Atlanta Opera, Turandot, April 2026

THE ATLANTA OPERA

Turandot

Giacomo Puccini composer

Giuseppe Adami & Renato Simoni librettists

Apr 25, 28, May 1, 3, 2026

Cobb Energy Performing Arts Centre

Tomer Zvulun

Carl W. Knobloch, Jr. General & Artistic Director Chief Executive Officer

On April 25, 1926—exactly one hundred years ago— Giacomo Puccini’s final masterpiece had its world premiere at Milan’s famed Teatro alla Scala. Though Puccini passed away before completing this extraordinary work, it remains one of the most thrilling and thoughtprovoking operas in the repertoire—a work as monumental in its music as it is timeless in its human questions.

This new production of Turandot is especially meaningful to us, not only as a centennial tribute, but as a major artistic undertaking to restore the opera’s emotional truth and modern relevance. Together with our creative team, we have restructured the work to share with audiences a vibrant new ending—one that does not rely on the voice of another composer but draws entirely from Puccini’s own music. For a century, Turandot has left the world with an unanswered riddle, both musically and dramaticallyHow to end Turandot? Our approach seeks to resolve that riddle with an ending that feels true to Puccini’s spirit and resonant for contemporary audiences.

In a beautiful symmetry of history, this reimagined Turandot appears in the same season as Götterdämmerung, completing our historic Ring cycle exactly 150 years after Wagner’s final installment premiered. To produce these two monumental works back to back—each demanding both vast resources and deep artistic insight—marks a defining moment in The Atlanta Opera’s evolution. It represents our growth into a company capable of tackling the most ambitious works in the canon while reimagining their meaning for today’s Atlanta audiences.

At the heart of our vision lies our dual commitment to innovation and tradition—honoring the great composers while uncovering new ways to connect their masterpieces to the present. This same spirit fuels our newest endeavor, the Molly Blank Center for Opera, now under construction along the bucolic natural setting of the BeltLine Connector. Opening in fall 2027, it will serve as a hub for creativity and community, housing a recital hall, immersive theater, education center, and gathering space for artists and audiences alike.

As this extraordinary season concludes, I invite you to continue championing our growth and vitality. Last month, we announced our 2026–27 season—a thrilling lineup that continues our exploration of Wagner’s works with The Flying Dutchman, celebrates beloved masterworks like Tosca and Carmen, and embraces modern classics such as the Pulitzer Prize winning opera, Silent Night. Our Discoveries series expands our collaborative spirit, featuring All Is Calm with Theatrical Outfit and Jubilee at Morehouse College. Each project reflects our mission to connect opera with Atlanta’s diverse stories and creative energy.

I am profoundly grateful to lead an organization that has not only grown into one of the top ten opera companies in the United States but also become a vivid reflection of the city I call home—a place of bold ideas, artistic excellence, and boundless vitality. Thank you for being part of this remarkable journey.

COMPOSER Giacomo Puccini

LIBRETTISTS Giuseppe Adami & Renato Simoni

FIRST PERFORMANCE Apr 25, 1926—Milan, Italy, Teatro alla Scala

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

VETERANS TICKET PROGRAM

THIS PRODUCTION OF TURANDOT IS SPONSORED BY Charles Loridans Foundation

THE OPENING NIGHT PERFORMANCE OF TURANDOT IS SPONSORED BY Katherine Scott

THE APPEARANCE OF JULIANA GRIGORYAN IN THE ROLE LIU IS SPONSORED BY

THE ATLANTA OPERA IS GRATEFUL FOR PUBLIC SUPPORT FROM

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.

Approximate runtime: 2 hr, 35 min, including two intermissions Act I: 35 min | Intermission: 25 min | Act II: 40 min | Intermission: 20 min | Act III: 35 min Performed in Italian with English supertitles | English Captions for Turandot owned by Jonathan Dean, ©2026

CAST (IN ORDER OF VOCAL APPEARANCE)

MANDARIN Kyle White*

LIÙ Juliana Grigoryan

PRINCE CALAF Jonathan Burton

TIMUR Peixin Chen

PING Eleomar Cuello

PANG Wayd Odle*

PONG Terrence Chin-Loy

FIRST HANDMAID Blair Lipham

SECOND HANDMAID Nicole Lewis

EMPEROR ALTOUM Steven Cole

PRINCESS TURANDOT Angela Meade

COVERS / UNDERSTUDIES

MANDARIN John Arnold

LIU Alexis Seminaro*

PRINCE CALAF Peter Drackley

PING Kyle White*

PRINCESS TURANDOT Jessica Faselt

Julianna Feracota (Fight Captain), Bailey Jo Harbaugh, Cammi Nevarez David “Lightning” Bae, David “Full Metal” Hector, Stefan Oprica, Eva Schramm

CONTENT WARNING This production contains simulated nudity, gunshots, depictions of extreme violence, suicide, and special effect haze/fog. Not recommended for audience members under the age of 15.

*Member 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

TURANDOT is a co-production of the Atlanta Opera and Ópera de Oviedo.

Scenery constructed by Scenic Solutions LLC™ with elements built by The Lyric Opera of Kansas City, Inc.

Costumes by The Atlanta Opera Costume Shop, Das Gewand GmbH, Eric Winterling, Inc., Jean François Rochefort, Inc., Mio Design NYC LLC, Janet Linville, Cassie Smith, and Dyenamix, Inc.

Conductor’s Note

WRITTEN BY

Iván López Reynoso, Carl & Sally Gable Principal Conductor

Iván López Reynoso conducts The Atlanta Opera Orchestra for the production Macbeth —his debut with the company.

It is with great honor and genuine excitement that I start this journey as the new Carl and Sally Gable Principal Conductor of The Atlanta Opera. To join such a vibrant and culturally rich institution is both a privilege and a profound responsibility. From first encounter with this company, last year conducting Verdi’s Macbeth, I have been inspired by its commitment to artistic excellence, innovative spirit, and its deep connection with the community. Atlanta is a city of remarkable energy and diversity, and I look forward to contributing to its artistic life while building on the Opera’s distinguished legacy.

As I begin this new chapter, I am filled with anticipation for what lies ahead. I believe strongly in opera as a living, evolving art form—one that speaks not only to seasoned audiences but also to new generations discovering its power for the first time. Together with the talented artists, musicians, chorus, orchestra and the entire wonderful staff of The Atlanta Opera, I am eager to present to you productions that are both musically exceptional and emotionally resonant. This role represents not just a professional milestone, but a deeply personal journey, and I am thrilled to embark on it here in Atlanta.

Among the many masterpieces that define the operatic repertoire, few works capture the grandeur and emotional intensity of Turandot by Giacomo Puccini. This opera stands as one of the most iconic and ambitious creations in the history of opera, renowned for its sweeping orchestration, unforgettable melodies, and dramatic

depth. Left unfinished at the time of Puccini’s death in 1924, Turandot was later completed by Franco Alfano. After him, other composers have tried to solve Puccini’s last riddle: the conclusion of Turandot’s emotional journey. We are presenting a new version that fully respects Puccini’s score, includes only six bars of Alfano’s finale, and offers a fresh perspective on this brilliant masterpiece.

Musically, Turandot is a fascinating blend of Italian lyricism and exotic color. Puccini incorporated elements inspired by Chinese music, including the use of pentatonic scales and authentic folk melodies, creating a distinctive sound world that sets the opera apart from his earlier works. The orchestration is particularly rich and expansive, requiring a large ensemble with unusual instruments such as gongs, saxophones and celesta, which contribute to the opera’s unique atmosphere. This sonic palette enhances the drama, transporting the audience into the mythical imperial China.

One of the most remarkable aspects of Turandot is its vocal writing. The title role is one of the most demanding soprano parts in the operatic canon, requiring both immense power and precision to convey the icy authority of Princess Turandot. In contrast, the character of Calaf, the unknown prince, is defined by lyrical passion, culminating in the world-famous aria “Nessun dorma.” This aria has transcended the opera house, becoming one of the most recognizable pieces of classical music worldwide, celebrated for its soaring melody and triumphant climax. Amid these two complex and contrasting figures stands Liù, perhaps the most delicate and, at the same time, courageous of all Puccinian heroines, whose profound and deeply moving sensitivity managed to touch the composer so deeply that she nearly became the true protagonist of the work.

Beyond its musical brilliance, Turandot also explores profound themes of love, sacrifice, and transformation. The emotional journey from cruelty to compassion is mirrored in the music, as Puccini masterfully shifts from harsh, dissonant textures to moments of deeply lyrical beauty. The opera’s chorus plays a crucial role as well, acting almost as a collective character that reflects the tension, fear, and eventual hope of the people.

In embracing works like Turandot, we celebrate not only the genius of Puccini but also the enduring power of opera to move, challenge, and inspire. As I step into my role at The Atlanta Opera, I am committed to bringing such masterpieces to life in ways that honor their legacy while connecting deeply with contemporary audiences.

How to Solve the Riddle of Turandot for Contemporary Audiences

WRITTEN BY Erhard Rom, scenic designer

Erhard Rom working in rehearsals with The Atlanta Opera at the Cobb Energy Centre.

How do you present Puccini’s final opera, Turandot, to contemporary audiences who are increasingly attuned to issues of ethnic stereotyping and gender bias? That is the question we asked ourselves. The work remains one of the most compelling operas ever written, yet it is often criticized for misogyny, cultural stereotyping, and the appropriation of Asian influences—complicated further by the fact that it was left incomplete.

Puccini died before finishing the final scene, leaving the opera to be completed by another composer, and with it, an ending that has long been a source of debate. Much of the challenge lies in that final scene, which Puccini himself did not compose. And so, Turandot leaves us with one final, unanswered riddle.

When Tomer asked me about designing a production of Turandot, I immediately thought about that last scene which has always disappointed everyone I know, including me. Maestro Arturo Toscanini famously stopped the performance at Liù’s death scene (which is the point where the composer’s work ended) and did not want to

present the second-rate ending at the premiere in 1926. The problem is that if you end it there, the piece is left hanging, with literally no ending. Many still chose to present this opera in that way to avoid all the problems. Alternatively, over the years many other composers and librettists have tried to rewrite the last scene to “fix” it, but the real problem is that we do not have Puccini’s work no matter what.

One day I was listening to the last act while driving to work. I got to my destination just as the scene of Liù’s death was ending. In other words, exactly where the composer died. When I came back to my car, I wanted to continue listening, but I accidentally put in the wrong CD and what I heard was Turandot’s big aria in Act II “In questa reggia.” This is the aria that serves as Turandot’s manifesto, explaining her coldness and why she subjects her suitors to a deadly riddle contest. She recounts the story of her ancestor, Princess Lou-Ling, who was conquered, raped, and murdered by a foreign king. Turandot believes LouLing’s “cry” has taken refuge in her own soul. She vows to avenge this ancient crime by never being possessed by any man and executing those who fail her tests.

As I listened, a sudden thought struck me: what if that aria occurred precisely at this moment in the work, rather than in Act II? Turandot has brought about Liù’s death and is left with no means of discovering Calaf’s name. It is in despair that she tells Calaf what is in her heart and why she has taken this path of vengeance. If she sings this aria after Liù’s death in Act III, it gives Turandot a chance to reclaim the central focus of the piece and build to a powerful ending with some of the best music ever composed by Puccini.

But there is still the issue of how it all ultimately ends. In the play by Schiller (which was Puccini’s reference), Turandot feels an immediate, conflicting attraction to Calaf during the riddle scene and in the final moments of the play, when she is desperately trying to turn him away, he attempts to commit suicide out of despair. At that moment Turandot breaks down and stops him. She is deeply moved by his beauty and the depth of his devotion and therefore prevents his suicide and announces her decision to marry him.

In our version, we will follow the Schiller play and Turandot will similarly have felt for Calf from the start and will be the one to decide to love him and take his hand in marriage. In the unfortunate ending written by Franco Alfano that has become the standard for this work, it is easy to forget that Puccini had Calaf sing a line in Act II that ends on a high C, where he exclaims that he would never want to take her

by force—totally in keeping with Schiller. What we present here will not be the Alfano ending, but one that makes more sense, especially for a contemporary audience. Better still, 99% of the music will be Puccini. Only a small portion, essentially a couple of bars of Alfano’s music, is retained. This allows us to present Turandot with a complete ending constructed entirely from Puccini’s own score.

From a visual perspective, and in my role as set designer for this production, my aim is to present the piece as a new form of visual spectacle, rooted in the period in which the opera was composed. Puccini’s score, which had its premiere in 1926, while essentially still connected to the 19th century romanticism of his earlier work, is heavily influenced by the music of the time. The influence of Igor Stravinsky is particularly evident throughout and possibly even Béla Bartók and Arnold Schoenberg. We are striving to breathe new life into this piece by stripping away the layers of visual kitsch often associated with the physical setting and to entirely avoid decorative Chinese stereotypes.

The set design will reference Bauhaus and Mondrian aesthetics and other visual arts that were evolving at the time of the composition. The pieces will be simple puzzle-like units. The three riddles of Turandot are in this way represented symbolically in the set. The world we are creating will feel like stepping into an imaginary game room, where the entire space is a massive puzzle or Rubik’s Cube.

will feel like a fantasy world where powerful and terrifying allegorical messages can be conveyed through music and symbolic visual imagery.

TOGETHER, LET’S MAKE A DIFFERENCE IN THE LIVES OF OUR N

TION’S HEROES

Synopsis

COMPILED BY

Michelle Winters

Marcy Stonikas as the formidable Princess Turandot and Gianluca Terranova as Prince Calaf in The Atlanta Opera’s 2017 production of Turandot

The images that accompany this synopsis are from past Atlanta Opera productions and are included as part of our history. While some may reflect outdated conventions that do not align with contemporary perspectives—we share them as part of our artistic legacy—honoring the performers, designers, and audiences who have shaped The Atlanta Opera.

Turandot is Giacomo Puccini’s final and most opulent opera, meant to be a grand spectacle that explores power, cruelty, and love. The composer, though suffering from throat cancer, showed a new mastery of choral effects and a heightened embrace of dramatic power. Blending sweeping lyricism, bold harmonies and orchestration, the work moves from ritualized violence to emotional awakening.

ACT I

An excited crowd gathers outside the palace to witness the execution of the Prince of Persia, a failed suitor to Princess Turandot. Daughter of the Emperor, Turandot has vowed to marry only the man who can answer her three riddles. Any who fail are put to death.

In the crowd is Timur, once King of the Tartars, and his attendant, the young girl Liù. Amid the chaos, the exiled prince Calaf reunites with his father after a long separation. Upon seeing Turandot as she arrives to order the execution of the Prince of Persia, Calaf instantly resolves to attempt the riddles that have caused so many deaths. Liù begs him not to put himself at risk, but he strikes the gong, declaring his intention to face the challenge.

ACT II, SCENE 1

The ministers of the court, Ping, Pang, and Pong, reflect on the endless cycle of violence and long for peace. Based on standard characters from the commedia dell’Arte of Renaissance theatre, they condemn the riddle game.

SCENE 2

Calaf approaches the Emperor Altoum, who urges the prince to abandon his quest. Turandot warns him of the rules, but he continues, and to her horror, he answers the questions correctly. Holding the advantage in the game, Calaf daringly presents his own riddle. If Turandot can guess his name by the next morning, she will still win the game and he will accept death as his consequence.

ACT III, SCENE 1

Turandot decrees that no one in the city shall sleep until the stranger’s name is revealed. Rather pleased by

From The Atlanta Opera’s 2007 production at Cobb Energy Performing Arts Centre: Samuel Hagan as Emperor Altoum, Lori Phillip in the title role of Princess Turandot, and Philip Webb as Prince Calaf.

Martile Rowland in the commanding title role of Princess Turandot in The Atlanta Opera’s 2000 production at The Fox Theatre.

the proclamation, Calaf sings opera’s most famous aria “Nessun Dorma” (No one must sleep). The gabby ministers try to convince Calaf to reveal his name and they offer safe passage out of the city. He is not interested.

Because they were observed speaking with Calaf, Timur and Liù are captured and threatened. Liù protects Timur by claiming she alone knows the stranger’s name. Under torture, she refuses to betray him, sustained by the power of her love for him. Her aria “Tu che di gel sei cinta” (You who are encircled by ice) predicts that one day Turandot will also love the unknown prince. Her sacrifice marks the turning point of the opera.

It is here that Puccini died with this opera unfinished. In this production, the creative team have reshaped the ending by placing another great Puccini aria of this opera “In questa reggia” (In this palace) at the final moments instead of its usual place in Act II. Turandot recounts the ancient wrong done to her ancestor, explaining her vow that no man will possess her.

20 | cast&creative

IVÁN LÓPEZ REYNOSO CONDUCTOR

Iván López Reynosois an internationally acclaimed conductor known for his versatility, precision, and expressive artistry. He has led major orchestras and opera companies across Europe, the Americas, Asia, and the Middle East, and has collaborated with leading artists including Bryn Terfel, Ildar Abdrazakov, Javier Camarena, Rolando Villazón, Olga Peretyatko, Irina Lungu, Ute Lemper, and Augustin Hadelich. Deeply rooted in Mexico’s musical life, López Reynoso has held several prominent artistic leadership roles, including Artistic Director of the Orquesta del Teatro de Bellas Artes and Associate Conductor of the Orquesta Filarmónica de la UNAM. He has also conducted the National Symphony Orchestra of Mexico and led numerous important productions and premieres, championing both standard repertoire and rarely heard works across the country. Internationally, he has conducted distinguished ensembles such as the Philharmonia Zürich, the Milwaukee Symphony Orchestra, the National Orchestra and Chorus of Spain, the Bilbao Symphony Orchestra, the Real Orquesta Sinfónica de Sevilla, the Oviedo Filarmonía, and the Staatsorchester Braunschweig. His work has taken him to leading opera houses and festivals including the Opernhaus Zürich, the Deutsche Oper Berlin, the Santa Fe Opera, The Dallas Opera, and The Atlanta Opera. A gifted opera conductor, López Reynoso made his debut at age 20 with Mozart’s Le nozze di Figaro and has since conducted more than 50 operas, spanning Mozart and Rossini to Verdi, Puccini, and Stravinsky. His work includes the Mexican premieres of Rossini’s Le comte Ory and Il viaggio a Reims, and Donizetti’s Viva la mamma. In 2014, he was selected for the Rossini Opera Festival Accademia, working closely with Alberto Zedda. He has held posts in Braunschweig and Spain, including Principal Guest Conductor of Oviedo Filarmonía. In 2025, he was appointed the Carl and Sally

Gable Principal Conductor of The Atlanta Opera. Born in Guanajuato, Mexico, López Reynoso studied violin, piano, and choral conducting, graduating summa cum laude in orchestral conducting. He has also participated in masterclasses with Alberto Zedda, Jean Paul Penin, and Avi Ostrowsky, and is an accomplished countertenor.

TOMER ZVULUN PRODUCTION DIRECTOR

Tomer Zvulun has served as General and Artistic Director of The Atlanta Opera since 2013, where he has transformed the company into one of America’s most innovative and influential opera institutions. During his tenure, fundraising has tripled, the number of productions has doubled, and Atlanta has earned its place among the nation’s top opera companies. This remarkable turnaround has been the subject of a Harvard Business School case study, garnered an International Opera Awards nomination, and led to national recognition including an ArtsATL Luminary Award and a TED Talk on innovation in the arts. Internationally recognized as one of the leading stage directors of his generation, Zvulun’s work is distinguished by its cinematic visuals, psychological depth, and contemporary resonance. His productions have been presented at major houses and festivals across the United States, Europe, Asia, South America, and Israel—among them The Metropolitan Opera, Washington National Opera, Seattle Opera, Houston Grand Opera, Dallas Opera, Israeli Opera, Wexford Festival in Ireland, Glimmerglass and Wolf Trap Festivals, Buenos Aires, Opéra de Montréal, National Theatre of Panama, as well as educational institutions like The Juilliard School and Indiana University. Acclaimed stagings such as Silent Night, Dead Man Walking, The Flying Dutchman, and Wagner’s Ring cycle have traveled across continents, drawing critical praise for their bold theatricality and ability to connect historic works with contemporary social themes. His European premiere of Silent

SILENT NIGHT

composer Kevin Puts | librettist Mark Campbell

Nov 7 - 15, 2026 | Cobb Energy Performing Arts Centre

CARMEN

composer Georges Bizet | librettists Henri Meilhac & Ludovic Halévy

Jan 30 - Feb 7, 2027 | Cobb Energy Performing Arts Centre

THE FLYING DUTCHMAN

composer & librettist Richard Wagner

Mar 13 - 21, 2027 | Cobb Energy Performing Arts Centre

TOSCA

composer Giacomo Puccini | librettists Giuseppe Giacosa & Luigi Illica

May 1 - 9, 2027 | Cobb Energy Performing Arts Centre

ALL IS CALM

THE CHRISTMAS TRUCE OF 1914

written by Peter Rothstein

vocal arrangements by Erick Lichte & Timothy C. Takach

a co-production of Theatrical Outfit & The Atlanta Opera

Dec 2 - 27, 2026 | Theatrical Outfit

JUBILEE

written & directed by Tazewell Thompson

vocal arrangements by Dianne Adams McDowell

Jun 5, 6, 10, 2027 | Morehouse College

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Night at the Wexford Festival won two Irish Times Awards before moving to Washington, Glimmerglass, Atlanta, Austin, and Salt Lake City—an example of how his productions often achieve longevity by resonating with diverse audiences worldwide. At The Atlanta Opera, Zvulun has overseen more than thirty new productions, including immersive site-specific works, large-scale musicals, and groundbreaking contemporary pieces, redefining how opera companies engage with their communities. His upcoming projects include building a new headquarters for the company, completing the first Ring cycle in the Southeast and touring Atlanta-born productions to the Kennedy Center, Los Angeles, Dallas, Toronto, Cincinnati, and beyond. Zvulun is currently focused on transforming Atlanta’s cultural landscape with the creation of a new artistic center that will serve as a hub for opera, chamber music, musical theatre, and cabaret. This bold initiative reflects his passion for reimagining how live performance can connect with modern audiences, positioning Atlanta as a national leader in the evolution of the performing arts. Zvulun was honored with the 2025 Georgia Governor’s Award for the Arts and Humanities in recognition of his transformative leadership and significant contributions to the cultural life of the state.

ERHARD ROM SCENIC DESIGNER

Erhard Rom, set and projection designer, has designed settings for more than 200 productions around the globe. Most recently, he designed a new production of Don Giovanni for the Royal Swedish Opera in Stockholm. He has appeared frequently with the Atlanta Opera including the revival of La bohème in 2024. In 2015, he was named as a finalist in the designer of the year category for the International Opera Awards in London. Since then, his designs have frequently been featured

in the Prague Quadrennial International Design exhibition. He has collaborated with many of the world’s leading directors, working for major companies including: San Francisco Opera (Marriage of Figaro, Susannah, Lucia di Lammermoor, Nixon in China), Seattle Opera (Semele, Eugene Onegin, La bohème), Washington National Opera (Don Giovanni, Samson and Delilah and Silent Night), Wexford Festival (Silent Night), Houston Grand Opera (Rigoletto), Vancouver Opera (Dead Man Walking, Otello), Glimmerglass Festival (A Blizzard on Marblehead Neck, Later the Same Evening, Silent Night), Opera Theatre of St. Louis (Faust, Jane Eyre, Carmen), Minnesota Opera (The Shining, Dead Man Walking, Rusalka, Romeo and Juliet), and Utah Opera (Moby Dick). Other companies include Boston Lyric Opera, Opéra de Montréal and Wolf Trap, among many others. His 2014 design for the European premiere of Silent Night for the Wexford Festival received two accolades from the 2015 Irish Times Theatre Awards including “audience choice” and “best opera production of 2014.” Future engagements include a new production of Fidelio and Macbeth for the Washington National Opera.

RAN ARTHUR BRAUN LIVE ACTION DIRECTOR

Ran Arthur Braun has worked on more than 370 live productions so far with most leading opera houses and festivals. Specializing in large-scale events led him to collaborate world-wide with major production companies, including venues in Asia and the Middle East. He also enjoys a long-standing collaboration with the Bregenz Festival, where he has worked for more than 21 seasons. Ran Arthur Braun has also made a name for himself as a director and set designer: he won the 2014 Music and Theatre Prize for Best Set Design, he was also voted 2015 Director of the Year for his production of L’enfant et les sortilèges, both in Poland. He has been a member of Dmitri Tcherniakov’s production team since 2017. He teaches

stage fighting at The Royal Opera House, Covent Garden in London, the Centre de Perfeccionament Plácido Domingo in Valencia, the Bolshoi in Moscow, Opera Studio Warsaw, Volksoper Wien and the Opera Studio in Amsterdam. Ran also manages Action Actors for film, television and stage projects, with recent work provided for Lucas Films, Disney, Amazon Prime, Play Station, and Balich Wonder Studio. Winner of ‘Opernwelt’ 2022 and 2023 award for production of the year, as a member of the artistic team of Christof Loy and Dmitri Tcherniakov, with whom they also won Best Production in the International Opera Awards in 2024. His network provides various services including stunt gear, equipment and special effects, providing services worldwide for some of the industry’s biggest shows. Future work includes working as Artistic Producer for various productions and events in collaboration with ShowTalentNetwork.

ANA KUZMANIĆ

COSTUME DESIGNER

Ana Kuzmanić is a Yugoslav-born costume designer for theatre and opera. Her theatrical career started while studying costume and fashion design at the Academy of Fine Arts in Belgrade. Since 2003 Ana’s design work has been seen across USA in regional theatres, national tours, commercial runs on Broadway and Off-Broadway as well as internationally in Europe, Asia, Australia and the Americas. Her costume designs have been honored with Drama Desk, Helen Hayes, Henry Hewes and Joseph Jefferson nominations and awards. Her designs for the opera include productions at the Lyric Opera of Chicago, Los Angeles Opera, Dallas Opera and Metropolitan Opera, including most recent Met premiere of Florencia en el Amazonas, directed by her long-time collaborator, Tony Award winning director Mary Zimmerman. Ana has designed for her fashion label from 1993 to 2001. She is a professor of costume design at Northwestern University in Evanston, USA.

ROBERT WIERZEL

LIGHTING DESIGNER

Robert Wierzel has worked in opera, theater, dance, museums, and contemporary music. Opera credits include productions with the opera companies of Paris Garnier, Tokyo, Toronto, Bergen, Norway, Glimmerglass Festival, Seattle, Boston Lyric, Minnesota, San Francisco, Houston, Virginia, Chicago Lyric, Opera Theatre of Chicago, Montreal, Vancouver, Portland, Wolf Trap, NYCO, and San Diego. Wierzel’s work with dance includes the Bill T. Jones/Arnie Zane Company. Broadway credits include Lady Day at Emerson’s Bar & Grill starring Audra McDonald, Fela! (Tony Award nomination), and David Copperfield’s Broadway debut, Dreams and Nightmares. Off-Broadway credits include productions with the NYSF/ Public Theatre, The Signature Theatre, Roundabout Theatre Company, and Playwrights Horizons. Wierzel’s extensive regional theater work includes productions with the Alliance Theater (Atlanta), Goodman Theatre (Chicago), A.C.T. San Francisco, Arena Stage (Washington, D.C.), Hartford Stage, Long Wharf Theatre, The Guthrie, Mark Taper Forum, Actors Theatre Louisville, and The Old Globe. He is adjunct faculty at N.Y.U.’s Tisch School and is a Creative Partner at Spark Design.

CHARLES G. LAPOINTE WIG & HAIR DESIGNER

Charles G. LaPointe is an award-winning wig and hair designer based in New York, who maintains a highly successful career on stages throughout the United States and abroad. Career Highlights: Numerous Broadway, Touring, American Regional Theatre, West End, and International productions including: Hamilton (Make-Up Artists and Hair Stylist Guild Award for Los Angeles Company and Netflix Film), Ain’t Too Proud, Beautiful: The Carole King Musical, Beetlejuice, The Cher Show (Drama Desk Award), The Band’s Visit, Anastasia, The Lifespan of a Fact,

SpongeBob SquarePants (Drama Desk Award), The Donna Summer Musical, Jersey Boys, Motown, Memphis: The Musical, On Your Feet, A Gentleman’s Guide to Love and Murder, The Color Purple, Doctor Zhivago, Of Mice and Men, Violet, Sideshow, The Elephant Man, After Midnight, Clybourne Park, Newsies, The Mountaintop, Superior Donuts, In the Heights. Television:The Wiz Live! (Emmy Award Nomination), Jesus Christ Superstar Live! (Emmy Award Nomination and Make-Up Artists & Hair Stylist Guild Award), Bluebloods, American Crime, Madoff, Hairspray, In A Man’s World

KATIE GELL – STUDIO PICKENS MAKEUP DESIGNER

Broadway credits include Death of a Salesman, Dog Day Afternoon, The Fear of 13, Romeo and Juliet, The Roommate, Stereophonic, Lunar Eclipse, All In, All Out, and How to Dance in Ohio. Additional Off-Broadway and UK credits include High Spirits, The Big Gay Jamboree, Teeth, Here We Are, and Danny and the Deep Blue Sea. She thanks Joe and Vivien for their love and support.

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. 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. She became 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.

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

DANIEL CHERVINSKY

ASSISTANT CONDUCTOR

Daniel Chervinsky, conductor and pianist, was born in the Soviet Union. At the Israeli Opera, he serves as Head of Music, Conductor, Pianist, and Music Coach. He has conducted and performed with many of Israel’s leading orchestras, including the Israel Symphony Orchestra Rishon LeZion, the Haifa Symphony Orchestra, and the Jerusalem Symphony Orchestra. Chervinsky graduated from the Buchmann-Mehta School of Music at Tel Aviv University in the conducting class of Yoav Talmi and Yi-An Xu. He won the Golden Baton Conducting Competition of the Buchmann-Mehta School of Music and the Haifa Symphony Orchestra, and he participated in master classes presented by Zubin Mehta and Zsolt Nagy.

GREGORY LUIS BOYLE

ASSISTANT DIRECTOR

Gregory Luis Boyle is grateful to have lived and traveled all around the United States to pursue his passion for opera. Boyle was

the stage director of Tomer Zvulun’s production of Macbeth at The Atlanta Opera and for Zvulun’s production of La bohème, as well as the associate director of Rigoletto. Boyle made his Atlanta Opera directorial debut as the assistant director on Zvulun’s new production of Das Rheingold, which he helped originate at the Dallas Opera, and continued the journey on Die Walküre in the spring of 2024. Most recently, Boyle directed Don Pasquale for Inland Northwest Opera in Coeur d’Alene, Idaho. Other credits include associate director at Lyric Opera of Kansas City, revival director for Michael Shell’s The Barber of Seville at Austin Opera, director for a semi-staged Tosca for Opera Philadelphia’s outdoor series at the Mann Center, director of a new production of La Favorite at the Academy of Vocal Arts in Philadelphia, and assistant director of Stephen Barlow’s new production of Don Giovanni at the Santa Fe Opera. Boyle has also worked with the Bonfils-Stanton Foundation Artists at Central City Opera as a director working with young students and with young professionals at programs including at the Academy of Vocal Arts in Philadelphia, the Santa Fe Opera, and the Herndon Foundation of Emerging Artists of Virginia Opera. Previously, Boyle has held associate and assistant director engagements at companies including Opera Philadelphia, the Santa Fe Opera, Cincinnati Opera Association, the Dallas Opera, Central City Opera and Virginia Opera among others.

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,

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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.

PEIXIN CHEN

TIMUR

Peixin Chen, bass, is acclaimed for his richly resonant voice and compelling stage presence, bringing both authority and nuance to a wide range of operatic roles. His repertoire spans from the comic worlds of Mozart, Rossini, and Donizetti to the powerful dramatic roles of Verdi, Puccini, and Wagner. He has collaborated with leading conductors and directors including Zubin Mehta, Esa-Pekka Salonen, Eun Sun Kim, James Conlon, and Francesca Zambello. In the 2025–26 season, Chen appears in the world premiere of The Monkey King at San Francisco Opera. A signature role for the artist, Sparafucile in Verdi’s Rigoletto, brings him to both San Francisco Opera and the Canadian Opera Company. He also returns to the Metropolitan Opera as Timur in Turandot, the role he performs here. On the concert stage Peixin Chen joins James Gaffigan and the San Francisco Symphony for Beethoven’s Ninth Symphony and makes a debut at the São Paulo Symphony Orchestra with performances of the Verdi Requiem conducted by Jun Märkl. Recent career highlights include his debut at the Salzburg Festival in Prokofiev’s The Gambler, as well as first appearances at Teatro Real, the Festival d’Aix-en-

Provence, Lyric Opera of Chicago, and the Los Angeles Philharmonic. He has also appeared with Washington National Opera, Seattle Opera, and The Dallas Opera, and is a frequent guest at the Metropolitan Opera. A graduate of the Houston Grand Opera Studio, Chen maintains an active concert career, performing works such as Verdi’s Requiem and Beethoven’s Ninth Symphony with major orchestras worldwide.

TERRENCE CHIN-LOY PONG

American tenor Terrence Chin-Loy, whom Opera News described as having a “beautiful lyric tenor voice” pairs passionate performance with a full, sweet sound. In the 2025-26 season, Chin-Loy makes three role debuts, first as Rodolfo in La bohème with Madison Opera, and later as Pinkerton in Madama Butterfly with Arizona Opera, and Edgardo in Lucia di Lammermoor with Berkshire Opera Festival. Elsewhere, he will headline Bozeman Symphony’s Christmas program, sing the role of Lucian in the world premiere of Lalovavi at Cincinnati Opera and Moses in Nathaniel Detts’ The Ordering of Moses with Oakland Symphony. In the 202425 season, Chin-Loy made his European debut singing Gualtiero in Vivaldi’s Griselda with the Danish National Opera, returned to the Lyric Opera of Chicago for Cop 1 in Blue, sang Ferrando in Così fan tutte with Virginia Opera, Don Ottavio in Don Giovanni with Opera Omaha and in concert, Graf Albert in Die tote Stadt with Andris Nelsons and the Boston Symphony Orchestra. Highlights of recent seasons include his solo debut at the Metropolitan Opera in Terence Blanchard’s Fire Shut Up In My Bones, Tamino in Die Zauberflöte with the National Taichung Theater in Taiwan, Don José in Carmen with MasterVoices at Lincoln Center, Pang in Turandot with LA Opera, Roméo in Roméo et Juliette, Victor Frankenstein the world premiere of Frankenstein, Henrik Egerman in A Little Night Music, Ferrando in Così fan tutte, all with Arizona Opera, the tenor

solos in Paul Moravec’s Sanctuary Road with Virginia Opera, and Benny Paret Jr. in Boston Lyric Opera’s production of Champion. In concert, Terrence performed and recorded Taneyev’s At the Reading of a Psalm with the American Symphony Orchestra and Leon Botstein at Carnegie Hall, the Lubbock Symphony for Haydn’s Creation, North Carolina Symphony for Mozart’s Requiem, the Caramoor Festival for an Independence Day celebration concert, the Boise Philharmonic for a performance of Hailstork’s I Will Lift Mine Eyes as well as a residency with the College of Idaho. Terrence’s favorite roles include Idomeneo in Idomeneo: afterWARds (Pittsburgh Opera), director David Paul’s retelling of Mozart’s masterpiece with the composer’s original music, Edgardo in Donizetti’s Lucia di Lammermoor (Indiana University) and Younger Thompson in Tom Cipullo’s Glory Denied (Pittsburgh Opera, Penn Square Music Festival). He was happy to make his Carnegie Hall debut in Handel’s Messiah in the 2018-19 season. Terrence is a graduate of Indiana University, where he received a performer diploma.

STEVEN COLE

EMPEROR ALTOUM

Steven Cole, tenor, made his professional debut as Monsieur Triquet (Eugene Onegin) with the Boston Symphony Orchestra under Seiji Ozawa at Tanglewood. A specialist in character tenor roles, he has built a remarkably diverse repertoire of more than 80 roles, ranging from Monteverdi to Ligeti. Last season, Cole made his debut with The Santa Fe Opera in Le nozze di Figaro (Don Basilio). He also returned to Opera Columbus for Eugene Onegin (Monsieur Triquet) and to Houston Grand Opera for Madama Butterfly (Goro). Other recent engagements (Don Basilio) with Houston Grand Opera, Eugene Onegin (Monsieur Triquet) with Opera Omaha, and Le nozze di Figaro (Don Basilio/ Don Curzio) with Austin Opera. Recent highlights showcase his extraordinary

versatility, with appearances in Veremonda (Don Buscone) at the Spoleto Festival USA; the world premiere of Christopher Theofanidis’ Creation/Creator (Narrator) with the Atlanta Symphony Orchestra; Madama Butterfly (Goro) and Adriana Lecouvreur (Abbé de Chazeuil) at Opéra de Nice; La fanciulla del West (Nick) with San Francisco Opera; Les contes d’Hoffmann (Four Valets) with Edmonton Opera and the Canadian Opera Company; L’enfant et les sortilèges (Three Tenor Roles) with Théâtre de Caen; Porgy and Bess (Sportin’ Life) with Cincinnati Opera; and Die Zauberflöte (Monostatos) at the Théâtre des Champs-Élysées in Paris. Cole made his debut at The Metropolitan Opera as the Tanzmeister (Ariadne auf Naxos). He has appeared with major American orchestras including The Cleveland Orchestra, the Chicago Symphony Orchestra, and the New York Philharmonic, performing Janáček’s From the House of the Dead under Rafael Kubelík.

ELEOMAR CUELLO PING

Cuban baritone Eleomar Cuello, whom the San Francisco Chronicle lauded, “Appearing as Iago…[he] gave a performance of such musical eloquence and theatrical bravura that the audience couldn’t quite believe what we were witnessing” recently finished his second and final year as a member of the Lindemann Young Artist Development Program at the Metropolitan Opera. In the 2025-26 season, Mr. Cuello will return to the Metropolitan Opera as Dancaïre in Carmen, and make several debuts, including the title role in Il barbiere di Siviglia with Knoxville Opera, Mercutio in Romeo and Juliet with Opera Theatre of St. Louis, and in concert, Brahms’ Requiem with the Lubbock Symphony. In the 202425 season at the Metropolitan Opera, Mr. Cuello performed Fiorello in Il barbiere di Siviglia, and the Bullfighter in Ainadamar Outside of New York, he sang Sharpless in Madama Butterfly with the Teatro Municipal

de Santiago, a role debut, Silvio in I Pagliacci with Utah Opera and Schaunard in La bohéme with Opera Maine. Notable debuts of recent seasons include the title role in Don Giovanni with Staatstheater Stuttgart and Vero Beach Opera, Silvio with Florida Grand Opera, and covers of Périchaud in La rondine and Dancaïre in Carmen at the Metropolitan Opera. A resident of Chile from 2015 to 2020, Mr. Cuello performed at the prestigious Teatro Municipal de Santiago as Guglielmo in Così fan tutte, Masetto in Don Giovanni, Valentin in Faust, Haly in L’italiana in Algeri, Schaunard in La bohème, and Marques D’Obigny and Baron Douphol in La traviata Elsewhere in Chile, he sang the title role of Don Giovanni, Escamillo in Carmen, Schaunard, Silvio, and Apollo. After immigrating to Florida in 2021, Eleomar made his US debut as Belcore in L’elisir d’amore with the Gulf Coast Symphony, Angelotti in Tosca, Gregorio in Romeo et Juliette, and Morales in Carmen with Opera Naples, and Marco in both Puccini’s Gianni Schicchi and Michael Ching’s sequel Buoso’s Ghost in a double-bill with Florida Grand Opera. Based in New York City and a native of Havana, Cuba, Eleomar Cuello was a participant in the grand finals of the 2023 Metropolitan Opera Laffont as well as a member of the 2023 Merola Opera program with San Francisco Opera. A graduate of the Academy of the National Lyric Theatre of Cuba, Eleomar began his career while still a teenager with that company, performing at the Grand Theater of Havana and the National Theater of Cuba, singing as a soloist in operas and zarzuelas such as Die Zauberflöte and Don Giovanni, La traviata, La bohème, and Madama Butterfly, La serva padrona, Cecilia Valdés, La verbena de la Paloma, La corte de Faraón, and Las leandras.

JULIANA GRIGORYAN

Armenian soprano Juliana Grigoryan is among the most promising talents of her generation. The winner of first and audience prizes at

the 2022 Operalia Competition, she has appeared on many of the world’s leading stages, including Teatro alla Scala, the Metropolitan Opera, Dutch National Opera, Teatro dell’Opera di Roma, Teatro Massimo di Palermo, and Arena di Verona. In October 2024, in her hometown of Yerevan, she shared the stage at the Aram Khachaturian Concert Hall with Plácido Domingo in a concert of extraordinary public success. She is also a grand prize winner of the International Stanisław Moniuszko Vocal Competition. During the 2022-23 season, she made several important house and role debuts, including Liù in Turandot at Dutch National Opera and Mimì in La bohème at the Ravenna Festival. Her concert appearances include Basel, Budapest, Geneva, Vienna, and Prague, as well as Verdi’s Requiem with Riccardo Muti in Ravenna, Rimini, and Bologna. In 2024, she received the prestigious Hilde Behrens Prize and joined Andrea Bocelli as a featured guest artist on his European and American tours. She recently made her debut as Violetta in La traviata at the Royal Opera House Muscat. Engagements in the 2025-26 season include La bohème at the Metropolitan Opera, the Royal Opera House, Covent Garden, and the Bayerische Staatsoper, as well as Liù in Turandot at the Royal Opera House, Covent Garden, and the Metropolitan Opera. She also appears in concert with Plácido Domingo, Andrea Bocelli, and other distinguished artists.

ANGELA MEADE

PRINCESS TURANDOT

Angela Meade, soprano, is the winner of both the Metropolitan Opera’s 2012 Beverly Sills Artist Award and the 2011 Richard Tucker Award. In 2008 she joined an elite group of history’s singers when, as Elvira in Verdi’s Ernani, she made her professional operatic debut on the Met stage. Since then, she has fast become recognized as one of today’s outstanding vocalists, excelling in the most demanding heroines

of the 19th-century bel canto repertoire as well as in the operas of Verdi, recently also adding the operas of Strauss and Wagner to her repertoire. This season, Meade returned to the Metropolitan Opera in the title role of Turandot, in Franco Zeffirelli’s celebrated production conducted by Carlo Rizzi. She also makes her debut with Opera National de Paris, reprising Amelia in Un Ballo in Maschera, conducted by Speranza Scappucci. Last season, she made notable returns to Teatro La Fenice, The Metropolitan Opera, Bayerische Staatsoper, and Teatro Carlo Felice in celebrated role portrayals. She returned to the Metropolitan Opera as Leonora in Il Trovatore in David McVicar’s critically acclaimed production, conducted by Daniele Callegari. She sang the title role in Lucrezia Borgia in Munich and made her role debut in the title role of Die Liebe der Danae at Teatro Carlo Felice with Fabio Luisi. She also joined the American Symphony Orchestra and conductor Leon Botstein in concert at Carnegie Hall as Freihild in Strauss’s Guntram. Concert appearances included Mahler 8 with Nashville Symphony, Verdi’s Requiem with the Cincinnati Symphony, and Mahler 2 with San Diego Symphony and Rafael Payare. The season prior, she returned to the Metropolitan Opera for Amelia in Un Ballo in Maschera conducted by Carlo Rizzi. She sang the title role in Ermione with Washington Concert Opera alongside Lawrence Brownlee and David Portillo, followed by her role debut as Chrysothemis in Elektra at Dallas Opera. She sang the title role in Beatrice di Tenda at Teatro Carlo Felice and joined Teatro La Fenice for the Verdi Requiem. In the spring, she joined LA Opera for her role debut in the title role of Turandot conducted by James Conlon in the celebrated production by David Hockney, reprising the role later with Teatro dell’Opera di Roma at The Baths of Caracalla. A native of Washington State and an alumna of the Academy of Vocal Arts, Meade has triumphed in an astounding number of vocal competitions: 57 in all, including many of the opera world’s most important

prizes. In addition to being a winner at the 2007 Metropolitan Opera National Council Auditions, as documented in The Audition, a film subsequently released on DVD by Decca, she was also the first singer to take first prize in both the opera and operetta categories of the prestigious Belvedere Competition.

JONATHAN BURTON CALAF

Tenor Jonathan Burton is consistently celebrated for his “heroic” and “clarion” performances in a wide range of dramatic roles. The 2025-26 season brings exciting engagements for Burton, including bowing as Manrico in Il trovatore with North Carolina Opera, and performances as Pinkerton in Madama Butterfly at The Santa Fe Opera in the summer. Earlier in the season, Burton performed as Canio with San Diego Opera, Radamès in Aida with Virginia Opera, and Dick Johnson in La Fanciulla del West with Nashville Opera. In concert, he joined Austin Opera for their 40th Anniversary Concerts. The 2026-27 season brings Burton‘s highly anticipated mainstage debut with The Metropolitan Opera as Malcolm in Verdi’s Macbeth. The tenor will cover the role of Dick Johnson, also with The Metropolitan Opera. During the 2024-25 season, Burton performed both Cavaradossi in Tosca and Canio at Pittsburgh Opera, as well as Canio with Utah Opera. He returned to Washington National Opera as Steve Wozniak in The (R)evolution of Steve Jobs. Mr. Burton sang Verdi’s Requiem at the Cincinnati May Festival, bowed in Britten’s War Requiem with the Columbus Symphony and performed Canio with the Opera Festival of Chicago. Career highlights include: Cavaradossi with Santa Fe Opera; Rodolfo in Luisa Miller for Lyric Opera of Chicago; Bacchus in Ariadne auf Naxos at Austin Opera; Paul in Die Tote Stadt at Opera Colorado; Hermann in Pique Dame for Des Moines Metro Opera; Don José in Carmen for Palm Beach Opera; Pollione in Norma with Utah Opera; Florestan in

Fidelio with Kentucky Opera; des Grieux in Manon Lescaut at North Carolina Opera; the Prince in Rusalka and Manrico at Pittsburgh Opera; Canio with Opera San Antonio and Utah Opera; and Calaf with Washington National Opera, Austin Opera, Opera Colorado, and Utah Opera.

WAYD ODLE PANG

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 second-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.

KYLE WHITE MANDARIN

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

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.

First Encounters: Opera for the Next Generation

WRITTEN BY Amy Williams

Students arrive at the Cobb Energy Performing Arts Centre, tickets in hand and brimming with excitement for The Marriage of Figaro final dress rehearsal— part of The Atlanta Opera’s program offering students the opportunity to experience opera.

MORE INFO

To learn about this and other education programming, please visit: atlantaopera.org/ education

As we move into the spring season, The Atlanta Opera’s Final Dress Rehearsal Program continues to serve as a vital bridge between the classroom and the stage, offering students a rare opportunity to experience the power of live opera in a welcoming and educational setting. Designed specifically for school groups, these rehearsals provide a behind-the-scenes glimpse into the final moments of preparation before opening night, allowing students to witness not only the artistry of the performers, but also the collaboration and craftsmanship that bring a production to life. For many, it is their first introduction to opera—an art form that blends music, storytelling, design, and history into a uniquely immersive experience. By aligning with curriculum standards in music, theater, language arts, and social studies, the program supports teachers in extending learning beyond the classroom while making the arts accessible, engaging, and relevant to a diverse student population.

This season, the program anticipates welcoming over 3,500 students, including more than 1,500 who attended the final dress rehearsal of The Marriage of Figaro. Each year, these performances provide thousands of students with their first exposure to live, professional opera, supporting curriculumbased learning while fostering early and meaningful connections to the art form. Strong demand from school

partners underscores the program’s continued impact and its role as a cornerstone of The Atlanta Opera’s education and community engagement efforts. By removing barriers to access and creating a space where students can experience opera without intimidation, the program helps cultivate curiosity, confidence, and a sense of belonging in the arts. Teachers consistently highlight the transformative effect these experiences have on their students, many of whom may not otherwise have the opportunity to attend a live performance. The combination of high artistic quality and thoughtful educational framing ensures that students are not only entertained, but also inspired to think critically and creatively about what they see and hear.

Here is what teachers have to say:

“This program is exposing students to the opera that would never go on their own. Most all my students end up loving it and begging to go again. I actually was not going to schedule a trip to the opera this year, but I had so many students asking that I couldn’t ignore it.”

— Heather, Mt. Zion High School

“I have been attending the shows since 2018 and my demographic of student are people who usually haven’t considered or see themselves participating in Opera. Many of them it’s their first time and the staff has always been very kind, explaining history, the intricacies of the Opera and this has made a memorable experience they always come from happy to have experienced.”

— Will, Year Up

Students take their seats for the Final Dress Rehearsal, gaining a unique behind-the-scenes glimpse of final preparations before opening night.

CHORUS MASTER

Lisa Hasson

SOPRANO

Talia Marie Aull

Morgan Babb

Samantha Burke

Kayla Wilson Emerson

Keli Jackson

Shala Jenkins

Nicole Lewis

Blair Lipham

Karina Mandock Saldivar

Julia Metry Johnson

Samantha Rascle

Tiffany Uzoije

Alexandra Watson

MEZZO-SOPRANO

Lar’Kara Betha

Madison Chambers

Isabella Chaney

Ebony Collier

Kaitlyn Costello-Fain

Kristin Hagan

Dayela Lima

Allison Nance

Laura Porlier

Amber Tittle

Laurie Tossing

Jessica Wax

CHORUS PERSONNEL MANAGER

Jessica Wax

CHILDREN’S CHORUS

Eloise Fleck

Owen Jacobs

Emily Jee

Elise Myers

Sydney O’Brien

Hensley Peters

CHILDREN’S CHORUS WRANGLER

Janelle Brown

TENOR

Matthew Boatwright

Simri Chantaca

Ethan Godfrey

William Green

Grant Jones

Tetra Lloyd

Cameron King

Owen Malone

Eric Mask

Tim Parrott

Nicklaus Porter

Sean Christian Savage

BASS

Cole Brown

Maxwell Clements

Patrick Galletta

Kyle Hildebrand

Ben Longo

Stephen McCool

Randall Perkins

Jason Royal

Stuart Schleuse

Brandon Stephens

Benjamin Varner

Charlie Wentz

Van-Arc Wright

David Podobea

Cleo Saliers

Harry Sun

Sid Swaminathan

Angelina Tong

Joelle Weatherby

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 Gardner-Wilson

Robert Givens

Patti Gouvas

Lisa Morrison

Patrick Ryan

Jessica Stinson

Rafael Veytsblum

James Campbell†

Mingyang Gao†

Tramaine Jones†

Kim Hain†

Paul Halberstadt†

Ramel Price†

Yi-Wen Yeh†

VIOLA

William Johnston Principal

Catherine Allain

Assistant Principal

Ryan Gregory

Julie Rosseter

Joli Wu

Julia Bullard†

Tania Maxwell

Clements†

Robin Fay Massie†

CELLO

Charae Krueger Principal

Barney Culver

Assistant Principal

David Hancock

Cynthia Sulko*

Yuliya Kim†

Alexis Lee†

Grace Sommer†

BASS

Daniel Tancredi

Principal

Emory Clements

Bailey Bennett†

Leonardo Lourenco

Lopes†

FLUTE/PICCOLO

James Zellers

Principal

Kelly Bryant

Erica Pirtle† double piccolo

OBOE/ ENGLISH HORN

Christina Gavin Principal

Dominic Bernard, english horn

Ann Lillya†

CLARINET/ BASS CLARINET

David Odom

Principal

John Warren, Bass Clarinet

Justin Stanley†

BASSOON

Marissa Takaki Principal

Debra Grove

John Grove†

FRENCH HORN

David Bradley* Principal

Jason Eklund

Eric Hawkins† Mackenzie Newell†

TRUMPET

Yvonne Toll-Schnieder Principal

Alexander Freund

Kevin Lyons†

TROMBONE

William P. Mann Principal

Richard Brady

bass trombone

Josh Bynum†

TUBA

Donald Strand Principal

TIMPANI

John Lawless Principal

PERCUSSION

Michael Cebulski Principal

Jeff Kershner†

Karen Hunt†

Courtney MacDonald†

Todd Mueller†

HARP

Susan Brady Principal

Ellen Foster†

CELESTE

Nyle Matsuoka†

BANDA MUSICIANS

Jack Thorpe†, alto saxophone

Clayton Chastain†, trumpet

Ryan Moser†, trumpet

John Bryant†, trumpet

Jeremy Fielder†, trombone

Ed Nicholson†, trombone

Jordon Johnson†, trombone

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

Sally Fielding in Glacier National Park, Montana, on a trip with her parents. They all shared a love of opera—and The Atlanta Opera.

Enduring Love

Sally Fielding’s Love for Opera and Family

Sally Bland Fielding’s love of opera began in childhood, sitting beside her parents, Jim and Nancy Bland, in the theater. Some of her happiest memories are of those evenings together and of the music that flowed through the halls of their home as they welcomed both singers and Atlanta Opera board members. La bohème was their favorite, a love story that seemed to mirror Jim and Nancy’s deep affection for one another. Jim was a respected physician, and Nancy an educator; together, they were passionate champions of the arts.

A lifelong Atlantan, Sally grew up immersed in the cultural life here. After attending The Lovett School, she attended Emory University, earning her degree in 1984. Watching her parents give generously of their time and resources, she came to understand how vital nonprofits are to a thriving community. That conviction guided her work at Coxe Curry & Associates, where she supported the firm on several of Atlanta’s most significant philanthropic efforts. A devoted member of Peachtree Christian Church, Sally faithfully donates each year in support of the church’s music ministry.

Jim and Nancy were deeply invested in The Atlanta Opera from its early days. Nancy served on the opera board, gave generously, and often opened their home for events. Together, they sponsored major productions and encouraged friends to subscribe and support the company. They believed in strengthening and sustaining The Atlanta Opera’s mission and ultimately included the company in their estate plans, joining the Barbara D. Stewart Legacy Society. Though they are no longer with us, their influence is still felt by all who knew them and by the organization they helped nurture.

To learn how to name a seat in Rosemary Hall at the Molly Blank Center for Opera and The Arts, or how to join the Barbara D. Stewart Legacy Society contact Luke MacMillan at lmacmillan@ atlantaopera.org.

Sally has carried that legacy forward as a loyal subscriber, donor, and valued member of The Atlanta Opera’s Advisory Council. When she learned of plans for the Molly Blank Center for Opera and the Arts, she wanted to honor her parents in a way that reflected their love of opera and appreciation for Atlanta’s history. She chose to name a seat in Rosemary Hall in their memory, and it brings her great joy to know their names will remain part of the Opera’s future for decades to come.

Her family’s story illustrates how love of the art form, passed from one generation to the next, can help secure a vibrant future for The Atlanta Opera.

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.

Cathy & Mark Adams

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

Matthew & Natalie Bernstein

Laura & Cosmo Boyd

Harold Brody & Donald Smith

Anonymous

Change Logic

The Coca-Cola Company

Matt & Kate Cook

The Jim Cox, Jr. Foundation

Dr.Frank Critz & Dr. Ann Critz

Mr. Robert P. Dean

& Mr. Robert Epstein

Dr. Jeannette Guarner

& Dr. Carlos del Rio

Lejla & Jon Dickson

The Roy & Janet Dorsey Foundation

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

HB Wealth Management in memory of Frank Butterfield

*Gail G. Johnson

Donald & Marilyn Keough Foundation

Elizabeth Klump

Anonymous

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

Lettie Pate Evans Foundation

Alfredo & Beau Martin

Mr. James B. Miller, Jr.

Stephanie & Gregor Morela

Sandra & Peter Morelli

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

*Ms. Hazel Sanger

Thomas R. Saylor

Christine & Mark St.Clare

Mr. Eric Thornton

Carol & Ramon Tomé Family Foundation

Lucy & Bill Vance

Walentas Foundation

Larry & Beverly Willson

Rhys & Carolyn Wilson

Ms. Bunny Winter & Mr. Michael Doyle

Mary & Charles Yates

*deceased

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

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 September 17, 2024 and March 17, 2026.

DIRECTOR’S CIRCLE

$200,000+

Harold Brody & Donald Smith†

John & Rosemary Brown†

Dr. Frank A. Critz & Dr. Ann Critz†

Mr. Howard W. Hunter

- Gramma Fisher Foundation†

Disosway Foundation - Dudley & Carole Johnson

Mr. & Mrs. Michael L. Keough

*Mr. & Mrs. Carl W. Knobloch, Jr.†

Mr. James B. Miller, Jr.

Jerry & Dulcy Rosenberg

Katherine Scott

Thurmond Smithgall & the Lanie & Ethel Foundation

$100,000+

Connolly Family Foundation†

Mr. & Mrs. Robert G. Edge

Mr. John Haupert & Mr. Bryan Brooks†

Alfredo & Beau Martin†

Mary Ruth McDonald

John & Yee-Wan Stevens†

$50,000+

The Antinori Foundation†

Natalie & Matthew Bernstein

Mr. & Mrs. Paul Blackney†

Laura & Cosmo Boyd

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

Dr. & Mrs. Alexander Gross†

Mr. John L. Hammaker

Anonymous

Mr. & *Mrs. Robert L. Setzer

Mr. William F. Snyder†

Carol B. & Ramon Tomé†

Ms. Bunny Winter & Mr. Michael Doyle†

$25,000+

Cathy & Mark Adams†

Mr. & Mrs. James Anderson

Wagner Society of Santa Fe’s

Karen Loud Memorial Grant

Bryan & Johanna Barnes†

*Mr. Frank H. Butterfield†

Matt & Kate Cook

Mr. & Mrs. Edward J. Hardin

Mr. Larry & Mrs. Carole Hooks

Larry & Karen Anderson

Sandra & Peter Morelli†

Talia & John Murphy

Victoria & Howard Palefsky†

Mr. & Mrs. Steve Paro†

Michael & Marie-Elysse Paulhus†

*Mr. William E. Pennington†

Dr. Louis G. Prevosti

Mr. Peter Read

Judith & Mark Taylor

Mr. Rashaun Williams

& Mrs. LaNeah Williams

Rhys & Carolyn Wilson†

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

Slumgullion Charitable Fund†

Philip & Caroline Moïse

Mr. & Mrs. Richard P. Nicholas III†

Lynn & Kent Regenstein†

Ms. Janine Brown

& Mr. Alex J. Simmons, Jr.

Triska Drake

& G. Kimbrough Taylor

Benny & Roxanne Varzi

Larry & Beverly Willson†

Gold $10,000+

Mrs. Qaadirah Abdur-Rahim

& Mr. David Scott

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

Mr. Tomer Zvulun

& Mrs. Susanna Eiland

Dieter Elsner & Othene Munson

Mr. Leroy & Mrs. Ariana Fass

Mr. Wyche Fowler

Stephens Family Foundation

Mr. Michael D. Golden

& Dr. Juliet Asher

Mr. Ellis & Mrs. Cathy Green

Kevin Greiner & Robyn Roberts†

The Hilbert Law Firm

Mr. L. D. Holland†

Dr. & Mrs. Jeffrey R. Hoopes

Roya & Bahman Irvani

*Gail G. Johnson

James M. Kane

& Andrea Braslavsky Kane

Dr. & Mrs. David Kavtaradze

Christopher & Joan Kell

Belinda & Gino Massafra

Ms. Kelly Mayhall

Mr. Mark & Mrs. Laura Miles

Stephanie & Gregor Morela†

Mr. Tom Nolan

Mr. Ron Raitz

Mr. & Mrs. Mason Rountree

Ms. Ana M. Rountree

& Mr. Mason Rountree

*Mr. Milton J. Sams†

Thomas R. Saylor

Charles T. & Donna Sharbaugh†

Mr. & Mrs. Timothy E. Sheehan

Christine & Mark St.Clare†

Lynne & Steven Steindel

George & Amy Taylor†

Mr. & Mrs. Bill Vance

Wadleigh C. Winship Charitable Fund

Silver $5,000+

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

Dr. Jeannette Guarner & Dr. Carlos del Rio†

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

Judge Adele P. Grubbs

Atlanta Neurology

Gena & Joey Gyengo

*Sylvia Halleck, MD

Mr. Thomas Harbin

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

Mr. & Mrs. Larry Kurlander

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

Dr. & Mrs. Nicholas Valerio III†

Mrs. Karen C. Wilbanks

Thurman Williams

Bronze $2,500+

Paula Stephan Amis

Mr. James L. Anderson

Ms. Casey Armanino

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

Veronica L. Kessenich

& Michael P. Hogan

Mr. & *Mrs. Harry C. Howard

Cliff Jolliff & Elaine Gerke

Mrs. Cecile M. Jones

Ms. Alison Womack

Linda L. Lively & James E. Hugh III

Bruno Lopes

Dr. & Mrs. Ellis L. Malone

Mrs. Erin Martin

Charles Bjorklund & Sted Mays

Mrs. Linda McGinn

Mr. Bernard & Mrs. Una McGuinness

Mr. Steve & Mrs. Hala Moddelmog

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

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

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

Jeffrey 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

40 | giving&support

Colleen Langner

Anonymous

Kathryn 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

Mr. M. Reynolds McClatchey Jr.

Mr. & Mrs. Allen Meadors

Lee Metz

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

Dick & Patricia Price

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 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

Karyn Alexander

Dr. Catherine Allard

Stephan & Laura Anderson

Dr. Amir Banishahi

Mr. & Mrs. Robert O. Banker

Jennifer Barlament & Ken Potsic

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

Mr. Jerald M. Byrd

Lisa Chang

Mr. & Mrs. Don S. Coatworth

Dr. Lawrence M. Cohen

Ms. Sally Combs

Mr. David D’Ambrosio

Mr. Brock Darby

Mr. & Mrs. Peter Dean

John Donnelly

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

Elizabeth Evans

Ms. Ellen Evans

Allison Fichter & Phillip O’Brien

Dr. & Mrs. David J. Frolich

Linda Gabbard

Mr. Glen Galbaugh

Henry Gonzalez

Dr. Richard Goodjoin

Anna & Jeff Gordon

A. J. Earley & W. L. Green

Mr. Craig Hodges

Debra M. Hulsey

Janie & Sheldon Jeter

Robby Johnson

Mr. & Mrs. Thomas E. Johnston

Ms. Lynne Elliott Jones

Dorothy Yates Kirkley

Mr. Brian Kurlander

& Mrs. Carrie Johnson Kurlander

Arnold & *Joan Kurth

Sean Lee

Mr. Sidney E. Linton

Virginia Litland

Sara Lomeli

Dr. Jo Marie Lyons

Jeanie & Albert Marx

Jonathan Master

Mr. & Mrs. Allen P. McDaniel

Mr. Asghar

& Mrs. Roya Memarzadeth

Terri & Stephen Nagler

Ms. Mollie W. Neal

Kia Painter

Mr. William A. Pasch

Mr. Lawrence F. Pinson

*Sharon & Jim Radford

Mr. Stephen L. Rann

& Ms. Dytre Fentress

Dr. & Mrs. Hal S. Raper Jr.

Thomas & Sandra Rosseter

Rebecca Russell

Dr. & Mrs. William M. Scaljon

Mr. Mike Schleifer

& Mrs. Laura Hackman

Ms. Anne Schneider

Ms. Regina Schuber

Andrew J. Singletary, Jr.

Clayton & Holly Sparrow

Laura Stevens

Judge Mike & Mrs. Jane Stoddard

Kylie Stradley

Carolyn & Robert Swain

Edward Thomas

Mr. Stephen H. Thompson

& Mr. Drew Mote

Isabel Urrittia

Kiki Wilson

Mary J. Wood

Contributor $250+

Dr. Raymond Allen

*Mr. & Mrs. David S. Baker

Pam Barker

Claire & Bryan Benedict

Mr. & Mrs. Sid Besmertnik

James & Nancy Bross

Andres Celedon

Raymond Chinn

Mrs. Jan W. Collins

Mr. John & Mrs. Janet Costello

Mrs. Eleanor Crosby

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

Mr. Ronald L. Harris

& Mrs. Jacqueline Pownall

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 Kieger

Nancy Kritikos

Lawrence Kurzius

Janice Landrum

Mr. & Mrs. Bertram L. Levy

David & Kathy Linden

Richard Lodise & Valerie Jagiella

Mr. Everett Long

& Mr. Fred Smith

Elane & Paul Lukasiewicz

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

Barbara & Jon Swann

Mr. & Mrs. Frederick C. Taylor

CORPORATE PARTNERS

$200,000+

The Coca-Cola Company

The Home Depot Foundation

$100,000+

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

HB Wealth Management

KPMG LLP

PwC Charitable Foundation

Southern Company

UPS

$10,000+

Accenture LLP

Blackrock

Cox Enterprises

Deloitte & Touche

Eversheds Sutherland

The Varzi-Cohen Group, Merrill Lynch

PNC Financial Services Group

Salesforce

SG Contracting

Truist

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

Dr. & Mrs. David Wingert

Mrs. Mary S. Wright

Barbara Zellner

Mr. & Mrs. Richard H. Zimmermann

Dr. Ben & Mrs. Adrienne Zinn

$5,000+

Batdorf & Bronson Coffee Roasters

BNY Mellon

Carter

Anonymous

42 | giving&support

FOUNDATIONS & GOVERNMENT SUPPORT

FOUNDATIONS

$500,000+

Mr. Howard W. Hunter - Gramma Fisher Foundation† Donald and Marilyn Keough Foundation

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

$100,000+

Anonymous

The Charles Loridans Foundation, Inc.†

The Coca-Cola Foundation† Connolly Family Foundation† Disosway Foundation - Dudley & Carole Johnson

Knobloch Family Foundation†

The Sara Giles Moore Foundation

$50,000+

Atlanta Music Festival Association Fund of Community Foundation of Greater Atlanta Livingston Foundation†

Mary and EP Rogers Foundation, Inc.

The Zeist Foundation, Inc.

$20,000+

The Jim Cox, Jr. Foundation

The Roy & Janet Dorsey Foundation

The Halle Foundation† J. Marshall & Lucile G. Powell Charitable Trust

$10,000+

AIDS Healthcare Foundation

The Robert and Polly Dunn Foundation

The George M. Brown Trust Fund

The Hertz Family Foundation, Inc.

The John & Rosemary Brown Family Foundation

The Stephens Family Foundation Walentas Foundation

$5,000+

Camp-Younts Foundation

Massey Charitable Trust

NCM Foundation

$1,000+

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

The Mary Brown Fund of Atlanta, Georgia

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

TRIBUTES & MEMORIALS

In Memory of Shepard B. Ansley

Mary Ruth McDonald

In Memory of Helen Arnold

Ms. Susan Borrelli & Ms. Cindy Parker

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

HB Wealth Management

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

Mr. Jeffrey & Mrs. Linda Graubart

Dr. Frank & Mrs. Barbara Marxer

In Memory of Gail Johnston

Mr. Howell E. Adams, Jr.

Jonathan Blalock

Mason Landrum Schultz

Mr. Howell E. Adams, Jr.

Jonathan Blalock

Jean Fitzpatrick

Ms. Felicia J. Guest

Vince Park

Doug Plunkett

Mason Landrum Schultz

Ilene Semiatin

Edward Shiver

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 Wallace Malone

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 Jim Rhoden

Charlie & Mary Yates

In Honor of Rolando Salazar & The Atlanta Opera Chorus

Ms. Pat Godbee

In Memory of Milton J. Sams

Jonathan Blalock

In Memory of Dr. Fred Schwartz

Stacey Hader Epstein

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 Mr. William Tucker

Douglas Gooding

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

Mr. John Stephenson

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

Dorothy Yates Kirkley

Lucy & Bill Vance

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

Nick Schreiber

Jill Blair & Fay Twersky

In Honor of The Home Depot Veteran’s Program

Larry Knight *deceased

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 and 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

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. Robert Dean

Dr. Carlos del Rio

Mrs. Lejla Dickson

Dr. Donald J. Filip

Ms. Laura Lee Gentry

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

Mr. Andrew J.M. Binns

Mr. Kenny L. Blank

Mrs. Inge Bledel

Ms. Mary Calhoun

Mrs. Lejla Dickson

Ms. Sally Bland Fielding

COUNCIL

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

Micah Fortson

Jessica Kiger

Misty Reid

Carl & Sally Gable Principal Principal Conductor Ivan López Reynoso

Music Director Emeritus

Director of Artistic Administration

Assistant Artistic Director

Artistic & Operations Manager

Chorus & Orchestra Manager

Orchestra Librarian

Artistic Services Coordinator

PRODUCTION

Arthur Fagen

Meredith Wallace

Gregory Luis 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 Manager

Assistant Stage Managers

COSTUME

Amy Smith

Rollins

Jessica Drayton

Rodney Barge

Bram Sheckels

Paige Steffens

Ruth Strickland

Jonathan S. Campbell

Caitlin Denney-Turner, Aletha Saunders, Eva Schramm

Costume Director Stephanie Workman

Show Manager

Communications Coordinator

Master Draper / Tailor

Costume Stock Manager / Stitcher

Shop Assist/Wardrobe Supervisor

Lead First Hand Stitcher

First Hand Stitcher

Stitchers

Overhire Crafts

Paula Peasley-Ninestein

Allison Hines

Mary Cruz Torres

Jenn Rogers

Gibron Shepperd

Jaime Anthony Orrego

Cassie Smith

Sarah Norris, Olivia Reuter

Erin Manger

ADVANCEMENT

Director of Advancement Revenue Jonathan Blalock

Associate Director of Development Luke MacMillan

Associate Director of Development Operations Katy Gardner

Institutional Giving Manager Kristin Haynes

Individual & Community Giving Manager Brandall C. Jones

Revenue Operations Coordinator Patty de la Garza

Special Projects Manager Nancy Kritikos

Development Assistant

Patron Services Manager

Kathy White

Justin Stanley

Patron Experience Concierge Erin Abely

Marketing Manager Deanna Smith

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

Communications Manager Julia Bellezza

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.

COMMUNITY ENGAGEMENT & EDUCATION

Artistic Advisor to the NOW Festival Tazewell Thompson

Assistant Director of Education

Community Engagement & Education Coordinator

Amy Williams

Jonesia Williams

Community Engagement & Education Associate Julia Whitten

PRODUCTION SUPPORT

PRODUCTION

Head Carpenter

Head Electrician

Head Properties

Head Audio

Head Video

Lighting Programmer

COSTUME

Wig & Makeup Lead

Makeup Lead

Hank Collins

Kevin Zegan

Kendal Petty

.Teddy Murray

Andrew Van Eychaner

Mike Wood

Sophie Ashworth

Jessica Goodin

TURANDOT LIVESTREAM

Additional Camera Operators Mark Covino, Markel Dantzler, Adam Khan, Amber Kirchner, Pablo Miranda, Michelle Sander

Livestream Technical Operator .

Livestream Sound Monitor

Livestream Switcher

Sound Capture & Live Mixing

Technical Support

Gerald Griffith

Preston Goodson

Felipe Barral-Secchi

Tim Whitehead

Keelan Bearden

CONCESSIONS

Concession stands are located in the center of the lobbies on all three levels. Food is prohibited inside the theater. Beverages, including water, are not permitted in Orchestra rows A–D. 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), no binoculars, 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. Parents and guardians may be asked to remove any child who creates 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.