“The Walter Huff Magic…”

By Ellen Sturgill

Elegant gowns swirl on the dance floor. The smell of a fabulous dinner wafts through the air. A rush of excitement and anticipation hits as The Atlanta Opera’s talented singers perform selections from the quickly approaching season. These are just a few of the sights, sounds, and experiences that one can expect on September 17th at The 2011 Atlanta Opera Ball: “Indulge Your Senses.” Always a stunning event, this year’s celebration is held at The St. Regis Atlanta and will include a special feature in which Chorus Master Walter Huff and The Atlanta Opera Chorus will be honored.


In his 23 years of working with The Atlanta Opera Chorus, Walter Huff has transformed the chorus into a highlight of The Atlanta Opera. Though many people think of the Violetta’s or Don Giovanni’s as the most significant roles in an opera, Walter Huff knows that having a great opera chorus is key to producing a memorable performance. And if anyone knows how to create such a chorus, it’s Walter Huff. He has received numerous awards, worked with celebrated singers like Elly Ameling, and has recently taken The Atlanta Opera Chorus on a European tour of Porgy and Bess that garnered rave reviews, and the longest curtain call Walter has ever received – given to him by a French audience, no less! However, these awards only give you a small glimpse into why Walter is being honored at the Ball. Below, we’ve included two interviews from an Atlanta Opera soloist and a chorus member who will be performing at the Ball, because we feel the best way to get to know Walter is through the people he works with every day. Enjoy getting to know some of our fabulous singers a little better, and learning why Walter Huff deserves high praise.

First up is Nathan Munson, a tenor from Kalamazoo, Michigan. He studied at the University of Kentucky and the University of Illinois at Urbana-Champaign. Nathan has worked with Walter as a featured soloist.

1. What do you like best about working with Chorus Master Walter Huff? “Walter Huff has impeccable taste as a musician, and an amazing ability to transfer this to his singers’ preparation and performances.”

2. What have you learned from Chorus Master Walter Huff that you will utilize in your professional performing career? “There are many things, but one item that stands above the others is his matter-of-fact manner of inter-personal and musical communication. I’ll be working hard to be as transparently good and as honest a musician as Mr. Huff.”

3. What is your favorite memory of Chorus Master Walter Huff? “Since I’ve only been working with him a short while, every new experience creates a new lasting memory. When I first auditioned for Dennis Hanthorn, Mr. Huff accompanied me at the piano. His warmth on our first introduction put me at ease immediately.”

4. What do you enjoy most about singing and performing opera? “I most enjoy the preparation of a role, from the first time I hear it, to the musical preparation, and through the staging and character development.”

Next we have Megan Mashburn, a 28 year-old Lyric Coloratura Soprano who’s lived in Greenville, South Carolina, Boston, and now Atlanta. She received her Undergraduate Degree from Furman University, her Master’s from Boston University, and has enjoyed working with Walter as a member of The Atlanta Opera Chorus.


1. How long have you performed with The Atlanta Opera Chorus? What is your favorite Atlanta Opera Chorus memory? “2008-2009 was my first season with The Atlanta Opera Chorus. Some of my favorite memories occur when we finally get to the Cobb Energy Centre for dress rehearsals. Seeing everyone in costume, and finally seeing the sets really brings new life to the music we’ve been rehearsing for months. Our singing seems to improve, and we have more energy when we can see the ‘whole picture.’”

2. What do you like best about working with Chorus Master Walter Huff? How is he different from other Chorus Masters? “Chorus Master Huff is very specific and clear about the sound and work ethic he wants from his chorus. He is very careful to honor the style of each composer, but adds his ‘Walter Huff Magic’ to our sound. The Atlanta Opera Chorus is one of the best, if not the best opera chorus in the country because of Walter’s dedication. Walter is a great Chorus Master, because he reminds us that the chorus is a very important character in each opera we sing. He constantly reminds us that though we function as a group, we have an individual responsibility of making art for our audience. Walter also has the best set of ears – he can hear everything – every detail and even the tiniest of mistakes! But this is so great, because this attention to detail helps us be the best!”

3. What have you learned from Chorus Master Walter Huff that you will utilize in your professional performing career? “Walter has taught me about excellence in musicianship and a high-quality of professionalism. More importantly, Walter never loses sight of our human need for expression and communication. He constantly challenges us to give more for the sake of the audience.”

4. What is your favorite memory of Chorus Master Walter Huff? “During my first opera with Atlanta Opera Chorus, my husband found out that he had to have open-heart surgery. 6 weeks after being informed of a congenital heart defect, Mark, who was at the time 25, went in for surgery. We were newly married and I didn’t know what to expect. Walter was one of the most supportive and kind people I talked to during that time. I will never forget how he gave me a big hug and assured me that my new family at The Atlanta Opera would support me. I ended up missing several rehearsals, but Walter Huff was always asking for an update on Mark’s health and my emotional stability!”

5. What do you enjoy most about singing and performing opera? “I love the challenge of operatic music and the unique skills that are required to sing it. I also love getting to live as someone I’m not, for a little while on stage – learning to embody a specific character. It seems like being an ‘opera singer’ is all very glamorous, but singing opera and performing is very hard work! I love all the research, translating, diction-work, and practice that goes into forming the final product. It is all so fulfilling, especially when you finally get the chance to offer a great performance to an audience, after putting so much time and effort into a production.”

From reading these interviews, it’s easy to see why Chorus Master Walter Huff is being honored at this year’s Atlanta Opera Ball. With his technical prowess and ability to draw out an excellent chorus performance, his caring nature and devotion to each member of the chorus, and his “Walter Huff Magic,” The Atlanta Opera is proud to have him as a part of our team!


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“I’ll tell you a rabbit story…”

By Lauren Turner

For the first time ever, The Atlanta Opera has commissioned a children’s opera for the 2011-2012 Studio Tour! The opera is called Rabbit Tales, and is based on the whimsical Br’er Rabbit stories made famous by Joel Chandler Harris. Many of you have probably heard the news already, but we wanted to share with you a little bit about the process of commissioning, writing, and premiering Rabbit Tales, and how excited we’ve been to see this idea grow into a full-fledged operatic gem.

“It all started with an idea,” said Atlanta Opera Education Director, Emmalee Iden. “But the question was, ‘How do we make this idea come to life?’”

After visiting The Wren’s Nest House Museum, the former home of Joel Chandler Harris, Ms. Iden was very impressed. She returned to The Wren’s Nest to meet with Executive Director, Lain Shakespeare, to discuss the idea, and she found that, “He was whole heartedly behind it.” Since the Br’er Rabbit stories are now in the public domain, there were so many possibilities and places the opera could go.

To begin the transformation of this idea into an opera, the next step was finding a composer and a librettist. Nicole Chamberlain had been a composer who participated in the 24-Hour Opera Project in 2010, and is active in the Atlanta music community. Nicole was enthusiastically on board to compose the musical score for the opera. Madeleine St. Romain, who was recommended by our Foundations and Grants Manager, Greg Carraway, was asked to adapt the stories of Br’er Rabbit, and add her own twists with other folklore from around the world.

Nicole and Madeleine spent hours writing, composing, and putting together words and music that adequately portrayed the stories of Br’er Rabbit and his silly adventures. “Rabbit Tales is not a literal translation or transcription of the stories that inspired it,” says Madeleine St. Romain. “I cut, added, and rearranged things to make an opera that works as a touring production performable in all sorts of venues with four singers, an accompanist, and a set that fits into a van.”

The backbone of so many great works of art is the vision that inspires the creation of the piece. When asked what her vision was while composing the music for Rabbit Tales, Nicole Chamberlain said, “I wanted to create an entertaining American opera that children, adults, and the performers could enjoy. I also wanted not only to incorporate the influences of the music of diverse cultures that make up the United States, but also use themes from the standard opera repertoire in the hopes that children may get a taste of those operas as well.”

“One of the things the Br’er Rabbit stories are about,” said Madeleine St. Romain, “is what it’s like to be a small person thriving among bigger, physically stronger people, by being clever and convincing. I wanted to get that feeling into the libretto.”


Librettist Madeleine St. Romain. Credit: Hollis Ellison.
Once the score and libretto had been completed, Emmalee Iden tracked down area director and puppeteer, Park Cofield, to bring the story to life. His eye for details, and experience with creating imaginary worlds for children, has been instrumental in staging the production. Cofield created storyboards that illustrate each scene of the opera. The set designs, by Atlanta Opera Production Manager, Michael Benedict, and costumes by Atlanta Opera Costume Designer Joanna Schmink are so vibrant and full of life. Characters include Br’er Rabbit, Teenchy Duck, Sister Fox, and King Lion.

“This has been by far one of the most rewarding experiences I have had writing music,” said Nicole Chamberlain. “The Atlanta Opera has been nothing but encouraging, supportive, and trusting throughout the whole process. I hope this fills a void in children’s opera, gives more to the repertoire, and encourages others to write serious music for children. There’s obviously a need for children’s opera, and I hope this puts new music and opera in a fresher perspective for kids.”

Rabbit Tales will have its public premiere on October 29, 2011 at The Wren’s Nest on the outdoor stage in the natural grass amphitheatre. The audience will have an opportunity to meet the creative visionaries of this project, in person.


The Wren’s Nest.
The production team of Rabbit Tales was recently featured on WABE’s City Cafe with John Lemley. To listen to this story, please visit pba.org.

To book a performance of Rabbit Tales, and to find out more information, contact Emmalee Iden at 404. 881.8883 or [email protected].

BEHIND THE SCENES with Ashley Gilleland, Accounting Manager

In our last BEHIND THE SCENES feature, we speak with Ashley Gilleland, our Accounting Manager. I bet you didn’t know we have one of those! We do, and she’s terrific. Ashley keeps us in line and organized, and makes sure all our financial ducks are in a row and accounted for. But it’s not just about crunching numbers. Ashley also helps us manage our database, and assists us with documenting pivotal financial information needed to keep us running smoothly.

These features have only provided you with a sample of the incredibly creative and hardworking staff at The Atlanta Opera. It would have been wonderful to feature all of us, but we hope you’ve learned a little more about how we work together behind the scenes to bring you the art that sings.

And now, last but not least, Ashley….

1. What is your role with The Atlanta Opera?


I am the Accounting Manager at The Atlanta Opera. I am responsible for daily accounting functions, such as receiving income and preparing bank deposits, recording invoices from all the departments, and processing those invoices for payment. I assist with month-end reporting, as well as with the annual audit. I also manage transactions and reporting in our Tessitura database.

2. Why is it important to have an Accounting Manager?


The Accounting Manager position is important because I act as a liaison for the staff and the Finance department. I aim to answer questions, research, and assist with reports for staff, so they may use their time and efforts towards reaching their budget goals.

3. What skills are necessary to be a good Accounting Manager?


I believe organization, time management, attention to detail, and patience are necessary skills for an Accounting Manager.

4. What is your background and experience, and what led you here?


I graduated from Auburn University with a BFA in Production Management. I started my career in the arts as a stage manager, and then worked in the box office for two performing arts organizations. My first box office job introduced me to the Tessitura database that we currently use at the Opera. I have been fortunate to have been using and learning the database for the last 6 years. Before working at the Opera, I worked at the High Museum of Art in the membership department. The High had just converted to Tessitura, so I was happy to have already been familiar with the system. I began working with the accounting staff at the High and found I really enjoyed the finance side of the arts. I came to the Opera last June, after I was thrilled to see the job posting for an accounting manager. I am a self-proclaimed opera geek and fan, so it was a dream come true to accept this job!

5. Why do you do what you do?

I have a passion for performing arts, especially opera! I love that I get to be a part of the amazing work that The Atlanta Opera presents every season.

I enjoy being a part of the behind-the-scenes operations of arts administration, and work with a fabulous team of talented people every day.

BEHIND THE SCENES with Michael Benedict, Production Manager

Sets, lights, props, and stagehands do not just magically appear. In the newest blog post, Atlanta Opera Production Manager, Michael Benedict, sheds some light on the role he plays in making spellbinding opera happen.

1. What is a Production Manager? What do you do?

A production manager is primarily responsible for managing budgets, schedules, and personnel. I organize and manage all of the pieces that make up the physical side of the production: scenery, electrics, sound, costumes, props, wigs & makeup, and wardrobe. As for what I do – lots of emails, telephone calls, spreadsheets, CAD drawings, research, sourcing equipment, arranging logistics, etc. The people working on a particular production only tend to come to me when there is a problem that needs a solution or a decision. If the production is moving along on schedule and on course, then the personnel just do their jobs. Basically, I am a facilitator. I help the crews and designers get what they need to stay on track.

2.What is your background and experience, and what led you here?

I have a BFA in Fine Arts from Auburn University. I got involved in technical theatre a few years after moving to Atlanta in 1991. I have worked for a number of theatres in the Atlanta area, with the majority of my time spent with the Alliance Theatre. I have also been a project manager for commercial scenery shops. Most of my background is in scenic construction, sculpting, and painting. I have also designed and built a number of unique mechanical projects as a Props Master. I was working as a Project Manager for a commercial scene shop, and was not satisfied with my day to day work environment, so I began looking for alternatives, and I also missed working in the arts. Production facilities can be a grueling, mind-numbing place to work, and I needed to experience the creative collaboration that came with all of the theatre work I have done over the years. A friend told me about the opening here at The Atlanta Opera, and I came in to interview with Eric Mitchko, who is the Opera’s former director of artistic administration. The rest is history.

3. What skills are necessary to be a good Production Manager?

Patience, diplomacy, ability to multi-task, and organization. I think it helps to come from a technical production background, because it gives me an understanding of how to schedule and the expenses involved in many production problems. I think it also helps to know how to get the right people into position to ensure that the details don’t get overlooked.

4. What productions did you find especially challenging to manage?

I’d have to say The Magic Flute and Porgy and Bess were the most difficult to manage. One was because of the sheer volume of scenery, and the other because of conflicting personalities.

5. What is your favorite Atlanta Opera production? Why?

It is between Orfeo & Euridice and La bohème. I really enjoyed the music and singing in both of those productions, but I also think that Lillian Groag staged a beautiful production of Orfeo. And for La bohème, I loved the music and how well the principal cast brought the music to life. They had a true synergy that is not always easy to maintain on the stage.

6. Why do you do what you do?

I love the collaboration that is involved in live theatre and opera. I get to work with a number of truly creative individuals, and it is a pleasure to see a production come to life, and know that I was a part of that. To be able to see the effect that this work has on our patrons is a true gift.

BEHIND THE SCENES | The Atlanta Opera’s “One-Stop Design Shop,” Dallas Duncan Franklin

1. What is your role with The Atlanta Opera?

I am the Creative Services Manager for The Atlanta Opera, which means that I am responsible for the creation and production of all print, advertising, exhibition, emarketing, and web materials for the organization. I have been in my current position for the past three years, and have eight years of experience working as a professional designer.

2. What is your background and experience, and what led you here?

Prior to moving to Atlanta and working for The Atlanta Opera, I held the position of Senior Designer at an award-winning design firm called Evenson Design Group in Los Angeles, CA. I have worked at a variety of agencies and in-house design departments in California, including CFNAPA, EMI Capitol Records, 4sight Communications, and Sebastian International. My work has been published in Communication Arts, Graphic Design USA, Graphis, LogoLounge, and CMYK among others.

In 2008, I decided to leave California and move to Georgia to get married. Serendipitously, my husband, Sam, was looking for work at the same time and saw an Atlanta Opera job posting on Opportunity Knocks. The position was a fit and I came in for a last minute interview. The company was about to hire someone and my application came in at the last possible moment. Shannon McClure, then the Director of Marketing, liked me, liked my work, and made me an offer in a matter of days. I remember being so thrilled and jumping up and down when I received the call. Working in the performing arts had always been a dream of mine, and I feel very fortunate to have been in the right place at the right time!

3. Why do we have a Creative Services Manager?

Having an in-house creative is a luxury for any organization. Most companies have to “farm out” their design work to agencies and freelancers, which can be time-consuming and expensive. It’s wonderful that The Atlanta Opera understands the value of having someone “on call” at any time to create and fulfill artwork needs as they arise. Having an in-house designer also allows more control and consistency over company branding so that all materials coming out of the organization have a unified look and feel.

4. What are some of your favorite campaigns or projects?


The Atlanta Opera’s 30th Anniversary Season in 2009-10 was a wonderful opportunity for me to show off my skills. Not only did we create an award-winning logo that was published in LogoLounge Volume 6, but we also curated a 30th Anniversary Costume Exhibit in conjunction with the Costume Shop. This bright and vibrant exhibit was on display at every production during the 2009-10 Season at the Cobb Energy Centre.

The award-winning 2009-10 Season artwork is another favorite of mine. I shot all of the imagery with my medium format hasselblad camera(the same camera model that was used on the Apollo Moon Landings). Many of the final shots were taken right outside in the parking lot using Atlanta Opera staff. The Aida image of the great pyramid of Egypt was taken when I was in college during a trip to Cairo. The Elixir of Love image on the grass was taken in my front yard.

For the creation of the 2010-11 Season imagery, I decided to partner with The Portfolio Center photography department and create a class competition in which students would compete to create artwork for La bohème, Porgy and Bess, and Così fan tutte. The students came up with the ideas and I helped to coordinate the photo shoots. The experience was incredibly rewarding and we were again able to use staff for one of the three pieces (thank you Lindsay Smith and Charles Swint!)

The annual La Belle Soirée invitations allow us to play with beautiful spring themes and colors. The 2009 invitation flowers “blossomed” from a 1-color green “Save the Date” postcard, to a 4-color invitation.

These Student Discount Posters were fun, vibrant, and perfect for a college audience. I feel that they embody, in one image, the dynamism and spirit of an Atlanta Opera production.

Finally, The Atlanta Opera Ball poses a yearly challenge for me to create artwork that is new and fresh, but palatable to a wide range of artistic sensibilities. The Ball Artwork for 2010 was particularly beautiful, as we were able to use vintage 19th Century Poster Artwork designed by Jules Cheret on the invitation package.

5. Why do you do what you do?

I have always been a visual person. Design has so much to offer as a discipline because it touches on so many different things: branding, communication, marketing, psychology, and more. I find that I am consistently challenged and forced to tap into all of my knowledge and experience on a daily basis. Ultimately, I am an avid believer in strong, simple communication that informs, as well as surprises.

I know that a design is successful not when there is nothing left to add, but when there is nothing left to take away. I hope to add a little bit more white space to a visually saturated world.

BEHIND THE SCENES with “Captain Itinerary…”

Have you ever wondered who handles all those pesky details for our major social events of the season? Who comes up with creative partnerships, barters with vendors, and rallies the troops to make these events fun and efficient? Her name is Amanda Wilborn… otherwise known as “Captain Itinerary,” and she’s taking over the planet, one event at a time… Let’s see what she has to say about what it’s like to be an Event Manager at The Atlanta Opera. Enjoy!

1. What is your role with The Atlanta Opera?
I am the Event Manager and I work with each department to handle the planning and logistics for all of the Atlanta Opera’s events. This includes managing all the details leading up to the event and the logistics on the day of the event. I manage everything from the annual Opera Ball to small cocktail parties in private homes, group trips for our Zurich General Director, and our staff holiday party.

2. Why does the Opera have an Event Manager?
The recent growth of the company means that the management of our events can no longer be haphazard. All of our events have a large impact on showcasing the Opera’s vision and brand, and having one person manage all the events has made the process more organized and efficient.

3. What are the annual events the Atlanta community can look forward to?
The 2011 Atlanta Opera Ball, our biggest fundraiser of the year, is coming up on Saturday, September 17 at the St. Regis. I’ve been working with our Co-Chairs since April on all the details, and I know it’s going to be a big success. Every year, we also produce an Artist Luncheon featuring artists from one of the season productions; La Belle Soirée, the spring garden party; and an onstage dinner for members of the Society for Artistic Excellence, our special group of donors who make three-year commitments to The Atlanta Opera.

4. Talk about some of your favorite events.
My favorite event was the 24-Hour Opera Project back in the fall of 2010. Our Director of Education and I cooked up the idea at the lunch table one day and went for it! We secured composers, librettists, directors, and singers to produce an opera scene in 24 hours. It was a big hit and we’re already planning the next one for January 2012. Other fun events include Bon Appetit! at The Cook’s Warehouse, the Porgy & Bess Artist Luncheon, and of course the annual Opera Ball.

5. Why do you do what you do?
I really enjoy planning and organizing, and I’m really good at it. In fact, my friends call me Captain Itinerary! And, the glass of wine at the end of the party always makes up for the long hours.

BEHIND THE SCENES with Emmalee Iden, Director of Education

1. What is your role in the organization?
I am the Director of Education. I manage all of the company’s education and outreach initiatives.

2. What are the education offerings at the Opera?
We have educational programs for young children all the way through adulthood. Our programs are divided into four categories: Programs for children and families, In-school programs, professional development, and community programs.

Programs for children and families: Include Opera Family Day, Girl Scout workshops, and other similar programs that are created through community partnerships and change from season to season.

In-School Programs:
• The Atlanta Opera Studio Tour, in which productions of children’s operas go out to all types of schools in the state of Georgia. The schools and students are provided with preparation materials that correspond directly to Georgia Performance Standards in Language Arts and Reading, Social Studies, Science and Mathematics.

• Opera Workshops that feature a singer and accompanist, directors, set and costume designers, or other professionals who contribute to a production and are tailored to meet the needs of a particular class/group and curriculum and are available year-round for schools, camps, youth groups, etc.

• Opera Trunks which are opera-related resources for the classroom, after-school programs, and youth groups. Each Trunk contains both a DVD and CD recording of a featured opera. They also feature additional books, CDs, activities and costume/prop elements which can make opera come alive for students while weaving its study throughout the various classroom subjects.

Professional Development Programs:
• High School Opera Institute, a training program for students, grades 10-12, who are interested in pursuing a career in music. Participants in this eight-month program attend monthly workshops and vocal coachings on topics that include: preparing and auditioning for a role; selecting a music school; characterization; diction; and vocal technique.

• Music! Words! Opera!, an arts-integrated curriculum that promotes opera as an excellent tool to aid students and teachers in their explorations of history, language, literature and music.

• Professional Development Workshops for Teachers.

• Arts Administration Internships that are designed to connect the learning goals of interns to hands-on experiences and training in the field of arts administration.

Community Programs include Opera Chat, which is an informal conversation with singers and artists from our upcoming productions at Barnes & Nobles – Buckhead; Opera 101, a multimedia presentation, hosted by board member Carter Joseph, introducing each of the main stage productions. We also offer Master Classes, National Opera Week activities and special collaborative programs with community partners in conjunction with our mainstage productions.

3. What are the reasons for having education and outreach programs?
The programs support the audience development goals of The Atlanta Opera with the hopes of helping to continue to grow our future audience base. The programming of the Education Department also supports Atlanta’s arts community by supporting arts education programming in the public and private schools and institutions of higher learning throughout Metro Atlanta and the state of Georgia.

4. What are some of your favorite programs and accomplishments?
I’m really proud of our 24-Hour Opera Project that we started last year. It was so much fun, and I’m looking forward to doing it again this year and in the future to see how it grows and changes. I’m also really excited about our opera commission, Rabbit Tales. This is something that started as a “what if” discussion between myself and a colleague of mine several years ago. It’s really exciting to see it through the process as it starts to take form. I can’t wait to see it in its entirety, and more importantly, to see the community reaction to the piece.

5. Why do you do what you do?
I love music. I love opera. Music education, and the performing arts in general, have always been an extremely important part of my life. I love putting programs together for people to see all of the different aspects of this magical art form. It’s so multi-faceted – there’s really and truly something in it for everyone. My job is so fun! A lot of times it’s just a matter of putting together programs that I would find interesting and entertaining, or things that I think other people would find fun and entertaining!

BEHIND THE SCENES with Greg Carraway, Foundation and Grants Manager

Producing operas and educational outreach programs takes a village, and here at The Atlanta Opera we have a talented group of people who work “behind the scenes” to ensure that the art that sings continues to flourish in the Atlanta community. For those of you who have ever asked, “How’d they do that?” these next installments of The Atlanta Opera Blog are just for you!

This week we go BEHIND THE SCENES with Greg Carraway, our Foundation and Grants Manager. With great precision and creativity, Greg helps us find ways to fund our opera productions and education programs. Grant writing requires a multitude of skills and patience and Greg excels at all of them. So, without further adieu, here’s Greg….

1. What exactly is a grant?A grant is money contributed by a foundation, government entity or corporate charitable giving program to an organization classified by the IRS as not-for-profit. For instance, this year The Atlanta Opera received grants from The Sara Giles Moore Foundation (private foundation), the Georgia Council for the Arts (government entity), and the JPMorgan Chase Bank Foundation (corporate giving program).

2. What is a grant writer?A grant writer is a person who writes the proposals to ask the funding entities described above for a monetary contribution in the form of a grant.

3. What are the different types of grants?Restricted grants are for specific projects or purposes as described in the grant proposal. For instance, the Norfolk Southern Foundation granted money to support our production of Porgy and Bess, which meant their money had to cover expenses for that show only. Unrestricted grants can be used however the Opera sees fit. Within the boundaries of our mission, unrestricted grant monies can go toward the myriad of educational programs the Opera offers, such as the new High School Opera Institute, or toward our main stage programming.

4. How do you decide which grants we should apply for? What is the process?At the beginning of the process, I ask:
• What expense does the Opera have that a grant might pay for?
• What funder might give money to answer the Opera’s needs? Making this determination requires researching the funder’s giving priorities.

If there seems to be a fit between the Opera’s needs and a funder’s priorities, I research to determine:
• If the funder has awarded us a grant before
• If they haven’t supported us or it has been a long time since they did, have they been contributing to non-profits like us?
• Who are their board members, trustees or staff? Do I know any of them? Does anyone on our board or staff know any of them? Are any of them in our database? Have they ever bought a ticket to an opera?
• Do they give grants only to preselected organizations or do they have an open call for proposals?
• What are their application deadlines and when is the next one?
• How much money do they generally give per grant?

If I feel the Opera has a ghost of a chance of being invited to submit a grant proposal, I either:
• See that the appropriate board member, staff, volunteer or consultant opens the door for us by setting up a meeting, making a phone call, writing a letter, or sending an email to the funder
• Or contact the funder myself to get the go-ahead (or not) from the horse’s mouth

We stand an infinitely better chance of being awarded grant money, if we take the time to research and talk to the funders first.

This is just one way the process might work. Sometimes a funder calls out of the blue and invites us to apply (the best!). Sometimes a board member contacts me with ready-made instructions for applying to a foundation. Sometimes a foundation we’ve never contacted sends a check accompanied by a cover letter of two short paragraphs (the trick then being to cultivate a relationship). As you can see, grants come about in a variety of ways.

While we’re on the subject of process: it doesn’t stop with submitting a grant proposal. Progress and final reports, invitations to Opera performances and events so that the funder can experience what they’re funding, personal visits to update funders on the state of the Opera, seasonal greetings, all these and more help keep the relationship running smoothly with a funder.

5. What information goes into grants?A typical proposal includes: cover letter, application form, executive summary, narrative (the “ask,” needs statement, description of communities/populations served, description of programs/services, goals, objectives and outcomes, evaluation plan, organizational background), project budget, organization’s operating budget, audit, IRS tax determination letter, board of directors list, support materials (programs, brochures, list of schools served, reviews, photos).

6. What are some of your proudest accomplishments as a grant writer?I especially love grants that I research, cultivate and secure pretty much on my own. These are often not the largest grants, but they do make me feel validated in a way that more collaboratively secured grants may not.

That said, let it be known that securing grants, like all aspects of fundraising, is mostly a collaborative effort. Doors open, ears attune and advocacy on the Opera’s behalf blossoms due to the efforts of our board members, staff, volunteers and consultants.

7. Why do you do what you do?Grant writing is what I know how to do to help make the world a better place. To be happy in my job, it’s important that I feel like I’m helping people and the community.

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


On Sunday, June 5 at Morningside Presbyterian Church in Atlanta, graduates from The Atlanta Opera’s High School Opera Institute showcased their work in a performance featuring arias and small ensemble pieces from some of opera’s greatest works.

The High School Opera Institute is the only preparatory program of its kind offered by an opera company in the nation. Participants in this eight-month program attend monthly workshops and vocal coachings on topics that include: preparing and auditioning for a role; selecting a music school; characterization; diction; and vocal technique. These workshops are taught by leading professionals in the opera field: Atlanta Opera Chorus Master Walter Huff, Stephanie Adrian, Laura English-Robinson, Michael Spassov, and Beverly Blouin.

The packed house was moved is so many ways by the experience of seeing fresh, young talent working to make their dreams come true. Here are some of the highlights.


Tenor Nathan Munson and soprano Elizabeth Claxton joined the ensemble in Guiseppi Verdi’s “Brindisi” from La traviata. Photo by Dallas Duncan.


Soprano Carolyn Balkovetz and baritone Samuel Itskov charmed the audience with the Papageno/Papagena Duet from Mozart’s The Magic Flute. Carolyn Balkovetz graduated from Starr’s Mill High School and will be attending Georgia State University in the fall. Samuel Itskov graduated from Park View High School, and will be attending the Manhattan School of Music. Photo by Tim Wilkerson.


Soprano Becca White, who will be studying vocal performance at Boston University in the fall, sang “In oumini, in soldati” from Mozart’s Così fan tutte. Photo by Tim Wilkerson.




Soprano Caroyln Balkovetz (top) and baritone August Bair (middle) performed Gian Carlo Menotti’s comedic duet from The Telephone. Photos by Tim Wilkerson.


Tenor Justin Van Scyoc, who will be attending Columbus State University, wowed the audience with not only his singing but his dancing skills as well when he performed Beppe’s Aria from Pagliacci. Photo by Tim Wilkerson.


Soprano Ella Radcliffe played the perfect ingénue when she performed “Deh vieni, non tardar” from Le nozze di Figaro. Ella will be attending Boston University. Photo by Tim Wilkerson.



Soprano Kate Kasmier (top left and below) and soprano Kaitlyn Johnson (top right) sang the duet “Sull’aria” from Le nozze di Figaro. Ms. Kasmier followed the duet with another aria from Le nozze di Figaro, “Non so piu.” Photo by Tim Wilkerson.


Baritone Samuel Itskov performed “Non piu andrai” from Le nozze di Figaro. Photo by Tim Wilkerson.


Soprano Felicia Wilkins (left), who will be attending Dartmouth College, and mezzo-soprano Anne Stillwagon (right), who is a rising senior at Walton High School, performed “Evening Prayer” from Hansel and Gretel. Photo by Tim Wilkerson.


Bass-baritone Emory Mulick prepared for the daunting “Il faut passer” from Jean-Baptiste Lully’s Aceste. Emory will be attending Florida State University. Photo by Tim Wilkerson.


Kaitlyn Johnson, Becca White, Kate Kasmier, and August Bair performed an excerpt from The Old Maid and the Thief. Photo by Dallas Duncan.


High School Opera Insitute Music Director Walter Huff accompanied the students in the very difficult sextet from Le nozze di Figaro. Photo by Tim Wilkerson.


Soprano Kaitlyn Johnson wowed the crowd with the sweepingly romantic “Vilja’s Song” from The Merry Widow. Kaitlyn will be attending Rice University in the fall. Photo by Tim Wilkerson.


The concert ended with the touching and appropriate “The Promise of Living” from Aaron Copland’s The Tender Land. Photo by Dallas Duncan.

The Atlanta Opera Honors its Volunteers

April 10-16, 2011 was National Volunteer Appreciation Week. Non-profits all over the country honored the men and women who help us stay afloat – in many, many ways. We honored Atlanta Opera Volunteers at a reception on April 21, 2011 at The Atlanta Opera Center in Atlanta, GA. Without a doubt, The Atlanta Opera’s Volunteers are instrumental to our survival, and we are grateful for those who devote their time to The Atlanta Opera Family.

The gift of time and expertise is just as valuable as a monetary gift. Last year, Atlanta Opera volunteers contributed more than 6,000 hours! Volunteers help keep costs low and help us fulfill our mission of presenting world-class opera productions, while fostering education about this important art form.

There are many volunteer opportunities for opera-lovers in the Atlanta-area. Some are more traditional responsibilities including assisting with mailings, receptionist duties, filing, assistance at special events like Opera 101, Opera Chat, and Final Dress Rehearsals, but we also offer uncharacteristic opportunities that let our volunteers experience the day to day aspects of mounting an operatic production. Volunteers are needed to meet visiting artists at the airport and take them to their residences. This is often an artist’s first introduction to the city and The Atlanta Opera. After the set is loaded into the theatre, volunteers are needed to help set the light cues. The task involves standing and moving around on stage following the lighting director’s instructions as the cues are set. Volunteers are also asked to help monitor and coordinate chorus and principal auditions, which is always a thrill for opera lovers!

The Atlanta Opera also has an extensive archive full of historical data, media coverage, marketing materials, programs, and recordings. Volunteers review online and print media, clip, copy, catalog, and work with various departments to file company pieces that should be added to archival records. This incredibly important and time consuming responsibility is spear headed by Mary Ruth McDonald, who has created a comprehensive and organized archive that The Atlanta Opera can use as a resource, and that can ensure our legacy is properly preserved. At this year’s Volunteer Reception, we presented Mary Ruth with the Rachel Rosen Lehmann Award for her time and devotion to The Atlanta Opera.


Zurich General Director Dennis Hanthorn names Mary Ruth McDonald as recipient of the Rachel Rosen Lehmann Award. Credit: Tim Wilkerson.
In this age of digital media, The Atlanta Opera has changed a lot of its focus to how to reach audiences through social media and videos that inform and educate about opera. With the unfaltering dedication of board member and volunteer, Stewart Searle, who films, produces and post-produces all of our videos, we have expanded our online video library to comprehensively educate and inform the public using many forms of media – music, audio, and video. To date, we have had over 30,000 page views to our website! For Stewart’s incredible dedication he was presented with special recognition for his tireless efforts on behalf of The Atlanta Opera.


Stewart Searle (left) receives special recognition for his tireless work on The Atlanta Opera Video Library. Credit: Tim Wilkerson.
We, like all organizations, are understaffed for many projects that require a keen eye for detail and extra time, so we are especially grateful when a volunteer can step in and help us with incredibly important and necessary organizational work. It is not glamorous work, and it is not thrilling work, but it helps us stay organized and allows us to have quick access to information. Our 2010-2011 Volunteer of the Year, Denise Andersen, helped us with extensive filing and organizational projects that we would never have been able to do alone. She accumulated the most hours donated to The Atlanta Opera! For her time we are infinitely grateful.


Staff members Stephanie Cantillo (left) and Rae Weimer (right) congratulate Denise Andersen (center) on being the 2010-11 “Volunteer of the Year.” Credit: Dallas Duncan.
Often we forget that Board Members are also volunteers. We have an exceptional board that devotes its time and resources to ensuring the future of this beloved organization. This year, we honored board member Dr. John O’Shea with the Rachel Rosen Lehmann Award for Outstanding Leadership in Fundraising. Dr. O’Shea continues to host cultivation lunches with donors, make telephone calls to thank patrons for their generous donations, and he also makes solicitation calls. Dr. O’Shea leads by example. He and his wife, Clara, are major donors to The Atlanta Opera and his passion for the art of opera and his belief in doing good things has benefitted The Atlanta Opera in more ways than can be measured. For his devotion and involvment, we are most grateful.


John O’Shea, and his wife Clara. Credit: Tim Wilkerson.
Thank you to all of our volunteers for their dedication to the art that sings. They are The Atlanta Opera’s uncompensated staff and more importantly, members of the opera family!

Thank you to our sponsors

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