change, the costumes change, the news cycle changes, but the basic forces—power, fear of death, greed, lust, the possibility of redemption—remain stubbornly the same. Wagner had a specific name for this redemption. He called it redemption through love.

And this is exactly what these operas share: ending with love breaking through the chaos, providing a glimmer of hope. In Figaro, in Turandot, and in Götterdämmerung, love does not erase the damage, but it opens a door that offers a path out of division and brutality. Each finale, in its own way, insists that redemption is still possible. That is my hope for us as we live through our own unsettled time.

Our performances of The Marriage of Figaro represent the very best we know how to offer you as a leading opera company: extraordinary singers, an imaginative production, a committed orchestra led by a world-class conductor, and the craftsmanship of an entire team behind the scenes. Our standard is simple: what you see and hear should stand beside any opera house in the world. Our job is to tell timeless, universal stories that remind you that what you are seeing in the world is not new—and to suggest, through music and theater, that love can still tilt the balance.

Rendering of The Atlanta Opera’s new production of Turandot

CHRISTOPHER ALLEN CONDUCTOR

Recipient of The Sir Georg Solti Conducting Award, Christopher Allen is featured in Opera News as “one of the fastest-rising podium stars in North America.” He has led acclaimed operatic and symphonic performances with the Atlanta Symphony, Cincinnati Symphony, National Symphony, Kansas City Symphony, Oregon Symphony, Virginia Symphony, North Carolina Symphony, Orquestra Sinfônica do Estado de São Paulo, George Enescu Philharmonic, West Los Angeles Symphony, Cincinnati Opera, Los Angeles Opera, Opera Philadelphia, Opera Omaha, Opéra de Montréal, English National Opera, Lyric Opera of Chicago, Opera Theatre of Saint Louis, Lyric Opera of Kansas City, Washington National Opera, Detroit Opera, North Carolina Opera, Florida Grand Opera, Atlanta Opera, Des Moines Metro Opera, Daegu Opera House in South Korea, Korean Symphony Orchestra, and China National Opera Orchestra and Chorus. Allen’s career was launched by the Bruno Walter Conducting Award and Memorial Career Grant and has been fostered by Plácido Domingo and James Conlon, who brought him to Los Angeles Opera as Associate Conductor. At LA Opera, Allen led the musical preparation for the acclaimed The Ghosts of Versailles, which won a Grammy Award for Best Opera. Recognized as a Musical America Artist of the Month and one of their “25 Stars Still Rising,” Allen is also an International Opera Awards nominee, and recent recipient of the Young Alumni Award from the Cincinnati CollegeConservatory of Music. Allen demonstrates his commitment to education through his work with young artists at Los Angeles Opera, Ryan Opera Center at Lyric Opera of Chicago, Aspen Music Festival and School, New England Conservatory, Mannes School of Music, A.J. Fletcher Institute at University of North Carolina School of the Arts, and University of Missouri-Kansas City. He has been heard on NPR speaking about the importance of the arts in American

society. As an award-winning pianist, he has performed at Carnegie Hall, John F. Kennedy Center for the Performing Arts, on film in La voix humaine, starring Patricia Racette and directed by James Darrah, and in Emily, a production he created for Opéra de Montréal and performed at Wolf Trap. Allen’s artistic pursuits extend beyond his role as conductor. He is the Creative and Artistic Director of Fourth Wall Ensemble, an innovative new vocal ensemble, which he founded in 2023 and whose recent and upcoming highlights include performances at Carnegie Hall and Merkin Hall at The Kaufman Music Center, a collaboration with Death of Classical featuring works by Monteverdi and Caroline Shaw’s Partita for 8 Voices, a series at Power Station at Berklee NYC, and a residency at Avaloch Farm Music Institute. In 2024, Fourth Wall released two albums: Ad Manus, and Awake, and was featured in Jeff Beal’s The Cabinet of Dr. Caligari. Allen is a Recording Academy voting member, and serves on the Board of The Solti Foundation US.

STEPHEN LAWLESS DIRECTOR

Stephen Lawless was Director of Production for the Glyndebourne Touring Opera from 1986 to 1991, where his work culminated in an immensely successful production of Death in Venice, which was subsequently recorded by the BBC for television and video release. The production was revived at the 1992 Glyndebourne Festival. He made his début with the Kirov Opera in Leningrad producing Boris Godunov which was broadcast live on British television, the first ever live telecast of an opera from the Soviet Union to the U.K. His productions include Boris Godonov for the Vienna Staatsoper; Der Fliegende Holländer, Daphne, Capriccio, Semele and Cavalleria rusticana, and Pagliacci for the New York City Opera; Il trovatore, Vanessa, and L’elisir d’amore for Washington and Philadelphia Opera; Un ballo in maschera, Il trovatore, L’elisir d’amore, Don Pasquale, and Falstaff for

Los Angeles Opera; Capriccio and Boris Godonov for San Francisco Opera; Le nozze di Figaro and La bohème for the Lyric Opera Chicago; Le nozze di Figaro, Cavallaria rusticana, Pagliacci, La clemenza di Tito, Maria Stuarda, Anna Bolena, and Boris Godonov for Dallas Opera; Scarlatti’s Griselda for the Deutsche Staatsoper, Berlin; Boris Godonov and Un ballo in maschera for La Fenice in Venice; Orfeo, Tancredi and a double bill of Iolanta and Francesca da Rimini for the Theater an der Wien; Die Fledermaus for the Opera de Geneve; Falstaff and Die Fledermaus for Glyndebourne Festival Opera; Le nozze di figaro, Tosca, Der Rosenkavalier and Un ballo in maschera for the Hong Kong Festival; Peter Grimes, Die Fledermaus, Otello, and William Tell for Graz Opera; Acis and Galatea, Venus and Adonis, Dido and Aeneas, and Don Chisciotte in Sierra Morena for the Innsbruck Festival; Salome and Der Ring des Niebelungen for the Nürnberg Opera; Maria Stuarda for the Canadian Opera; L’elisir d’amore, Faust, and Carmen for Santa Fe Opera, Die Fledermaus for the National Performing Arts Centre in Beijing, Der Rosenkavelier for the Boshoi and Otello, Die Fledermaus for Korean National Opera, The Flying Dutchman for Washington National Opera, Handel’s Silla for the Opernhaus Halle; Romeo et Juliette in Santa Fe; Le nozze di Figaro for Kansas City and Philadelphia Opera; La clemenza di Tito for Opera Theater St Louis and Russalka for Magdeburg Opera. He received great critical acclaim for his production of Don Giovanni at the Metropolitan Opera, New York.

LESLIE TRAVERS

SCENIC & COSTUME

DESIGNER

Leslie Travers is an international set and costume designer based in London. His extensive work—which has included opera, dance, musical and drama productions—has graced the world’s most prestigious stages. His recent awards include the What’s On Stage Award for Best

Production with his design for I Puritani at the Welsh National Opera as well as Opera Event of The Year and The International Opera Award for Best Anniversary Production with his design for Grimes On The Beach at the Aldeburgh Music Festival. His work has been featured at La Scala (Manon Lescaut, Francesca da Rimini), The Welch National Opera (Carmen, I Puritani), Opera North (Billy Budd, Pleasure, The Marriage of Figaro, Albert Herring, Otello, Giulio Cesare, The Merry Widow, I Capuleti e I Montecchi, The Fortunes of King Croesus), Santa Fe Opera (Salome), and more. This production of The Marriage of Figaro has toured extensively with past productions at the Minnesota Opera, Lyric Opera of Kansas City, Opera Philadelphia, Opera San Diego, the Palm Beach Opera, and others. The Kansas City Star was prompted to offer “… Major kudos go to Leslie Travers, whose richly detailed, character-defining costume designs were sumptuous, his regal set design crafty and versatile.”

THOMAS C. HASE LIGHTING DESIGNER

Thomas C. Hase is an internationally recognized lighting designer who is known for dynamic designs in opera, new theatrical productions, and avant-garde dance. His design for the Tony-Award winning revival of Company on Broadway received critical acclaim. His work has been described as “superb” by The New York Times. Hase’s designs have been featured at many of the major opera companies in the United States, Europe, Canada, South America, and Asia. As resident lighting designer for Stadttheater Giessen in Germany, Hase produced more than 100 designs for theater, opera, and ballet. His work can be seen in several productions recorded for broadcast and distribution. Recordings of Company on Broadway and The Rise and Fall of the City of Mahagonny at LA Opera have been released on DVD. Concurrent with his many freelance projects, Hase is the resident lighting designer and director for the Cincinnati Opera Summer Festival.

NATALIA CARLSON ASSOCIATE LIGHTING DESIGNER

Natalia Carlson is a lighting designer and assistant lighting designer. She has recently wrapped up the Summer season as the Associate Lighting Director for the Cincinnati Opera. Productions included Rigoletto, Tosca, and Fiddler on the Roof. She is also the Assistant Lighting Director for Alvin Ailey American Dance Theater. Other recent projects in Atlanta include Beautiful: The Carole King Musical at City Springs Theater Company, The Magic Flute and The Bohème Project at Pullman Yards with The Atlanta Opera. She was a Hemsley Lighting Intern in 2023, where she worked with the San Francisco Opera, New York City Ballet, and Alvin Ailey American Dance Theater. She graduated from the University of Cincinnati CollegeConservatory of Music. Follow Natalia on Instagram @NataliaCarlsonLD.

MELANIE STEELE WIG & MAKEUP DESIGNER

Melanie Steele lives in Atlanta where she works with The Atlanta Opera, Fox Theatre, The Alliance Theatre, Atlanta Ballet, as well as working in film and television as a wig and makeup designer. Steele recently toured with the national Broadway tour of The Lion King. She has designed wigs and makeup for The Santa Fe Opera, Austin Opera, Central City Opera, Spoleto Festival USA, Baltimore Opera, Kentucky Opera, Michigan Opera Theatre, Bard SummerScape, Opera Festival of New Jersey, Opera Pacific, Opera North Carolina, and Saratoga Springs Opera. Some of Steele’s work can be seen in Opera News, Makeup Artist Magazine, Seventeen, TIME, Newsweek, glamour, Voyage Atlanta, IMDB, and Texas Monthly Magazine

ERIC SEAN FOGEL

ORIGINAL PRODUCTION CHOREOGRAPHER German-Iranian, Eric is a first generation American from Charleston, SC. Eric has been at the Glimmerglass Festival for 16 Seasons as the Head of Stage Movement and Choreography. He has created over 30 new productions for the festival. He is also a Guest Stage Director at the Metropolitan Opera and the Revival Director for Norma and The Magic Flute. World Premieres include: Klangwolke ’24 for the Brucknerhaus, The Lion, The Unicorn, and Me by Jeanine Tesori; Artus! Excalibur by Frank Wildhorn; Odyssey, Wilde Tales, Robin Hood for The GGF; Princess Butterfly for XSBN in China; and Songbird co-created with Jim Lowe and Kelley Rourke. A long-time collaborator of Francesca Zambello, his Kennedy Center credits include: Porgy and Bess; Songbird; Samson and Delilah; Don Giovanni; Candide; West Side Story; The Little Prince; Florencia en el Amazonas; The Lion, The Unicorn, and Me; and La Forza del Destino. Eric has also created new productions for: Opera Australia, Opera Bordeaux, Brucknerhaus Linz, Chicago Lyric Opera, Chicago Opera Theatre, Hawaii Opera Theatre, Houston Grand Opera, Lyric Opera Kansas City, Los Angeles Opera, Royal Opera of Versailles, Seattle Opera, Shakespeare Theatre Company, Théâtre du Capitole, Theater St. Gallen, and Washington National Opera- Kennedy Center. In Concert Dance, Eric was a member of the Metropolitan Opera Ballet for four years. He was also a member of Ben Munisteri Dance Projects for fourteen years; performing at Lincoln Center, BAM, The Joyce, and Dance Theatre Workshop. Eric also danced for Mark Dendy, and Donald Byrd/The Group. In Musical Theatre, Eric was on the National Tours of Hal Prince’s Evita (Tango Dancer), Disney’s Beauty and the Beast, and three productions of Jerome Robbins’ West Side Story: a European Tour, La Scala Opera, and an International Tour.

GWYNN WOLFORD ASSOCIATE CHOREOGRAPHER

Raised in Jonesborough, Tennessee, Gwynn Root Wolford received her dance training at Johnson City Ballet/CYB in East Tennessee; Central Pennsylvania Youth Ballet in Carlisle, PA; and various intensives. She has danced with the Louisville Ballet, Columbia Classical Ballet, Atlanta Ballet, and with Festival Ballet Providence, where she danced in such works as The Firebird, The Nutcracker, Romeo and Juliet, Cinderella, The Little Mermaid, Balanchine’s Allegro Brillante and Rubies, Rite of Spring, in Christopher Wheeldon’s The American, Up Close on Hope and in Viktor Plotnikov’s House of Bernarda Alba, The Widow’s Broom, The Soldier’s Tale, and Carmen. Her full repertoire also includes Coppelia, Giselle, The Brown-Forman and Atlanta Ballet’s The Nutcracker, La Bayadere, Swan Lake, Etudes and works by Tudor, Limon, Helen Pickett and Val Caniparoli. She’s performed in various music videos by Atlanta artists, including EarthGang. She is a teacher at Dancemakers of Atlanta and the Dance and Music Academy of Woodstock. She has been on staff at numerous ballet and dance schools as well as a guest teacher, ballet coach, and guest artist for various organizations. As a choreographer, she has set original works on both students and professionals, including recently an all new production of Peter and the Wolf for Dance and Music Academy of Woodstock. Mrs. Root Wolford has previously danced with The Atlanta Opera in the productions of La traviata, Pagliacci, The Kaiser of Atlantis, The Threepenny Carmen and The Threepenny Opera, and she was an original cast member of Tomer Zvulun’s Salome.

LISA HASSON

CHORUS MASTER

Chorus master, coach, educator and pianist, Lisa Hasson has garnered wide ranging experience and expertise working for opera companies and

conservatories throughout the United States. In 2004, Ms. Hasson began a long and successful relationship with the Des Moines Metro Opera, where she was recently named The Irene Graether Chorus Master and Director of Apprentice Artist Program. Founded in 1973 by artistic director emeritus Robert L. Larsen, the summer festival has established one of the oldest, largest and most respected training programs in the country. She was appointed director of the program in 2013. Initially hired as a pianist and coach, she became the company Chorus Master in 2007, and has since worked on over 60 productions. Under her leadership, the chorus and the young artists routinely receive national and international critical acclaim.Ms. Hasson has been principal music staff since at Kentucky Opera since 2008. Ms. Hasson was made music director of company’s Sandford Studio Artist Program in 2009 through 2024. Under her leadership, the program became nationally recognized as one of the leading young artist programs at a regional company. In 2011, Ms. Hasson was appointed Chorus Master, and has prepared over 40 productions with the company. In 2017 and 2018 she was a guest chorus master for The Atlanta Opera’s productions of Carmen and Turandot, and she is thrilled to be returning to the company to prepare the chorus for the first two mainstage productions of 2026 Since 2017, she has been on the opera coaching faculty at the Cincinnati College-Conservatory of Music, one of the leading opera programs in the country. Ms. Hasson received her Bachelor of Music in piano performance from McGill University in Montreal. She pursued advanced opera training at the Guildhall School of Music and Drama and the National Opera Studio in London.

MAURA TUFFY ASSISTANT CONDUCTOR

Praised for producing “monumental work” (New Classic LA), conductor and soprano Maura Tuffy has established herself as a dynamic artist. She has

appeared with the leading vocal ensembles of the US, including the Los Angeles Master Chorale, Seraphic Fire, Conspirare, Yale Choral Artists, Bach Collegium San Diego, and Ensemble Altera. She also sings with the Cathedral Choir at the Cathedral of St. John the Divine, NYC. Maura has been a soloist under the batons of acclaimed conductors such as Masaaki Suzuki, Gabriel Crouch, Simon Carrington, and David Hill, and with numerous ensembles including Bach Vespers at Holy Trinity Lutheran NYC, Yale Schola Cantorum, and the USC Percussion Group. Last season, she was a finalist in the Colorado Bach Ensemble Young Artist Competition, and in April, she will be a featured soloist in Bach’s St. Matthew Passion with the Princeton University Chamber Choir and The Sebastians. An avid performer of early and new music, Maura recently made guest conducting debuts with Beth Morrison Projects and Bach Vespers NYC. She led performances of Joby Talbot’s Path of Miracles across Southern California, which were recognized in the 2024 San Francisco Classical Voice Audience Choice Awards for Best Choral Performance. Upcoming highlights in the 2025-26 season include ensemble debuts with Apollo’s Fire Baroque Orchestra, The Clarion Choir, and True Concord Voices and Orchestra, as well as assistant conducting the world premiere of Gilgamesh, The Opera by Derrick Skye at Cerritos Center for the Performing Arts.

JOSÉ ISRAEL GARCÍA, JR. ASSISTANT DIRECTOR STUDIO ARTIST

José “Joey” Israel García, Jr. is a teaching artist and stage director from Brownsville, Texas. Their wide-ranging background includes artistic, technical, production, and administrative positions with The Glimmerglass Festival, Aspen Opera Theater and VocalARTS, PROTOTYPE Festival and Beth Morrison Projects, Des Moines Metro Opera, Red River Lyric Opera, Druid City Opera, Chicago Summer Opera, Florida State Opera, Bravo Opera Company, Spotlight

on Opera, Camille Playhouse, Brownsville George Ramirez Performing Arts Conservatory, and the Harlingen Performing Arts Conservatory. García has directed new productions of Jason Robert Brown’s Songs for a New World (Camille Playhouse), Daniel Catán’s La hija de Rappaccini, Lee Hoiby’s The Scarf (Florida State Opera), and Dan Shore’s The Beautiful Bridegroom (Chicago Summer Opera). Most recently, they served as a Resident Artist at The Glimmerglass Festival, assisting Louisa Proske on a new production of Puccini’s Tosca.

PATRICK CARFIZZI

DR. BARTOLO

Patrick Carfizzi, bassbaritone, is praised for his “vibrant” performances (The New York Times), his “handsome” and “impressive bass” (Opera Today), and his “rich, agile sound” (Milwaukee Journal Sentinel). Carfizzi celebrates his 26th season at the Metropolitan Opera, where he has given over 450 performances. He opens their 2025-2026 season in the company premiere of Mason Bates’s The Amazing Adventures of Kavalier and Clay, directed by Bartlett Sher and conducted by Yannick Nézet-Séguin He makes his company debut at Atlanta Opera as Bartolo in Le Nozze di Figaro and sings his signature role, Dr. Bartolo in Il barbiere di Siviglia at both San Francisco Opera and San Diego Opera. Last season, he returned to the Met as the Sacristan in Tosca, conducted by Yannick NézetSéguin, Marco Armiliato, and Xian Zhang, alongside Sondra Radvanovsky, Lise Davidsen, and Aleksandra Kurzak over the course of thirteen performances. He sang Agata in Viva la Mamma and the title role in Cimarosa’s Il maestro di cappella at Florentine Opera, and he returned to the Met for Dr. Bartolo in Il barbiere di Sivigila, his first performance of this signature role at the company. In the summer months, he sang the title role in Don Pasquale at Opera Theatre of St. Louis in a production by Christopher Alden, conducted by Kensho Watanabe.

BRANDON CEDEL

FIGARO

Brandon Cedel, bassbaritone, highlights his 2025/26 season with performances of Masetto (Don Giovanni) for the Metropolitan Opera, Father Palmer in Kevin Puts’ Silent Night in his debut for the Houston Grand Opera, and the title role in The Marriage of Figaro here with The Atlanta Opera. Recent appearances include the title role in Le nozze di Figaro, Bottom (A Midsummer Night’s Dream), Leporello (Don Giovanni) and Argante (Rinaldo) for the Glyndebourne Festival; the title role in Hercules for the Karlsruhe Handel Festival and the Komische Oper, Berlin; the title role in Don Giovanni for the Atlanta Opera; Dan Brown in the world premiere of The Hours with the Philadelphia Orchestra/Yannick Nézet-Séguin and subsequently at the Metropolitan Opera; Masetto (Don Giovanni) for the Lyric Opera of Chicago; Collatinus (The Rape of Lucretia) and Magnifico (La Cenerentola) for the Boston Lyric Opera; the title role in Le nozze di Figaro for Opera Philadelphia and the Stuttgart Staatsoper; Goulaud (Pelléas et Mélisande) for Des Moines Metro Opera and Colline (La bohème) and Basilio (Il barbiere di Siviglia) for the Canadian Opera Company. His many roles for Oper Frankfurt include Masetto, Sprecher (Die Zauberflöte), Lieutenant Ratcliffe (Billy Budd), Argante, Ariodate (Serse), Cesare Angelotti (Tosca), Brander (La damnation de Faust) and Achior in Mozart’s La Betulia Liberata. Cedel’s recent concert appearances include Music of the Baroque with Jane Glover, The Handel & Haydn Society with Jonathan Cohen and the Santa Fe Symphony Orchestra under Guillermo Figueroa.

RIHAB CHAIEB

CHERUBINO

Rihab Chaieb, mezzosoprano, is capturing international attention with her compelling stage presence and vocal versatility. The

2025-26 season sees Chaieb make a series of house debuts, including Nefertiti in Glass’ Akhnaten, for the Gran Teatre del Liceu, the title role in Carmen for Montreal Opera and Charlotte in Massenet’s Werther for the Teatro Cervantes de Málaga. Elsewhere Chaieb returns to the Bayerische Staatsoper as Maddalena in a new production of Verdi’s Rigoletto. In the last season, Chaieb returned to LA Opera as Dorabella (Cosi Fan Tutte), the Metropolitan Opera as Maddalena (Rigoletto), Canadian Opera Company as Fenena (Verdi’s Nabucco), made her house debut with Opera Australia as title role Carmen and returned to the Bayerische Staatsoper as Lola in a new production of Mascagni’s Cavalleria Rusticana. Recent operatic highlights include the title role in a new production of Carmen at Glyndebourne Festival and for the BBC Proms, Chaieb’s debut at Opernhaus Zürich as Charlotte (Werther), her LA Opera debut as Cherubino (Le nozze di Figaro) under James Conlon, and her debut at Washington National Opera & Seiji Ozawa Music Academy as Dorabella (Così fan tutte). Other operatic successes include title role of Carmen for Canadian Opera Company, Palm Beach Opera, Oper Köln & Calgary Opera, Lola (Cavalleria Rusticana) with Dutch National Opera, Dorabella (Così fan tutte) for Santiago de Chile, Maddalena (Rigoletto) and Offenbach Fantasio for Opéra National de Montpellier, Rosina (Il barbiere di Siviglia) at Cincinnati Opera, and Kasturbai in Glass’ Satyagraha and Charlotte (Werther) for Opera Ballet Vlaanderen. Elsewhere, Chaieb has sung Penelope (Il ritorno d’Ulisse in patria) on tour and for a recording with Ensemble I Gemelli, and Carmen in concert for her debut with the Quincena Musical de San Sebastián. She has created the role of Claire in the world premiere of Melancholia with the Royal Swedish Opera, La mère Meryem in Jost’s Voyage vers l’espoir for Grand Théâtre de Genève & gave the world premiere of Tarik O’Regan’s The Phoenix in her debut for Houston Grand Opera.

MARIANNE CORNETTI

MARCELLINA

Marianne Cornetti is internationally recognized as one of the foremost Verdi mezzo-sopranos of her generation, acclaimed for performances of extraordinary vocal power, dramatic intensity and emotional depth. Her signature portrayals include Amneris in Aida, Azucena in Il trovatore, Lady Macbeth in Macbeth and Princess Eboli in Don Carlos, roles she has brought to many of the world’s leading opera stages. Critics have praised her commanding presence and richly expressive voice, noting both its searing timbre and remarkable flexibility. Cornetti’s career has taken her to an array of prestigious houses and festivals, including Teatro alla Scala, the Metropolitan Opera, Vienna State Opera, Deutsche Oper Berlin, Gran Teatre del Liceu, Arena di Verona and the Bregenz Festival. Her Azucena has been especially celebrated in performances across Europe, North America and Asia, while her Amneris has earned ovations for its vocal authority and dramatic nuance. Recent seasons have showcased her versatility across repertory. Highlights include Princess Eboli in Tokyo and major European capitals; Un ballo in maschera at the Royal Opera House; Dame Quickly in Falstaff in Spain and the United States; Fidès in Le prophète in Essen; Jezibaba in Rusalka with Minnesota Opera; and Ulrica in Un ballo in maschera with Deutsche Oper Berlin. She has also appeared at the Carnegie Hall in Verdi repertoire. Cornetti’s artistry extends into Wagner and verismo. She sang her first Wagnerian role, Ortrud in Lohengrin, in Trieste, later adding Brangäne in Tristan und Isolde in Rome and reprising Ortrud in major international engagements. Her verismo performances include Santuzza in Cavalleria rusticana and Princess de Bouillon in Adriana Lecouvreur, roles that further demonstrate her dramatic range. An accomplished concert artist, Cornetti appears frequently in works such as Verdi’s Requiem, Beethoven’s Ninth Symphony, Rossini’s Stabat Mater, Elgar’s Sea Pictures

and de Falla’s El amor brujo. Her recordings include Cilea’s L’Arlesiana and Puccini’s Edgar alongside Plácido Domingo, as well as a Parma recording of Verdi’s Don Carlo Cornetti began her professional journey in supporting roles at leading American companies before rising to international prominence. She now serves as artistic director of Pittsburgh Festival Opera and is a member of the voice faculty at Carnegie Mellon University, where she mentors the next generation of singers.

IULIA

MARIA DAN COUNTESS ROSINA ALMAVIVA

Iulia Maria Dan, soprano, is hailed for her “richly colored, beautifully finished but still radiantly clear sound” (Sydney Morning Herald) that has made her in demand in prestigious theaters, including the Bayerische Staatsoper, Gran Teatre del Liceu, and the Théâtre des Champs-Elysées. Recent standout roles include Mimì (La bohème), Contessa (Le Nozze di Figaro) and Desdemona (Verdi’s Otello). She made a series of important company debuts in recent seasons, including the Volksoper Wien as Micaëla (Carmen) and Teatro San Carlo di Napoli in a new production of Rusalka by Dimitri Tcherniakov. Further highlights include a return to one of her signature roles, Desdemona, at Israeli Opera and Micaëla at Hong Kong Arts festival. On the concert platform, she toured Europe together with Marc Minkowski and Les Musiciens du Louvre singing Rosalinde (Die Fledermaus). Recent highlights include Desdemona at Oper Leipzig; Mimì with Opera Australia, Semperoper Dresden and Staatsoper Hamburg; and Tatyana (Eugene Onegin) with Norwegian National Opera and Semperoper Dresden. Mozart—specifically the “Da Ponte trilogy”—has formed an important part of her seasons. She sang Donna Anna (Don Giovanni), Contessa (Le Nozze di Figaro) and Fiordiligi (Così fan Tutte) as part of a special Da Ponte Trilogy production with Les Musiciens du Louvre, with performances at the Ravenna Festival,

Opéra de Versailles, the Israeli Opera, Opéra national de Bordeaux and the Gran Teatre del Liceu, and sang Fiordiligi and Contessa at the Staatsoper Hamburg and Semperoper Dresden. Dan was a member of the ensemble at the Semperoper Dresden, Staatsoper Hamburg and the Bayerische Staatsoper—where she began as a member of their prestigious Opernstudio before embarking on a freelance career in 2021. A graduate of the National University of Music in Bucharest, Dan is a recipient of many prizes and awards at competitions such as Most Promising Young Artist at the Hans Gabor Belvedere International Singing Competition where she was also awarded the Graz Opera Special Prize and the Soroptimist Prize, the Hariclea Darclee International Singing Competition, and the Ionel Perlea National Song Competition. She is currently based in Hamburg and can be found on social media @iuliamariadan.

SYDNEY MANCASOLA SUSANNA

Sydney Mancasola, soprano, opens her 202526 season with a return to the Metropolitan Opera as Lisa in a new production of Bellini’s La Sonnambula, directed by Rolando Villazón and conducted by Riccardo Frizza. Other operatic highlights include Pamina in Barrie Kosky’s production of The Magic Flute conducted by James Conlon in his final performance as Music Director of the Los Angeles Opera and her return to the Lyric Opera of Chicago with the Lyric Opera Orchestra and Chorus in a new alt-rock commission by Billy Corgan entitled A Night of Mellon Collie and infinite Sadness, celebrating the 30th anniversary of Corgan’s groundbreaking album as frontman and founder of the Smashing Pumpkins. Mancasola’s notable opera debuts have included her house and role debut as Adina (Donizetti’s L’Elisir d’amore) at the Opéra National de Paris, her company debut at the Metropolitan Opera as Pamina (The Magic Flute), as well as her debut as Bess in a new production of Mazzoli’s Breaking the Waves at the Adelaide Festival Centre

in Australia and Edinburgh International Festival, where she was awarded a Herald Angel for her performance. She made her European debut with Komische Oper Berlin as the heroines in Offenbach’s Les Contes d’Hoffmann, subsequently returning to the house as Cleopatra in Handel’s Giulio Cesare, Pamina (Die Zauberflöte), title role in Handel’s Semele and Eurydice in Offenbach’s Orpheus in der Unterwelt

WAYD ODLE

DON BASILO/DON CURZIO

STUDIO ARTIST

Wayd Odle, tenor, is described by Opera News as a “standout.”

A GRAMMYnominated tenor whose voice is “ingratiatingly smooth” (bachtrack.com) and “fierce” (KCindependent). Mr. Odle has performed with Santa Fe Opera, Dallas Opera, Atlanta Opera, Lyric Opera of Kansas City, Wolf Trap Opera, and several others. Some of his awards include prizes from the Giulio Gari Foundation, the John Alexander National Vocal Competition, and The Metropolitan Opera Laffont Competition. A 2nd-year member of Atlanta Opera’s studio artist program, he will sing the roles of Don Basilio/Don Curzio in The Marriage of Figaro, Pang and the Persian Prince in Turandot, and 2nd Vassal in Götterdämmerung. He will also study-cover the role of Siegfried in the latter. This summer, Wayd will return to Wolf Trap Opera as a Filene Artist and appear in Tosca, as well as being a soloist in their recital series. He is the proud father of two beautiful children, and he shares his life with his wife and fellow opera singer mezzo-soprano Aubrey Odle.

AMANDA SHERIFF

BARBARINA

STUDIO ARTIST ALUM

Amanda Sheriff, soprano, recently completed her second year as a Studio Artist with The Atlanta Opera, where she

performed and covered multiple roles. In the 2025–26 season, she returns to The Atlanta Opera as Barbarina in The Marriage of Figaro, makes her musical theater debut as Sarah in Ragtime with Opera Montana, and returns to Opera Baltimore as Yniold in Pelléas et Mélisande. Her 2024 season featured a series of notable debuts, including Musetta (La bohème) at Opera Montana, Satirino/L’Eternità (La Calisto) at the Glimmerglass Festival, and Jess (The Listeners) with Opera Philadelphia. She also joined the Greenville Symphony as soprano soloist in Beethoven’s Ninth Symphony and closed the year as Papagena in The Magic Flute with The Atlanta Opera. Other recent highlights include Zerlina (Don Giovanni) with Opera Philadelphia and the world premiere of Steele Roots for Atlanta Opera’s 96-Hour Opera Project. Sheriff joined the Atlanta Opera Studio in 2023 following her time as a Young Artist at the Glimmerglass Festival, where she premiered the role of Calista in Rip Van Winkle. In 2022, she won first prize in the prestigious Lotte Lenya Competition and appeared with Opera Delaware and Opera Baltimore. Additional credits include performances with Des Moines Metro Opera, Florida Grand Opera, and Seagle Music Colony, where she was acclaimed for her Susanna in Le Nozze di Figaro

LUKE SUTLIFF COUNT ALMAVIVA

Luke Sutliff, baritone, is a top prize winner of the Metropolitan Opera’s 2025 Laffont Competition and an alumnus of the Houston Grand Opera Studio, where he quickly emerged as a standout young artist. He is now establishing himself internationally with a series of high-profile debuts and return engagements. This season, Sutliff returns to Atlanta following acclaimed role debuts as Marcello (La Bohème) and Papageno (The Magic Flute). His 2025–26 season includes major company debuts at the Teatro Municipal de Santiago de Chile in Werther, the Lyric Opera of Chicago in Pagliacci, and the Canadian Opera Company, where

he reprises his signature role of Figaro in The Barber of Seville. Last season, Sutliff returned to his home company, Houston Grand Opera, to sing his first Wolfram in Tannhäuser. He also appeared as Marcello with Opera Maine and made his concert debut with the Nashville Symphony as the baritone soloist in Mahler’s Symphony No. 8. Career highlights include creating the title role in Nico Muhly’s adaptation of Monteverdi’s Orfeo at the Santa Fe Opera, role and company debuts as Silvio (Pagliacci) with Lyric Opera of Kansas City and Figaro with Opera North Carolina and Seattle Opera, and Demetrius (A Midsummer Night’s Dream) with The Atlanta Opera. He returned to Santa Fe Opera in 2024 as Belcore (L’Elisir d’Amore). In concert, Sutliff has appeared with the NHK Symphony Orchestra in Tokyo under Fabio Luisi. His notable awards also include Second Prize at Operalia 2023, a Richard Tucker Career Grant (2024), and the Sara Tucker Study Grant (2022).

KYLE WHITE

ANTONIO

STUDIO ARTIST

Kyle White, baritone, has been praised for his excellent singing and acting in both modern and standard repertoire. His recent engagements include The Commentator in Scalia/ Ginsburg and The Learned Judge in Trial by Jury with Fargo Moorhead Opera, Prince Yamadori in Madama Butterfly with Opera San Antiono and Austin Opera, Marco in Gianni Schicchi with Salt Marsh Opera, the baritone soloist in Brahms’ Ein deutsches Requiem with the Conejo Valley Choral Society, joining The Santa Fe Opera as an apprentice singer to cover Marcello in La bohème and Marullo in Rigoletto, his role debut as Marcello in La bohème with Madison Opera, and Kenny Kincaid in The Cook-Off with Dayton Opera. Other recent performances include Papageno in Die Zauberflöte with Annapolis Opera, and Valentin in Faust, Guglielmo in Così fan tutte, William Dale in Puts’ Silent Night with Wolf Trap Opera.

Studio Artist Program

This season, singers Wayd Odle and Alexis Seminario return for a second year in the program, with Ilanna Starr and Kyle White as the freshman singers. Joining the vocalists will be stage director José Israel García, Jr.

Each of the Studio Artists is an early career professional with significant training and stage experience, some with lead performances and major concert appearances on their resumé.

The program builds on The Atlanta Opera’s commitment to provide opportunities for performers at all stages in their careers.

Throughout the season, these artists will have the opportunity to work with established performers and coaches

ALEXIS SEMINARIO soprano

KYLE WHITE baritone

to improve their skills in all aspects of their field. Master Vocal Teacher Laura Brooks Rice has been part of the Studio Artist program since 2021 and is an acclaimed performer and voice teacher and acting coach.

An experienced group of coaches and clinicians, including Principal Guest Voice Teacher David Okerlund, are engaged in the training and support of the Studio Artists.

The Atlanta Opera is grateful for the support of the young artist program from the Donald and Marilyn Keough Foundation, John and YeeWan Stevens, and Jerry and Dulcy Rosenberg.

ILANNA STARR mezzo-soprano

JOSÉ ISRAEL GARCÍA, JR. stage director

WAYD ODLE tenor

Memory Blooms: Water Memory (Jala Smirti)

WRITTEN

BY

Jessica Kiger

Kitty Brazelton (left), composer, and librettist Vaibu Mohan embrace as they are announced as the winners of the 2025 96-Hour Opera Project for their composition Water Memory (Jala Smriti).

In Water Memory (Jala Smriti), memory takes on a life of its own: singing and blooming in unexpected ways. The opera marks the third world premiere to emerge from the New Opera Works Festival’s (NOW Festival) 96-Hour Opera Project, an initiative of The Atlanta Opera dedicated to championing new voices and stories that speak directly to our time. With its intimate focus on dementia, caregiving, and family dynamics, Water Memory (Jala Smriti) will resonate deeply with anyone who has loved, cared for, or worried about someone experiencing memory loss. Written by composer Kitty Brazelton and librettist Vaibu Mohan, the work approaches this universal experience with empathy and nuance, illuminating both the challenges and the tenderness that arise when roles within a family begin to shift.

Water Memory (Jala Smriti) centers on Janani, a proud mother in the early stages of dementia. She raised her children, daughter Malli and son Chandru, with devotion and resolve, challenging them to grow into independent adults. Now, as Janani enters her twilight years, her world begins to change. Her children must step into the role of caregivers, navigating love, responsibility, and disagreement as they face her illness together.

Librettist Vaibu Mohan writes, the opera “poses difficult questions that are all too familiar to many adult children

and their aging parents—questions that do not have easy answers.” With “touchingly lyrical and honest poetry and music that paints a vivid picture where memory and technology collide,” Water Memory (Jala Smriti) becomes “a meditation on love, anticipatory grief, and hope for a better tomorrow.”

The roots of the opera are deeply personal for both creators. Mohan came to opera through The Atlanta Opera’s 96-Hour Opera Project. “When I began this journey, opera was a foreign language,” she recalls. “I applied to the 96-Hour Opera Project thanks to the recommendation of a friend and it gave me one of the greatest gifts I never knew I needed.” Being paired with composer Kitty Brazelton, she adds, “was another gift—one that bridged generations, cultures, and artistic backgrounds.”

Mohan grew up in Arizona with Indian parents, surrounded by Carnatic music and dance, and built her career in musical theater. Brazelton’s background includes singing in rock bands, classical composition, and academia. “Despite our differences,” Mohan writes, “the project offered a unique chance to share our individual perspectives, and what we eventually discovered was something deeply personal and uniting.”

That shared ground was grief and recognition. Both artists had witnessed beloved older female relatives—Mohan’s grandmother and Brazelton’s mother—decline with dementia. “This shared experience became the foundation for our opera,” Mohan explains, “and it was from this vulnerable starting point that our story began to take shape.”

From that foundation emerged one of the opera’s most striking elements: MPO, the Memory Process Operator, an AI designed to help preserve Janani’s memories. Rather than depicting technology as cold or threatening, the opera imagines MPO as a companion. One that learns Janani’s words and melodies as her memory falters.

In the end, Water Memory (Jala Smriti) is as much about connection as it is about memory. “This project became more than just a collaboration,” Mohan reflects. “It became a bridge between our worlds.” Brazelton echoes that sentiment writing: “Our collaboration turned into a triumph in itself.”

Tender, imaginative, and unafraid to sit with uncertainty, Water Memory (Jala Smriti) offers audiences something rare: an opera that confronts dementia and caregiving honestly, while still insisting on beauty, compassion, and hope.

PERFORMANCE INFORMATION

Water Memory (Jala Smriti) is presented as part of The Atlanta Opera’s NOW Festival in June at GA Tech’s Ferst Center. Full performance details, dates, and ticket information are available at atlantaopera.org/now

CHORUS MASTER

Lisa Hasson

SOPRANO

Jessica Crowell

Nicole Lewis

Blair Lipham

Natalie Rogers

Tiffany Uzoije

MEZZO-SOPRANO

Madison Chambers

Melissa Godbee

Allison Nance

Amber Tittle

Laurie Tossing

CHORUS PERSONNEL MANAGER

Jessica Wax

VIOLIN

Peter Ciaschini

The Loraine P. Williams Orchestra

Concertmaster Chair

Helen Kim Assistant

Concertmaster

Fia Durrett Principal Second Violin

Adelaide Federici Assitant Principal Second Violin

Chelsea Cline

Edward Eanes*

Virginia Fairchild

Felix Farrar

Sally GardnerWilson

Robert Givens

Patti Gouvas

Lisa Morrison

Patrick Ryan

Jessica Stinson

Rafael Veytsblum

Serena Scibelli†

Mayu Sommovigo†

Elonia Varfi†

VIOLA

William Johnston Principal

Catherine Allain

Assistant Principal

Ryan Gregory

Julie Rosseter

Joli Wu*

Lucy Gelbert†

Melissa Nabb†

CELLO

Charae Krueger

Principal

Barney Culver Assistant Principal

David Hancock

Cynthia Sulko

Yuliya Kim†

Grace Sommer†

BASS

Daniel Tancredi* Principal

Emory Clements

Acting Principal

Bailey Bennett†

Jarod Boles†

Zachary Hobin†

FLUTE

James Zellers

Principal

Kelly Bryant*

Erica Pirtle† double piccolo

TENOR

Matthew Boatwright

Ethan Godfrey

Grant Jones

Cameron King

Eric Mask

OBOES

Christina Gavin Principal

Dominic Bernard

CLARINET

David Odom Principal

John Warren

BASSOON

Marissa Takaki Principal

Debra Grove

FRENCH HORN

David Bradley* Principal

Jason Eklund Acting Principal

Mackenzie Newell†

TRUMPET

Yvonne Toll-Schnieder Principal

Alexander Freund

TROMBONE

William P. Mann* Principal

Richard Brady* bass trombone

BASS

John Arnold

Maxwell Clements

Ben Longo

Jason Royal

Brandon Stephens

TUBA

Donald Strand* Principal

TIMPANI

John Lawless Principal

PERCUSSION

Michael Cebulski* Principal

HARP

Susan Brady* Principal HARPSICORD

Christopher Allen†

PERSONNEL MANAGER

James Zellers

Musicians employed in this production are represented by the American Federation of Musicians of the United States and Canada.

*Core Musician On Leave †Non-Core Musician

Lifetime Tuned to Opera

Milton Sams Shares His Love for Opera

For Milton Sams, opera has been a constant melody running through every chapter of his life; a source of comfort, joy, and connection that has only deepened with time.

His love for vocal music began in childhood, sparked by a transformative moment hearing Handel’s “Hallelujah” chorus for the first time. Milton asked his parents to take him to see it performed live, igniting a passion that would shape his life. From there he began collecting cherished opera records and sang in his high school glee club, even winning the “Choir Boy of the Year” award his senior year. This passion continued within the Men’s Glee Club at the University of Georgia, where he was surrounded by music majors who further opened his ears to opera.

After graduating, Milton became a devoted attendee of the Metropolitan Opera tours that came through Atlanta. By the time the Met tours ended, He had “caught the bug” and turned to The Atlanta Opera, following the company through its various performance venues to its grand opening of the Cobb Energy Performing Arts Center.

Beyond the music itself, Milton has always loved the sense of community opera creates. He delights in discovering neighbors and acquaintances at performances whom he never would have guessed were opera lovers, finding that shared passion brought people closer together.

Today, Milton tunes into The Atlanta Opera livestreams and keeps the Metropolitan Opera channel running on SiriusXM. He’s shared his love of opera to his granddaughter, reminding her not to worry about understanding everything the first time: “the more you listen, the more you love it.”

After decades of subscribing and donating, Milton decided to deepen his commitment with a bequest to The Atlanta Opera. When asked what he would tell future operagoers about why he made this gift, Milton’s response was heartfelt: “Be glad you’ve still got it! It’s an important thing not to take for granted.” He hopes future generations will continue discovering opera in whatever ways the digital age makes possible, preserving an art form he considers invaluable. Through his legacy gift, he ensures that the music that has enriched his entire life will continue to move, comfort, and connect audiences for generations to come.

Milton Sams enjoying a successful day on the river, proudly holding his catch.

To learn how you can join Milton Sams in support of The Atlanta Opera, please contact Jonathan Blalock at 336-512-6832 or jblalock@atlantaopera.org.

CRESCENDO CAMPAIGN FOUNDERS

The Atlanta Opera gratefully acknowledges the generous supporters bringing the Molly Blank Center for Opera and the Arts to life. These founders have pledged gifts of $10,000 or more in support of this transformative capital project.

Mr. & Mrs. James Anderson

The Molly Blank Fund of The Arthur M. Blank Family Foundation

Atlanta Music Festival Association Fund of Community Foundation of Greater Atlanta

Bryan & Johanna Barnes

Laura & Cosmo Boyd

Harold Brody & Donald Smith

Anonymous Change Logic

The Coca-Cola Company

Matt & Kate Cook

The Jim Cox, Jr. Foundation

Mr. Robert P. Dean & Mr. Robert Epstein

Dr. Jeannette Guarner & Dr. Carlos del Rio

Anonymous

Mr. & Mrs. Robert G. Edge

Sally & Hank Fielding

Dr. Donald J. & Janet Filip

Georgia Power Foundation, Inc

Mr. Howard W. Hunter

- Gramma Fisher Foundation

Kevin Greiner & Robyn Roberts

Dr. & Mrs. Alexander Gross

Mr. John Haupert & Mr. Bryan Brooks

Gail G. Johnson

Donald & Marilyn Keough Foundation

*Mr. & Mrs. Carl W. Knobloch, Jr.

Lettie Pate Evans Foundation

Mr. James B. Miller, Jr.

Talia & John Murphy

Mr. & Mrs. Richard P. Nicholas III

Victoria & Howard Palefsky

Mr. & Mrs. Steve Paro

Michael & Marie-Elysse Paulhus

Bill Pendleton

Larry L. Prince Family Foundation

PwC Charitable Foundation

The Robert S. Elster Foundation

The Roy & Janet Dorsey Foundation

*Ms. Hazel Sanger

Thomas R. Saylor

Christine & Mark St.Clare

Mr. Eric Thornton

Carol & Ramon Tomé Family Foundation

Walentas Foundation

Larry & Beverly Willson

Rhys & Carolyn Wilson

Ms. Bunny Winter & Mr. Michael Doyle

Mary & Charles Yates

To learn how to join the Crescendo Campaign, please contact Luke MacMillan at lmacmillan@atlantaopera.org. *deceased

ANNUAL GIVING

We are grateful for the following donors’ generous support. This list reflects gifts and annual pledges to unrestricted operating expenses, special projects, and/or endowment made between July 1, 2024 and February 1, 2026.

DIRECTOR’S CIRCLE

$200,000+

Harold Brody & Donald Smith†

John & Rosemary Brown†

Dr. Frank A. Critz & Dr. Ann Critz†

Anonymous

Mr. Howard W. Hunter - Gramma Fisher Foundation† Disosway Foundation - Dudley & Carole Johnson

*Mr. & Mrs. Carl W. Knobloch, Jr.†

Mr. James B. Miller, Jr.

Larry L. Prince Family Foundation

Jerry & Dulcy Rosenberg

Katherine Scott

Thurmond Smithgall & the Lanie & Ethel Foundation

Ms. Bunny Winter & Mr. Michael Doyle†

$100,000+

Laura & Cosmo Boyd

Connolly Family Foundation†

Mr. & Mrs. Robert G. Edge

Mr. John Haupert & Mr. Bryan Brooks†

Mr. & Mrs. Michael L. Keough

Alfredo & Beau Martin†

Mary Ruth McDonald

John & Yee-Wan Stevens† Rhys & Carolyn Wilson†

$50,000+

The Antinori Foundation†

Mr. & Mrs. James Anderson

Mr. & Mrs. Paul Blackney†

Matt & Kate Cook

Dr. & Mrs. Alexander Gross†

Mr. John L. Hammaker

Mr. & *Mrs. Robert L. Setzer

Mr. William F. Snyder†

Carol B. & Ramon Tomé†

Mr. Robert P. Dean & Mr. Robert Epstein†

$25,000+

Cathy & Mark Adams†

Bryan & Johanna Barnes†

*Mr. Frank H. Butterfield†

The Robert S. Elster Foundation

Mr. & Mrs. Edward J. Hardin

Mr. Larry & Mrs. Carole Hooks

Gail G. Johnson

Larry & Karen Anderson

Sandra & Peter Morelli†

Talia & John Murphy†

Victoria & Howard Palefsky†

Mr. & Mrs. Steve Paro†

Michael & Marie-Elysse Paulhus†

*Mr. William E. Pennington†

Mr. Peter Read

Judith & Mark Taylor

Benny & Roxanne Varzi

Mr. Rashaun Williams & Mrs. LaNeah Williams

Larry & Beverly Willson†

Bob & Cappa Woodward

Charitable Fund

Mary & Charles Yates†

PATRONS CIRCLE

$15,000+

Julie & *Jim Balloun†

Dr. & Mrs. Asad Bashey

Mr. David Boatwright†

Mr. Jon & Mrs. Lejla Dickson

Sally & Hank Fielding†

Dr. Donald J. & Janet Filip†

Alex & Heather Hertz

Mr. & Mrs. Douglas J. Hertz

Mr. Jamael & Mrs. Rashidah Hester

Mr. J. Carter Joseph

Ms. Elizabeth Klump

Dr. Jill Mabley†

Mimi & Dan D. Maslia

Ms. Kelly Mayhall

Slumgullion Charitable Fund†

Philip & Caroline Moïse

Mr. & Mrs. Richard P. Nicholas III†

Lynn & Kent Regenstein†

Ms. Janine Brown

& Mr. Alex J. Simmons, Jr.

Christine & Mark St.Clare†

Triska Drake

& G. Kimbrough Taylor

Mr. Tomer Zvulun

& Mrs. Susanna Eiland

Gold $10,000+

Shareef & Dee Dee Abdur-Rahim

Elizabeth & Jeremy Adler†

Mrs. *Phillip E. Alvelda†

*Mr. & Mrs. C. Duncan Beard

Mr. & Mrs. Dante Bellizzi

Catherine A. Binns

Anonymous

Dr. John W. Cooledge

Barbara N. Croft & Thomas High

Mr. & Mrs. Ron L. Cundy

Dr. Jeannette Guarner

& Dr. Carlos del Rio†

Dieter Elsner & Othene Munson

Mr. Leroy & Mrs. Ariana Fass

Mr. Wyche Fowler

Susan Geyer Stephens Family Foundation

Mr. Michael D. Golden

& Dr. Juliet Asher

Kevin Greiner & Robyn Roberts†

Gena & Joey Gyengo

The Hilbert Law Firm

Dr. & Mrs. Jeffrey R. Hoopes

Roya & Bahman Irvani

James M. Kane & Andrea Braslavsky Kane

Dr. & Mrs. David Kavtaradze

Christopher & Joan Kell

Mr. & Mrs. Larry Kurlander

Belinda & Gino Massafra

Mr. Mark & Mrs. Laura Miles

Stephanie & Gregor Morela†

Mr. Tom Nolan

Mr. Ron Raitz

Ms. Ana M. Rountree & Mr. Mason Rountree

Mr. Milton J. Sams†

Thomas R. Saylor

Mr. & Mrs. Timothy E. Sheehan

Lynne & Steven Steindel

George & Amy Taylor†

Wadleigh C. Winship Charitable Fund

Silver $5,000+

Mrs. Qaadirah Abdur-Rahim

& Mr. David Scott

Mr. Kent B. & Dr. Diane Alexander

*Mrs. Elizabeth Ann Bair

Mr. Edward S. & Mrs. Nese Berkoff

Drs. Tatiana & Igor Bidikov

*Dr. R. Dwain Blackston

Sean & Amy Bowen

Ginny & Charles Brewer

Drs. Eda Hochgelerent & Bruce Cassidy†

Mrs. Carol J. Clark

Jean & Jerry Cooper

Mr. Robert

& Mrs. Elizabeth Currie

Mr. Clark & Mrs. Kristin Dean

Mr. Trey Duskin

& Ms. Noelle Albano

Mr. Richard H. Delay & Dr. Francine D. Dykes†

Mr. James & Mrs. Kathy Flanagan

Ms. Rebecca Y. Frazer & Mr. Jon Buttrey

Mr. Kristofer J. Funkhouser

Mr. Ellis & Mrs. Cathy Green

Judge Adele P. Grubbs

Atlanta Neurology

*Sylvia Halleck, MD

Mr. Thomas Harbin

Mr. L. D. Holland†

Douglas Hooker & Patrise Perkins Hooker

Mr. & Mrs. David C. Huffman

Mr. David Hughes

Mr. & Mrs. Gert Kampfer

Ms. Anne Morgan & Mr. James Kelley

Mr. Alfred D. Kennedy & Dr. Bill Kenny

Mrs. Dale Levert & Mr. George W. Levert

Mr. Patrick & Mrs. Karen Litre

Mr. & Mrs. Andrew Long

Samantha & William Markle

Robert & Creel McCormack

Rob McSwiney & Samantha Kirby

Ms. Heidi Munzinger & Mr. John Shott†

Clara M. & *John S. O’Shea†

Mr. Chuck & Mrs. Kathie Palmer

Mr. James L. Rhoden

Mr. & Mrs. J. Barry Schrenk

Mr. Fred & Mrs. Marilyn Schwartz

*Morton & Angela Sherzer

Baker & Debby Smith†

Dr. Christopher G. Smith & Mrs. Simin Nasiri-Smith

Stephen Swicegood & Ruth Ann Rosenberg

Mr. Tarek Takieddini

Mr. Clay Martin & Mr. Johnny Thigpen

Mr. Michael Tushman & Mrs. Marjorie Williams

Dr. & Mrs. Nicholas Valerio III† Thurman Williams

Bronze $2,500+

Paula Stephan Amis

Mr. James L. Anderson

Ms. Casey Armanino

Natalie & Matthew Bernstein

Jill Blair & Fay Twersky

Mr. Jonathan Blalock

Mr. Adam Borchert

Susan Borrelli

Raphael Bostic

Robert Bunnen

Mrs. Susan Callaway

Anonymous, honoring Tracy McLendon, ABG

Ms. Alice Sue Claeys

Mr. Bruce R. Cohen

Mr. James M. Datka

& Ms. Nora P. DePalma

Shellie Davis

Jim & Carol Dew

Mr. Mark du Mas

Mr. Thomas Emch

Jacqueline Flake

Mr. & Mrs. Lance Fortnow

The Gable Foundation, Inc

Dr. & Mrs. Robert W. Gilbert Jr.

David H. Dase

Enio P. Guerra

Dr. Thomas N. Guffin, Jr.

Ms. Kristin Hathaway Hansen & Mr. Norman Hansen

George L. Hickman III

Mr. & *Mrs. Harry C. Howard

Cliff Jolliff & Elaine Gerke

Mrs. Cecile M. Jones

Ms. Alison Womack

Veronica L. Kessenich

& Michael P. Hogan

Linda L. Lively & James E. Hugh III

Bruno Lopes

Dr. & Mrs. Ellis L. Malone

Mrs. Erin Martin

Mrs. Linda McGinn

Mr. Bernard & Mrs. Una McGuinness

Linda & Don Morris

Barbara & Mark Murovitz

Karen & Rick Murphy

Mrs. Agnes Nelson

Denis Ng & Mary Jane Panzeri Ng

Lisa Pate & Greg Barnard

Lucy S. Perry

Mrs. Betsy Pittman

Mr. Stuart & Mrs. Barbara Pliner

Mr. Marc Pollack

Dr. Louis G. Prevosti

Patty & Doug Reid

Margaret & Bob Reiser

Mr. John & Mrs. Kathryn Richard

Mr. & Mrs. Diff Ritchie

Dr. Edgar P. Simard

Mr. & Mrs. E. Kendrick Smith

Mr. Paul & Mrs. Amy Snyder

Elizabeth Morgan Spiegel

Gail & Barry Spurlock

Dr. Jane T. St. Clair

& Mr. James E. Sustman

Dr. Taheri & Ms. Vaziri

Kyle Taylor

Mr. Samual Todd

Dr. & Mrs. James O. Wells, Jr.

Mr. & Mrs. Mark Westfall

Elizabeth Wiggs

*Dr. & Mrs. R. Craig Woodward

Michael Young

FRIEND’S CIRCLE

Investor $1,000+

Mr. Paul Anderson, Jr.

Anita Atkinson

Mr. Philip & Mrs. Melissa Babb

Ms. Joselyn B. Baker

Mr. Michael & Mrs. Deborah Bald

Tara Baquero

Ms. Hope M. Barrett

Christine M. Beard

Mr. Albert E. Bender, Jr.

Mr. Chris & Mrs. Carolyn Benne

Mr. Walter Carter Bland

Mrs. Jane Blount

Dr. & Mrs. Jerry Blumenthal

Marcelo Boffi

Ms. Martha S. Brewer

Stanford M. Brown

Ms. Donna Burchfield

Mr. James Carr, Jr.

Mr. & Mrs. Charles Cohn

John & Linda Cooke

Mr. & Mrs. Edward S. Croft III

Mr. Kevin Cronin

Ann & Jim Curry

Dr. & Mrs. F. Thomas Daly Jr.

Mr. Tom & Mrs. Cindy Daly

Mr. & Mrs. Harold T. Daniel Jr.

Eb & Sarah Daniels

Drs. Morgan & Susan Horton Eiland

Mr. Jack Firestone

Richard Franco MD

Allen & Judy Freedman

Mr. & Mrs. Ethan Garonzik

Mr. Tim & Mrs. Linda Gartland

Mr. Douglas Gooding

Mr. Jeffery Graubart

Helen C. Griffith

Mr. & Mrs. Richard P. Grodzicki

Ms. Louise S. Gunn

Felicia & Isaiah Hale

Zach Healy

Donna & *Richard Hiller

The Hills Family Foundation, Mr. & Mrs. Thomas D. Hills, Trustees

Richard & Linda Hubert

Red Eft Mapping

Ms. Carla Knobloch

Ms. Carol Kranig

Colleen Langner

Anonymous

Katheryn Lee

Tim & Angela Leveridge

Dr. Gloria Lin

& Dr. Jesus Castro-Balbi

Livvy Kazer Lipson

Allan & Vaneesa Little

Mr. Clyde W. Lollis

Mrs. Blanchette Maier

Dr. & Mrs. Steven Marlowe

Mr. Briant & Mrs. Mary Matheson

Charles Bjorklund & Sted Mays

Mr. M. Reynolds McClatchey Jr.

Mr. & Mrs. Allen Meadors

Mr. M Sean Molley

& Ms. Heidi C. Pritchett

Ms. Grace Murphy

Twinkle Nelson

Carol S. Niemi

Mr. Darryl-Christopher Payne†

Seth Persily

Dr. & Mrs. Lawrence S. Phillips

Mr. Mark Pighini

David Pumpelly

Mr. Enrique Rapetti

Dr. & Mrs. Donald Reitzes

Sidney & Phyllis Rodbell

Mr. James & Mrs. Kristin Ruff

Julie Salisbury

Mr. Kenneth L. Shigley

Mr. & Mrs. Nicholas Shreiber

Ed Shrum

James Chris Sizemore

Mr. Fred B. Smith

Anonymous

Richard Sonenklar & Gregory Haynes

Mr. & Mrs. Gerald F. Stafford, Jr.

Mr. & Mrs. Robert Stansfield

Lindsay & Michael Stewart

Kay Summers

Dr. & Mrs. Michael Szikman

Dr. & Mrs. Kenneth G. Taylor

Ms. Virginia S. Taylor

Maria Todorova

Dawn Tresh

Mr. & Mrs. William E. Tucker

Ms. Juliana T. Vincenzino

Mrs. Kathleen & Mr. Arthur Waldrop

Mr. & Mrs. Kenneth O. Walkington Jr.

Ms. Betsy K. Wash

Mr. Mark & Mrs. Rebekah Wasserman

Alan & Marcia Watt

Rae & *George Weimer

Ms. Kathy J. White

Dr. & Mrs. Hamilton Williams

Supporter $500+

Judith M. Alembik

Mr. & Mrs. Robert O. Banker

Jennifer Barlament & Ken Potsic

Mr. Jerald M. Byrd

Mr. & Mrs. Don S. Coatworth

Dr. Lawrence M. Cohen

Mr. & Mrs. Peter Dean

Ms. Ellen Evans

Dr. & Mrs. David J. Frolich

Mr. & Mrs. Thomas E. Johnston

Arnold & *Joan Kurth

Jeanie & Albert Marx

Mr. & Mrs. Allen P. McDaniel

Mr. Asghar

& Mrs. Roya Memarzadeth

Mr. Steve Moddelmog

Mr. William A. Pasch

*Sharon & Jim Radford

Dr. & Mrs. Hal S. Raper Jr.

Dr. & Mrs. William M. Scaljon

Andrew J. Singletary, Jr.

Clayton & Holly Sparrow

Judge Mike & Mrs. Jane Stoddard

Kiki Wilson

Mr. Craig Hodges

Dr. Jo Marie Lyons

Mr. Glen Galbaugh

Debra M. Hulsey

Dorothy Yates Kirkley

Terri & Stephen Nagler

Ms. Lynne Elliott Jones

*Mr. & Mrs. Robert F. Engeman Sr.

Carolyn & Robert Swain

Dr. Catherine Allard

Mr. Stephen H. Thompson

& Mr. Drew Mote

Dr. Richard Goodjoin

Mr. David D’Ambrosio

Ms. Mollie W. Neal

Colonel & Mrs. John V. Barson, D.O.

Ms. Regina Schuber

Ms. Sally Combs

Allison Fichter & Phillip O’Brien

Mr. Brian Kurlander

& Mrs. Carrie Johnson Kurlander

Mr. Stephen L. Rann

& Ms. Dytre Fentress

Mr. Mike Schleifer

& Mrs. Laura Hackman

Linda Gabbard

Mr. Brock Darby

Dr. Amir Banishahi

Mr. Lawrence F. Pinson

Stephan & Laura Anderson

Mary J. Wood

Jonathan Master

Janie & Sheldon Jeter

Anna & Jeff Gordon

Karyn Alexander

Rebecca Russell

John Donnelly

Ms. Anne Schneider

Kylie Stradley

Robby Johnson

Edward Thomas

Henry Gonzalez

Isabel Urrittia

Kia Painter

Laura Stevens

Lisa Chang

Sara Lomeli

Sean Lee

Virginia Litland

Elizabeth Evans

Mr. Thomas Rossiter

Contributor $250+

Dr. Raymond Allen

*Mr. & Mrs. David S. Baker

Pam Barker

Claire & Bryan Benedict

Mr. & Mrs. Sid Besmertnik

James & Nancy Bross

Raymond Chinn

Mrs. Jan W. Collins

Mr. John & Mrs. Janet Costello

Carol Comstock & Jim Davis

Mr. & Mrs. John Drucker

Mr. & Mrs. David R. Dye

Arnold & Sylvia Eaves

Mr. Courtney Ellis & Dr. Amina Bhatia

Julia Filson

Mr. Roger Fleming & Mr. Sean Burns

Leigh Furrh

Mary Anne & Bruce Gaunt

Ms. Pat Godbee

Drs. Nancy & Robert Griner

*Mr. & Mrs. Sam Hagan

Jim & Virginia Hale

Ms. Elizabeth Hicks

Mr. Charles & Mrs. Leigh Hoke

Mr. & Mrs. Douglas M. Holly, Jr.

Mrs. Fay Howell

Ms. Jan W. Hughen

Susan Johnston & Shannon Motley

Mr. William Johnston

Mr. & Mrs. David Keller

Jessica Kiger

Nancy Kritikos

Lawrence Kurzius

Janice Landrum

Mr. & Mrs. Bertram L. Levy

David & Kathy Linden

Richard Lodise & Valerie Jagiella

Mr. Everett Long & Mr. Fred Smith

Dr. Frank & Mrs. Barbara Marxer

Michael McDaniel

Mr. Simon Miller

Berthe & Shapour Mobasser

Mr. William R. Mrs. Morrison & Elizabeth R. Clark-Morrison

Bahar Nia

Mr. Neil & Mrs. Rebecca Olack

Mr. John Owens

Mr. & Mrs. John Payan

Jackson Rainer

Misty Reid

Mr. Barry F. Ross & Mrs. Jane M. Rooks Ross

Sandra & Ronald Rousseau

Mr. Michael & Mrs. Andrea Ryan

Ms. Renee Smiley

Mr. Joseph R. Stabile

& Mr. Michael Dunkelberger

Mr. Raymond A. Strikas

Steve & Christine Strong

Dr. David E. Sutherland II & Mrs. Sarah F. Yates Sutherland

Mr. & Mrs. Frederick C. Taylor

Mr. & Ms. Wolfgang Tiedtke

Joan Wendt

Richard E. & Anne-Marie H. Whisnant

Mr. Robert & Mrs. Susan White

Yolanda White

Troy Wiley

Ann Williams

Ms. Jone Williams & Ms. Barbara Robb

Mr. Russell F. Winch

CORPORATE PARTNERS

$200,000+

The Home Depot Foundation Georgia Power Foundation, Inc

$100,000+

The Coca-Cola Company Delta Air Lines, Inc.

$50,000+

Nelson Mullins Price Waterhouse Coopers Rothschild & Co Smurfit WestRock

$25,000+

The Capital Group Companies Charitable Foundation Gas South KPMG LLP

PwC Charitable Foundation Southern Company UPS Change Logic

Mrs. Mary S. Wright

Barbara Zellner

Mr. & Mrs. Richard H. Zimmermann

Dr. Ben & Mrs. Adrienne Zinn

$10,000+ Accenture LLP Blackrock Cox Enterprises Deloitte & Touche Eversheds Sutherland Hb Wealth PNC Financial Services Group Mr. and Mrs. Mason Rountree Salesforce SG Contracting Truist

$5,000+ Batdorf & Bronson Coffee Roasters BNY Mellon Carter Anonymous

FOUNDATIONS & GOVERNMENT SUPPORT

FOUNDATIONS

$1,000,000+

The Molly Blank Fund of The Arthur M. Blank Family Foundation†

$500,000+

Mr. Howard W. Hunter - Gramma Fisher Foundation†

Lettie Pate Evans Foundation

$100,000+

Anonymous

Connolly Family Foundation† Disosway Foundation

- Dudley & Carole Johnson

Donald & Marilyn Keough Foundation

Knobloch Family Foundation†

The Charles Loridans Foundation, Inc.†

The Coca-Cola Foundation†

The Jim Cox, Jr. Foundation

The Sara Giles Moore Foundation

$50,000+

Atlanta Music Festival Association Fund of Community Foundation of Greater Atlanta

Livingston Foundation† Mary & EP Rogers Foundation, Inc.

The Zeist Foundation, Inc.

$20,000+

J. Marshall & Lucile G. Powell Charitable Trust

The Halle Foundation†

The Roy & Janet Dorsey Foundation

$10,000+

AIDS Healthcare Foundation

The George M. Brown Trust Fund

The Hertz Family Foundation, Inc.

The John & Rosemary Brown Family Fnd

The Robert & Polly Dunn Foundation

The Stephens Family Foundation

Walentas Foundation

$5,000+

Camp-Younts Foundation

Massey Charitable Trust

The Robert & Polly Dunn Foundation

$1,000+

The Mary Brown Fund of Atlanta, Georgia

The Hills Family Foundation, Mr. & Mrs. Thomas D. Hills, Trustees

GOVERNMENT FUNDING

City of Atlanta Mayor’s Office of Cultural Affairs

Fulton County Arts & Culture

Georgia Council for the Arts

National Endowment for the Arts

†extraordinary donors who have committed to continue their annual giving for three years or more

BARBARA D. STEWART LEGACY SOCIETY

The Atlanta Opera recognizes donors who have designated The Opera as a beneficiary in their estate plan as members of the Barbara D. Stewart Legacy Society. This society honors Barbara D. Stewart’s extraordinary legacy gift and her many contributions to The Atlanta Opera.

Cathy Callaway Adams & Mark Adams

Anonymous (4)

*Mr. & *Mrs. Shepard B. Ansley

*Mrs. Elizabeth Ann Bair

Mrs. Wallace F. Beard

The Bickers Charitable Trust

Mr. Jonathan Blalock

*Jim & *Nancy Bland

Mr. Montague L. Boyd, IV

Mr. Robert Colgin

*Martha Thompson Dinos

The Roy & Janet Dorsey Foundation

Mr. Richard H. Delay & Dr. Francine D. Dykes

Arnold & Sylvia Eaves

* Ms. Dorothy E. Edwards

*Heike & Dieter Elsner

Ms. Melodi Ford

Carl & Sally Gable

*Ms. Anne Marie Gary

Mr. & Mrs. Sidney W. Guberman

*Sylvia Halleck, MD

Ms. Judy Hanenkrat

Caroline Hardin

Richard & Fern Hartnig

The Hilbert Family Trust

Eda L. Hochgelerent, M.D. & Bruce A. Cassidy, M.D.

Mr. L. Don Holland

Mr. Hilson Hudson

*Mrs. Joseph B. Hutchison

Gail G. Johnson

Mr. J. Carter Joseph

*Mrs. Alfred D. Kennedy, Sr.

*Mrs. Isabelle W. Kennedy

Mr. Alfred Kennedy

Dr. William R. Kenny

*Donald & *Marilyn Keough

Mr. & Mrs. Michael L. Keough

Ms. Corina M. LaFrossia

Mr. & Mrs. John G. Malcolm

Mr. Robert L. Mays

Mr. Luke MacMillan

Mr. & Mrs. Allen P. McDaniel

*Mr. Michael A. McDowell

*Peggy Weber McDowell & *Jack McDowell

Mr. & Mrs. Craig N. Miller

*Miss Helen D. Moffitt

Mr. J. Robert Morring

Clara M. & *John S. O’Shea

Mrs. Polly N. Pater

Mr. James Paulk

*Mr. William Pennington

*Mr. Bruce Roth

Mr. Milton J. Sams

*Ms. Hazel Sanger

Mr. D. Jack Sawyer, Jr.

Anita & J. Barry Schrenk

Katherine Scott

*Mrs. Roberta Setzer

Elizabeth N. Shapiro

*Mrs. Lessie B. Smithgall

Mr. William F. Snyder

Elizabeth Morgan Spiegel

Christine & Mark St.Clare

*Ms. Barbara D. Stewart

*Mrs. Eleanor H. Strain

Mr. Tarek Takieddini

Sandra & *Tom Teepen

Dr. & Mrs. Harold Whitney

*Mrs. Jane S. Willson

Rhys & Carolyn Wilson

Ms. Bunny Winter & Mr. Michael Doyle

Mr & Mrs Robert G Woodward

Mr. Charles R. Yates, Jr. & Mrs. Mary Mitchell Yates

*Mr. & *Mrs. Charels R. Yates, Sr.

Mr. Tomer Zvulun & Mrs. Susanna Eiland

*deceased

TRIBUTES & MEMORIALS

In Memory of Phillip Edward Alvelda

Mrs. Kay Alvelda

In Memory of Shepard B. Ansley

Mary Ruth McDonald

In Memory of Helen Arnold

Ms. Susan Borrelli

In Memory of Dr. Joe Arnold

Jeff & Cary Gershon

In Memory of Duncan Beard

Robert & Catherine Woodward

In Honor of John & Rosemary Brown

Mr. Barry F. Ross & Mrs. Jane M. Rooks Ross

In Memory of Kyle Burkhalter

Mr. Matthew Y. Burkhalter & Mr. John Carey

In Memory of Frank Butterfield

Pam & Bob Barker

Jonathan Blalock

John & Lynn Buckalew

Bobbie Archie Burrs & Gerrard Burrs

Charles & Leigh Hoke

Neil & Rebecca Olack

Larry & Susan Pitts

James & Kristin Ruff

The Sara Giles Moore Foundation TIFF Advisory Services

Dorothy Yates Kirkley

In Honor of Frank & Ann Critz

Jonathan Blalock

In Memory of Col. & Mrs. Edgar W. Duskin

Noelle Albano & Trey Duskin

In Honor of Robert & Elizabeth Edge

Eleanor Crosby

Cecile Jones

In Honor of Sally & Hank Fielding

Ms. Anne Schneider

Mary Jo Wood

In Memory of Mrs. Phyllis A. Franco

Dr. Richard D. Franco

In Honor of Caroline & Jack Hardin

Dr. Frank & Mrs. Barbara Marxer

Mr. Jeffrey & Mrs. Linda Graubart

In Memory of Patricia E. Johnston

Mr. Wayne Johnston

In Memory of Mr. & Mrs. Peter G. Kessenich, Sr.

Mr. & Mrs. Michael P. Hogan

In Honor of Gloria Lin

Jonathan Blalock

Red EFT Mapping | Mr. Lawrence Knight

In Memory of George H. & Cecile G. Malone

Ms. Eleanor Malone

In Honor of Alfredo Martin

Jonathan Blalock

In Honor of Tracy McLendon, ABG

Anonymous

In Honor of Howard & Victoria Palefsky

Kent & Diane Alexander

Jonathan Blalock

Virginia & Charles Brewer Family Foundation

Mr. Bruce R. Cohen

Mr. John & Mrs. Janet Costello

Mr. Michael D. Golden & Dr. Juliet Asher

Mr. John Haupert & Mr. Bryan Brooks

Carla Knobloch

Mr. & Mrs. Bertram L. Levy

Ms. Anne Morgan & Mr. James Kelley

Mr. Stuart & Mrs. Barbara Pliner

Patty & Doug Reid

Stanley & Shannon Romanstein

Mr. Fred & Mrs. Marilyn Schwartz

Paul & Amy Snyder

Ms. Bunny Winter & Mr. Michael Doyle

In Honor of Richard Charles Payne

Darryl-Christopher Payne

In Honor of Rolando Salazar & The Atlanta Opera Chorus

Ms. Pat Godbee

In Honor of Katherine Scott Allison Fichter & Phillip O’Brien

In Memory of Mrs. Roberta Setzer

Mr. Robert L. Setzer

In Memory of Suzette Snell

Mr. Robert & Mrs. Elizabeth Currie

In Honor of John & Yee-Wan Stevens

Jonathan Blalock

In Honor of Mr. William Tucker

Douglas Gooding

In Honor of Jason Walker

Erica Walden

In Honor of Vita Tzykun

Allen R & Judy Brick Freedman

In Memory of George Weimer

Dr. R. Dwain Blackston

Mr. Matthew Y. Burkhalter & Mr. John Carey

Mary Ruth McDonald

In Memory of Marya Gabrielle Williams

Jone Williams & Barbara Robb

In Memory of Ralph Winter

Janie & Sheldon Jeter

In Honor of Charlie & Mary Yates

James &Kathy Flanagan

Douglas Gooding

Mr. Tom Nolan

Dr. David E. Sutherland II & Mrs. Sarah F. Yates Sutherland

Dorothy Yates Kirkley

In Honor of Mr. Tomer Zvulun & Ms. Susanna Eiland

Jill Blair & Fay Twersky

In Honor of The Home Depot Veteran’s Program

Larry Knight

EXECUTIVE COMMITTEE

Board Chair

Mr. John Haupert

Vice-Chair

Mr. John L. Hammaker

Vice-Chair | Development Committee Co-Chair

Mr. Charles R. Yates, Jr.

Treasurer | Finance Committee Chair

Ms. Bunny Winter

Secretary

Mr. Howard Hunter

Audit Chair

Mr. Bryan H. Barnes

Community Engagement Committee Chair

Mr. Alex Simmons, Jr.

Development Committee Co-Chair

Mrs. Talia Murphy

Equity, Diversity & Inclusion Committee Chair

Mrs. Stephanie Morela

BOARD OF DIRECTORS

MEMBERS

Mrs. Qaadirah Abdur-Rahim

Ms. Cathy Callaway Adams

Mrs. Susan M. Anderson

Mr. Bryan H. Barnes

Mr. Montague L. Boyd, IV

Dr. Harold J. Brody

Mrs. Rosemary Kopel Brown

Mrs. Kate Cook

Dr. Frank A. Critz

Mr. Clark Dean

Mr. Robert Dean

Dr. Carlos del Rio

Mrs. Lejla Dickson

Dr. Donald J. Filip

Mr. Kevin Greiner

Mrs. Joanne Chesler Gross

Mrs. Caroline Hardin

Mr. Jamael Hester

Mr. Alfredo Martin

Ms. Kelly Mayhall

Facilities Task Force Chair

Mr. Howard Palefsky

Investment Committee Chair

Mrs. Sandra S. Morelli

Nominating & Board Engagement Committee Chair

Mr. Kevin Greiner

Strategic Planning Committee Chair

Mrs. Christine St.Clare

At-Large Member, Immediate Past Chair

Rhys T. Wilson

At-Large Member

Mrs. Cathy Callaway Adams

Carl W. Knobloch, Jr. General & Artistic Director, ex-officio member

Mr. Tomer Zvulun

Mr. James B. Miller, Jr.

Mrs. Stephanie Morela

Mrs. Sandra S. Morelli

Mrs. Talia Murphy

Mr. Howard Palefsky

Mr. Michael E. Paulhus

Mr. Herbert J. Rosenberg

Mr. Thomas Saylor

Mr. Alex Simmons, Jr.

Mrs. Christine St.Clare

Mr. Rashaun Williams

Mr. Rhys T. Wilson

Mr. Tomer Zvulun, Carl W. Knobloch, Jr. General & Artistic Director, ex officio

HONORARY MEMBERS

Mr. Ronald Antinori

The Very Reverend

Samuel G. Candler

Mr. Robert G. Edge

Mr. Dieter Elsner

Mr. Carl I. Gable, Jr.

Mrs. Nancy Hall Green

Mr. Gregory F. Johnson

Mr. Carter Joseph

Mr. Alfred Kennedy, Jr.

Mr. Michael Keough

Mrs. Emily C. Knobloch

Mr. George Levert

Mr. J. Barry Schrenk

Mr. Timothy E. Sheehan

Mr. G. Kimbrough Taylor, Jr.

Mr. Mark K. Taylor

Mr. Thomas R. Williams

Mr. Robert G. Woodward

ADVISORY COUNCIL

Mr. Andrew J.M. Binns

Mr. Kenny L. Blank

Mrs. Inge Bledel

Ms. Mary Calhoun

Mrs. Lejla Dickson

Ms. Sally Bland Fielding

Ms. Julia Filson

Mr. Roger Fleming

Mr. Lance Fortnow

Dr. Thomas N. Guffin, Jr.

Mr. Douglas Hooker

Mr. Thornton Kennedy

Mrs. Samantha Kirby McSwiney

Mrs. Erin Quinn Martin

Mr. Robert G. Pennington

Mr. Paul Snyder

THE ATLANTA OPERA STAFF

EXECUTIVE

Carl W. Knobloch, Jr. General & Artistic Director Tomer Zvulun

Managing Director

Chief of Staff

Executive Assistant & Board Liaison

ARTISTIC / MUSIC

Principal Conductor

Music Director Emeritus

Director of Artistic Administration

Assistant Artistic Director

Artistic & Operations Manager

Chorus & Orchestra Manager

Orchestra Librarian

Artistic Services Coordinator

PRODUCTION

Micah Fortson

Jessica Kiger

Misty Reid

Ivan López Reynoso

Arthur Fagen

Meredith Wallace

Gregory Boyle

Megan Bennett

Chris Bragg

Phil Parsons

Elizabeth Graiser

Director of Production Planning Meggie Roseborough

Director of Production Operations

Technical Director

Lighting Supervisor

Associate Technical Director

Associate Technical Director-Operations

Props Supervisor & Artisan

Production Finance Specialist

Calling Stage Managers

Assistant Stage Managers

COSTUME

Costume Director

Show Manager

Communications Coordinator

Master Draper / Tailor

Costume Stock Manager / Stitcher

Shop Assist/Wardrobe Supervisor

Lead First Hand Stitcher

First Hand Stitcher

Stitchers

Amy Smith

J. Rollins

Jessica Drayton

Rodney Barge

Bram Sheckels

Paige Steffens

Ruth Strickland

Jennifer Shaw, Caitlin Denney-Turner

Aletha Saunders, Lily Welsh

Stephanie Workman

Paula Peasley-Ninestein

Allison Hines

Mary Cruz Torres

Jenn Rogers

Gibron Shepperd

Jaime Anthony Orrego

Cassie Smith

Sarah Norris, Olivia Reuter

PRODUCTION SUPPORT

PRODUCTION

Head Carpenter

Head Electrician

Head Properties

Head Audio

Head Video

Lighting Programmer

COSTUME

Wig & Makeup Lead

COMMUNITY ENGAGEMENT

& EDUCATION

Artistic Advisor to the NOW Festival Tazewell Thompson

Assistant Director of Education

Hank Collins

Kevin Zegan

Kendal Petty

Teddy Murray

Andrew Van Eychaner

Jamie Mancuso

Sophie Ashworth

Amy Williams

Community Engagement & Education Coordinator Jonesia Williams

Community Engagement & Education Associate Julia Whitten

ADVANCEMENT

Director of Advancement Revenue Jonathan Blalock

Associate Director of Development Operations Katy Gardner

Board Relations & Campaign Manager Aaron Walker

Associate Director of Development Luke MacMillan

Revenue Operations Coordinator Patty de la Garza

Special Projects Manager Nancy Kritikos

Development Assistant Kathy White

Patron Services Manager

Justin Stanley

Patron Experience Concierge Erin Abely FINANCE

Chief Financial Officer Christina Paloski

Controller Lawanda Coleman

Accounting Manager

Britt Herring

Senior Accountant David Tubbs, Jr.

Staff Accountant Allison Scott

ADMINISTRATION

Director of Facilities Kenneth R. Timmons

Network Technician Garrett Jaennette

Human Resource Manager Quemika Edwards

COMMUNICATIONS & BRAND

Director of Communications & Public Relations Michelle Winters

Creative Director Matt Burkhalter

THE ATLANTA OPERA FILM STUDIO

Director of The Atlanta Opera Film Studio Felipe Barral

Film Studio Manager Toya Gadsden-Quarles

Short-Form Video Editor Brittney Fontus

THE ATLANTA OPERA STUDIO ARTISTS

Soprano Alexis Seminario

Mezzo-soprano Ilanna Starr

Tenor Wayd Odle

Baritone Kyle White

Stage Director

José Israel García, Jr.

THE MARRIAGE OF FIGARO LIVESTREAM

Additional Camera Operators Adam Khan, Michelle Sander, Valeriia Luhovska, Kendra Johnson, Carlisle Kellarn, Mark Covino

Livestream Technical Operator Gerald Griffith

Livestream Sound Monitor

Livestream Switcher

Preston Goodson

Felipe Barral-Secchi

Sound Capture & Live Mixing Tim Whitehead

Technical Support Keelan Bearden

CONCESSIONS

Concession stands are located in the center of the lobbies on all three levels. Food is prohibited inside the theater. Thank you for your cooperation.

RESTROOMS

Restrooms are located on house right and house left of all three lobbies. Family restrooms are also located on house right of all three lobbies. Mobility-impaired patrons may use any of our restrooms.

PARKING

Day of parking is available for $20 (credit or debit card only). There are 1,000 on-site parking spaces; 700 in a four-level deck and 300 more in a surface lot.

EMERGENCY INFO

In the event of an emergency, please locate the nearest usher who will direct you to the appropriate exit.

ELEVATORS

Elevators are located on each side of the lobbies on all levels.

PROHIBITED ITEMS / SECURITY

Upon entry, guests will be required to pass through a metal detector.

Items not allowed inside the venue: Bags larger than 11” x 13” are not permitted, weapons of any kind (including knives), backpacks, baby car carriers and car seats, strollers, flags, outside food and beverage. For a complete list refer to the venue website.

LOST & FOUND

Items are turned into the Synovus Box Office on the day of a performance. To inquire about a lost item, please call Public Safety at 770-916-2911.

SMOKING

Smoking is prohibited inside the building.

SPECIAL ASSISTANCE

Persons requiring access assistance are asked to contact Ticketmaster at 800-877-7575 for advance arrangements.

Audio clarification devices are available to our hearing impaired guests at no charge. This is on a firstcome, first-served basis and are available at the main desk in the lobby.

Wheelchairs are available upon request. All items require a form of identification to be held until the item is returned.

COBB ENERGY CENTRE RULES & REQUESTS

• All patrons, regardless of age, must have a ticket in order to be admitted to the performance. Please be aware that not all performances are suitable for children.

• Infants will not be admitted to adult programs. Parents will be asked to remove children who create a disturbance.

• The Atlanta Opera offers late seating in designated areas to minimize disruption. Patrons may move to their assigned seats at the first intermission.

• Please turn off all cellphones prior to the beginning of each performance.

• Please limit conversation during the performance.

• Cameras (including use of cellphone camera) and audio and video recording devices are strictly prohibited at all times.

• Leaving while the show is in progress is discourteous and we ask that you refrain from doing so.

• Please unwrap all candies and cough drops before the performance.