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Thursday, September 28, 2017
Saturday, September 30, 2017
Thursday, October 5, 2017
Saturday, October 7, 2017

Le Maison Rouge at Paris on Ponce
716 Ponce De Leon Pl NE, Atlanta, GA 30306




The Seven Deadly Sins is a ballet chanté (sung ballet) that centers on the duality of the opera’s personae, Anna I and Anna II. She/They embark on a seven-city pursuit of the American dream. In turn, they uncover each of the seven deadly sins: pride, covetousness, lust, wrath, gluttony, envy, and sloth. As is the case with all Discoveries series productions, this is not your standard opera. The Seven Deadly Sins is an immersive experience with opera singers, ballet dancers, and a composition by Kurt Weill written in 1933 during a tumultuous epoch in his native Germany. The work critiques capitalism, weaves in popular music stylings of the era, and, through song and dance, will envelop the audience into a story of sin and revelation.

Brian Clowdus
(Serenbe Playhouse, Founder & Executive/Artistic Director) will direct.

Cast information to be announced.

Sung in German with English supertitles

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Creative Team



Synopsis


Anna I (who sings) and Anna II (who dances) are two facets of one personality. At the behest of her family, they travel to six different American cities in order to make enough money to build a little house on the banks of the Mississippi. In each city, she/they encounter a different deadly sin, and Anna I (the practical side) rebukes Anna II (the artistic side) for engaging in sinful behavior--that is, behavior which hinders the accumulation of wealth.

Introduction
Anna I sets out the plot, explaining the relationship between her and Anna II ("Actually, we’re not two persons, only one") and their quest, and identifies the rest of the family: a mother, a father, and two brothers.

Sloth
Anna's parents note that she has always been lazy but in other ways has been a dutiful child, while the brothers intone, "Idleness is mother of all vices." The Family closes with a prayer that God will keep Anna on the path that leads to prosperity and happiness.

Pride
Anna I and Anna II are in Memphis. Anna II's new clothes have made her stuck up. When she takes a job as an exotic dancer, she tries to turn it into art, to the displeasure of the paying customers. Anna I scolds her for her pride and reminds her that she must do what is demanded of her.

Wrath
The Family notes with displeasure that the Annas have not been sending enough money. They are in Los Angeles, and things are going quite well until Anna II witnesses acts of cruelty and rebels against injustice. Then Anna I reminds her that such anger will make her unemployable and therefore useless, so she must set it aside.

Gluttony
The family has received a letter from the Annas in Philadelphia. They are making good money, but Anna II’s contract specifies that she may not gain any weight, even a gram. They recall that Anna II loves to eat and acknowledge her hardship but trust her to remember that a contract is a contract.

Lust
In Boston, Anna II has found a wealthy lover, but she prefers another man, who is poor. Anna I points out that the rich lover will not tolerate divided loyalty. Anna II rebels, but finally gives in reluctantly and renounces the poor lover.

Covetousness
The Family learns that the Annas are in Baltimore. Men are committing suicide over Anna II, which will increase her earning power, but they fear she will get too greedy. They hope she will be moderate and not make herself too unpopular to earn money.

Envy
From San Francisco, Anna I tells us that Anna II is worn out and envious of those who do not have to work hard. Anna I preaches of the need to renounce the pleasures of the world and promises a reward to come. The Family seconds her, saying that strict self-control is the path to glory.

Finaletto
The Annas return to Louisiana after seven years. The house is complete, and they rejoin the Family.

Courtesy of the Kurt Weill Foundation for Music
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
The vision of The Atlanta Opera is to be a vital leader in the renaissance of opera in America by engaging a 21st century audience.

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