Page 9 – The Atlanta Opera

Guest Blogger: Kaitlyn
Johnson

I am a
rising junior vocal performance major at Rice University, and very proud alumna
of the 2011 High School Opera Institute (HSOI).
Our end-of-year performance remains one of my all-time favorite moments
in my vocal career, and I’m extremely excited to perform in the program again
as an alumna this Sunday, June 9th. While the performance represents
an exciting and entertaining culmination to the program, the High School Opera
Institute offers so much to aspiring young singers throughout the year. I want to share my fabulous experience with
the program, and how it has proven to be an invaluable resource in preparing me
for collegiate opera studies. The HSOI
provides a rare opportunity for young vocal students—an inside look into what
working for a professional opera company is like, helping to determine if they
want to pursue singing as a career.

For
students like me who found a love and passion for classical singing in opera
while in high school, there aren’t many places to explore our talent and
determine if opera could be a true career possibility. Fortunately for metro Atlanta students, The
Atlanta Opera offers the High School Opera Institute, organized by director of community
engagement Emmalee Iden Hackshaw and led by opera chorus master and vocal coach
extraordinaire Walter Huff. While weekly
voice lessons with private teachers help singers acquire and solidify the
technique needed to sing demanding repertoire and roles, the HSOI fills a
performance void that is missing for high school students interested in
opera. School and community theatre
productions offer some performance opportunities, but the directors seldom have
an ear for opera and underappreciate the talents of many young singers. Walter Huff is extremely knowledgeable and highly
revered in vocal programs and opera companies throughout the world, so we know
his advice and comments will help to hone our craft. Through the HSOI, high
school students have the rare opportunity to rehearse all the components of
opera—technique, diction, and emotion all combined into one art. Fellow alumna Anne Stillwagon, currently a
vocal performance major at Oberlin Conservatory says, “There are no other
programs in Atlanta that give any comparable training,” and adds that the
program is especially valuable because it lasts a full school year, rather than
the majority of summer programs that are offered to high school students for
only four to six weeks. Current
participant Mary Katherine Henry agrees, “I studied at Brevard for three weeks
last summer, and the High School Opera Institute is great because it offers
continued training throughout the year.”

The audition process for admittance into the HSOI is very
similar to auditions for vocal programs at universities and conservatories
around the country. The formal audition
is especially worthwhile for seniors, who get a glimpse into the auditions that
will fill their winter. I offered the
same repertoire for my HSOI audition as I did when auditioning for college
programs and having that prior experience definitely boosted my
confidence. One of the first HSOI classes
is an audition workshop complete with advice about wardrobe, appropriate
repertoire choices, and a crash course on the merits of college vs.
conservatory. The real-world application
of the HSOI prepares you to pursue opera at the next stage, and instills the
level of preparation that collegiate vocal programs and professional companies
expect of singers.

HSOI
singers are assigned their repertoires for the final program around October,
and expected to learn their music in a few weeks, be memorized shortly thereafter,
and ready to stage. Likewise at Rice, I
am preparing to sing in an opera workshop performance next semester, and we are
to know and memorize all of our music before school begins in August. In a few weeks, I will attend the Aspen Music
Festival with all pieces prepared and ready to coach and/or perform. The HSOI instilled the expected standards of
learning music and preparedness that is present throughout the opera world. The program is also very beneficial because of
the major incorporation of ensemble pieces. In scenes with multiple singers
everyone depends on each other to know their part, or the process is extremely
slowed down. You never want to be the
singer who is unsure of their note, word, or rhythm, and my HSOI scenes helped
me realize that each singer must put in intense individual work before an ensemble
can truly come together. In addition,
HSOI students are invited to the final dress rehearsals of each of the season’s
operas. The opportunity to hear and see professional productions can be as
important to young singers’ growth as voice lessons and coachings. Rice voice majors also attend the final dress
rehearsals of all shows at Houston Grand Opera, so it was beneficial to be
exposed to these productions before starting a vocal performance degree.

One of
the most enjoyable aspects of being an HSOI student is meeting the other
talented students from the Atlanta area.
A common talent and love for classical singing tie you together, and I
always look forward to an event where I will see other alumni. The singing world is extremely small, so it’s
always fun to say I know HSOI singers at schools such as Manhattan School of
Music, Oberlin, and Boston University.
I’m sure I will eventually run into them at summer programs and graduate
school auditions, and it’s great to make peer connections while still in high
school, when aspiring opera singers can be a rarity. While the students are great, the amazing
faculty is the cornerstone of the program that accounts for the success of so
many students. “Working with Walter Huff
and Beverly Blouin is an incredible experience,” remarks Mary Katherine
Henry. Personally, Beverly Blouin really
helped me to focus on dramatic intention and deliver a great performance. She is truly a phenomenal dramatic coach. I showed marked acting improvement and
confidence by the final performance, and I am very grateful to Mrs. Blouin for
her help. Walter Huff is reason enough
to apply to the program. His repertoire
choices and unparalleled musical knowledge guide singers to the next level, and
he is a great resource from everything to opinions about particular college
programs and voice teachers to questions about pronunciation. He is an exceptionally kind man and a
fabulous connection for any singer. Anne is especially appreciative of Walter’s
guidance and connections as she attends Oberlin, his alma mater. She says that every professor or musician she
meets there seems to know his name, and knowing him has helped to open doors at
school.

The High
School Opera Institute definitely enhanced my passion for
singing and confirmed I wanted to pursue an operatic career. I am eternally grateful for the training I
received from amazing faculty, and the experience to see what working for an
opera company is really like, while still in high school. I grew so much both musically and
dramatically, learned proper audition and rehearsal protocol, and was
introduced to the best young singers that Atlanta has to offer. Most of the former HSOI students have become
voice majors, and I’m sure I speak for all of us when I say that the training,
resources, and faculty of the High School Opera Institute have greatly
contributed to our successes.

Whether
you are a die-hard opera fan or unfamiliar with the differences between Mozart
and Menotti, I urge you to come to the final performance at Morningside
Presbyterian this Sunday, June 9 at 4:00 p.m. to see the exciting and
entertaining culmination of a year’s work.
There’s a great chance that you will be hearing stars of the next
generation of opera—and certainly one of the last opportunities you will have
to see them perform for free!

To learn more about the Atlanta Opera’s High School Opera Institute, please click HERE. Be sure to Tweet with us during the performance on Sunday, June 9 at 4:00 p.m. using #HSOI.

Kaitlyn and Walter Huff working together during the final dress rehearsal of the Atlanta Opera’s 2011 High School Opera Institute.

Usage of any images on this blog is restricted to The Atlanta Opera and approved news websites. Any other usage, particularly for professional purposes, must have written permission. For additional information, please contact The Atlanta Opera’s communications manager at 404.591.2931

My name is Rae Weimer and I am the associate director of development at The Atlanta Opera. In my role I work alongside a group of fundraising professionals who share the common goal of establishing meaningful relationships with friends who support The Atlanta Opera. Thanks to the support of our loyal patrons and donors – in other words – you, the 2012-2013 Atlanta Opera season was a great success!

You experienced the magic of live opera, the spine-tingling music, and the magnificent voices. We met intriguing characters who exposed us to a wide range of emotional experiences, and interesting and exciting visual delights! Do you remember the seduction, passion, tragedy and beloved music of Carmen? What about the romantic tragedy of La traviata or the whimsical comedic themes of The Italian Girl in Algiers? All three operas gave us a moment of suspense and held our attention. The music conveyed raw emotion that made us feel empathy for the foibles of humanity. And, of course, each production at one point or another had us tapping our feet and moving our heads in time to the tempo. And who doesn’t remember laughing out loud? Escaping the ordinary is a wonderful adventure!

You may be surprised to know that the work doesn’t end around here after the last production of the season. In development we’re still climbing steadily to reach our goals by the end of our fiscal year on June 30. Why are we doing that you may ask? We want more people’s lives to be enriched through the power of opera!

By this time you may be asking yourself, what is the point of this message? Well, the point is …you are a member of our Opera “family” and you are important to the success of The Atlanta Opera. We invite and welcome your assistance to ensure the Opera’s continued growth and future.

Did you know…?
• The Atlanta Opera presents programs throughout the entire year, in addition to the mainstage productions? Our community engagement programs serve more than 30,000 students from elementary, middle and high schools throughout the metro region – annually. And, that’s just the students.
• Our production of Carmen last fall employed 225 people, including dressers, stagehands, technical staff, musicians, dancers, singers, and so many more it would make your head spin! Talk about an “extended family” – whew!

As I said before, the 2012-2013 opera season may be over, but we work year-round. We plan and prepare for the next season, research and create new community engagement programs, meet with patrons like you, and take care of the thousands of emails, letters, phone calls, and administrative tasks to keep The Atlanta Opera running smoothly.

Back to my point, we are quickly approaching June 30, and we need your help in raising an additional $395,000 to meet our Annual Fund goal of $730,000. This goal can be reached, but we can’t do it without your help.

So, here is my request…and the point of this message– Please help us reach our goal of raising $395,000 by June 30, 2013 because it takes the entire community of opera lovers to help us raise the necessary money to support this glorious art form. Tickets sales alone won’t do it. But, working together, the goal is attainable. Plus, making a gift to The Atlanta Opera enhances your experience by way of our exclusive benefits program, MyOpera. Your gift can open the door to add-ons such as events, drink tickets, valet parking, and much more!

You may be asking… how can I participate? It’s easy! Just mail a check, call Rebecca Bowden at 404-881-1035, or click on this link. You can be sure we will be good stewards of your donation…and trust.

I know you care about The Atlanta Opera because you are passionate about opera. Me, too! I am a donor; not because I work for the Opera, but because I LOVE opera! I love those collective moments when everyone in the audience is listening intently and waiting for the tenor to hit his high note, or Carmen’s throaty rolling of the “r”s in her sultry arias. I love the thunderous sound of applause! I love laughing…really, really laughing out loud with other members of “the opera family.” And, then, there are the sets – visually interesting and unique – like the storybook set of The Italian Girl in Algiers; simple, effective, and perfect for the opera.

So, the curtain is about to go down on this “production.” Thanks for listening. Thanks for helping us reach our goal. Most of all, thanks for loving The Atlanta Opera!

Warmest regards,
Rae Weimer

Some of the 225 professionals who were employed by the Atlanta Opera’s production of Carmen.

Opera! True Atlanta Story

The Atlanta Opera takes you behind the scenes as only we can. Brandon
Odom tells you what it’s like to be a member of The Atlanta Opera Chorus…

Brandon Odom, member of Atlanta Opera Chorus can next be seen in The Italian Girl in Algiers – April 27 & 30, May 3 & 5

Tell us a little bit about yourself…. where are you from, how did you
get into singing opera?

I came to Georgia from Mobile, AL in 2002 with the
hopes of taking my musical training to the next level. I loved musical theater and wanted more
opportunities to perform, so I thought it made sense to
move to the “big city”. I enrolled at
Clayton State University and began studying voice with Maya Hoover. She introduced me to the world of opera and
art song, and I had the bonus of free tickets to every Spivey Hall recital as a
music major. Our campus hosted Joyce
DiDonato, Susan Graham, Rolando Villazón, to name a few, and I was there for it.

My last semester at school, there was a chorus opening
in Charles Gounod’s Romeo et Juliette, which
was the last show of the Atlanta Opera’s season that year. I auditioned for Walter Huff, and was offered
the position.

L’Italiana
in Algeri will be my fifteenth opera with the company.

What do you do to prepare for a production?

We
began musical rehearsals in March. Like
many members of the chorus, I work a full-time job. The week before opening night is always the
most tiring, as we rehearse every night until the final dress rehearsal. When
the production opens, usually on Saturday night, I do my best to sleep in as
late as possible. Some may call this
lazy, but after a solid week of 13-hour days, it is important your body and
voice have a chance to rest. I’ll sleep
in and try not to talk too much throughout the day (yeah, right!) I usually
look over my music once more and refresh my memory, then it’s off to warm up at
the theater!

What about The Italian Girl in Algiers appeals the most to you?

Rossini’s
operas, in general, appeal to me. I fell in love with Gioachino Rossini when I
was fortunate enough to be a part of the Atlanta Opera’s 2008 production of La Cenerentola, a “Cinderella”
story. I loved the rapid-fire
coloratura and the flurry of simultaneous vocal lines layered one on top of the
other, as well as the silly, yet precise staging. L’italiana
in Algeri is in the same realm, and equally as engaging.

Do you have a favorite aria or scene from Italian Girl?

The
entire concept of the show, as a “pop-up book,” is unlike anything I’ve done
with the company and I think the audience will love it! There are
several moments, in particular, that I enjoy tremendously. A moment that stands out is in Act Two, when
Isabella sings “Pensa alla patria”, a hopeful and victorious aria. It is quintessential Rossini, and is
performed beautifully by Sandra
Piques Eddy. Even though there is
relatively little movement during that scene, there is an underlying, palpable
energy that builds to a glorious end!

How is Italian Girl different
from other operas?

I suppose the obvious difference would be the absence
of a women’s chorus, as is the case in many of Rossini’s comedies. In general,
I feel like we interact differently with each other than when the women are
present. There is a unique bond in this
smaller group. It’s apples and oranges,
though. The women and the men of this
chorus have come to be my extended family and I’m grateful for them. When you spend a large amount of your year
with a group, you develop solid relationships.

One
thing that season ticket holders will notice is that this is the only opera of
the season where the heroine does not die in the end. We already lost Carmen and Violetta earlier
this season, so a comedy will be a nice departure, and add some variety to the
season. Some of my friends had never
seen an opera before this season and they were convinced that death was an
integral part of opera. This will
definitely change their mind!

What advice would you give to someone looking to become an opera singer?

I believe that everyone has their own path, and
must discover what is best for them. The
best advice I could give, based on what I’ve experienced thus far, is to not be
in a hurry. You have to let your voice
grow at its own pace and, if you rush it, then it could do permanent
damage. Find a teacher you trust,
practice, and be patient. I am fortunate
that being a part of The Atlanta Opera Chorus has allowed me to grow as a
singer and performer, and will continue to do so as long as they will have
me.

If someone created an opera about you and your life what would the title
of the opera be?

If I were to be the subject of an opera, I would it
want it to be a comedy, very much like Italian
Girl. How about, “Boy from ‘Bama
Becomes a Baritone?” I love
alliteration.

Sandra Piques Eddy rehearses at The Atlanta Opera Center for the upcoming production of The Italian Girl in Algiers.

Sandra Piques Eddy was last seen on the Atlanta Opera stage
in 2008’s The Marriage of Figaro. She returns to Atlanta to sing the role of
Isabella in the Opera’s upcoming premiere production of The Italian Girl in Algiers.
We sat down with Sandra to learn more about her, her love of Pinterest,
and who she has dance parties with while listening to ABBA!

Where do you live when you’re
not traveling?

My husband,
daughter and I recently moved into our first house in Dedham, Massachusetts, a
small city outside the Boston area. I grew up near Boston and went to
school there too, and we both have family in Massachusetts.

What was your first opera
experience?

My first
opera experience was at Boston Conservatory. I was a music education
major and I was dating a voice major (my husband, Bill) who was in the chorus
of the Opera Department’s production of Purcell’s Dido and Aeneas. Originally, I was
attending the opera to see and tease Bill about being in a toga, but I got
so much more out of the experience than I bargained for!

Why did you choose to be a singer?

I love
losing myself in the music and the drama of an opera. My love of
music and drama started when I was a teenager and I was obsessed with musicals
like West Side Story, Les Miserables and Hello Dolly. I didn’t decide to
become a singer until much later. I didn’t realize I could actually
earn a living singing, playing make believe and dress up until I started
getting roles and performance opportunities outside of college.

What’s the best thing about
this profession? What’s the worst thing?

The music
itself is really the best thing. I get goose bumps even in
rehearsals or practicing. When music hits you in a visceral and
intense way, it is just incredible. I love communicating through
music and drama to the audience. The worst thing is missing
family and sometimes missing important life events like weddings, graduations,
etc. Luckily, my family has been supportive since day one. I
try to get as much family time in when I can.

What has been the biggest
challenge in your performance career?

It
changes all the time. One of my goals is to get
completely into the character in order to have the freedom to take
risks on stage. I also strive to react to circumstances
and characters as if it is the first time I’ve ever heard or done the scene
before in order to keep the action, reaction and text fresh and alive and
buzzing.

Do you still get nervous when
you have to perform?

Yes, but I
believe this is an indication that I really love what I do and I want to serve
the music as best as I can. Also, I try not to say “nervous”, I
like saying “excited” instead. This sounds more positive.

What do you like to do when
you’re not singing?

I like
catching up with family and friends. I love hosting brunches!
Since we just bought a house two months ago, I love decorating and
organizing our new home and spending too much time on Pinterest!!

If you were not a singer, what would you be?

I used to
be an elementary and middle school music teacher for three years
in Needham, Massachusetts before getting my masters in voice performance
at Boston University. I also love teaching master classes to young
singers. I’ve done about ten in the last three years. I
enjoy seeing the light bulbs go off and I love seeing the sense of pride in
singer’s faces.

Obviously you travel extensively in this profession. What
has been your best travel experience? What has been the worst?

The best
travel experience was singing in Hawaii in February of 2008. I had a
great role in Gounod’s Romeo et Juliette. I sang
Stefano, the page boy. He had one fabulous aria, an intense sword
fight and sang in some of the most beautiful chorus music in opera…and that
was it! I had so much time to explore and experience
Hawaii. My cast mates and I became very close there. It
was an incredible experience and we still have a strong bond.

The worst
travel experience was actually the last time I was here in Atlanta!
I had sharp shooting pains on my right side while I was on the plane and could
hardly sit up straight.   The lovely opera patron, Sara, who picked
me up that afternoon at the airport had to take me to the ER right away
from the airport.  I was in so much pain at that point I actually
started crying. There was a woman there with a patient who saw
how much pain I was in and she started talking with me. I know this
sounds a bit dramatic but she was truly like an angel! She was
there with a man who had a sport’s injury. I was there until 2 a.m. and
it turned out I had a kidney stone. Those are not fun. BUT the
silver lining is I met lovely Sara, who stayed with me the entire
time, and the couple who was there in the ER and I are still in touch
since then. They attended the dress rehearsal of The Marriage of Figaro and I recently emailed
them about The Italian Girl in Algiers, so I may see them
again. So, something very positive came out of the most negative travel
experience!

If you were stranded on a deserted island, what three
albums would you want on your iPod?

Oooh I
don’t think I could possibly narrow this down. This would change
all the time! My three-year-old daughter and I have dance parties in her
room all the time so we’d have to have some Michael Jackson, ABBA and Bob
Marley on there. Lately, I’ve been obsessed with the artists Glen
Hansard and Marketa Irglova. I’m dying to see the musical Once on Broadway. I loved the movie. But, my
goose bump music is Handel and Mozart. So I’d have a very eclectic
iPod mix, I think….

Sandra Piques Eddy will be singing the role of Isabella
April 27, 30 and May 2 and 5, 2013 in the Atlanta Opera’s production of The
Italian Girl in Algiers. Visit atlantaopera.org
for more information and to purchase tickets.

Sandra Piques Eddy works with director Helena Binder and assistant stage manager Gregory Boyle.

In case you missed the SHOWCASE or LIVE WEBCAST of the Atlanta Opera’s third annual 24-Hour Opera Project, here is a quick and dirty recap!

This year’s theme was: “CONVINCING CONFESSION“

Throughout the process, participants made CONFESSIONS OF THEIR OWN. Here are some highlights…

CHECK OUT MORE ON YOUTUBE!

WABE’s John Lemley did a FANTASTIC job hosting this wild and crazy event. And the judges judged with great judgement! A special thank you to:

Ned Canty, General Director, Opera Memphis 
Lee Anne Myslewski, Director of Artistic Administration, Wolf Trap Opera  and Classical Programming
Ann Owens, former Executive Director, Houston Grand Opera 
Lara Smith, Managing Director, Dad’s Garage
Jill Vejnoska, Features Writer, Atlanta Journal-Constitution

JUDGES’ FAVORITE was (drumroll, please)…

“THE PUDDLE OF YOUTH”

Composer: NATALIE WILLIAMS. Librettist: VYNNIE MELI. Directed by: MATTHEW OZAWA. Music Direction by ERIN PALMER. Stage managed by: JESSICA DRAYTON. Singers: ARSENIA SOTO and BRANDON ODOM…. and a special guest. Inspiration props were: opera glasses and an elixir bottle.

AUDIENCE FAVORITE was (drumroll, please)…

“BEACH AND MOAN”

Composer: EVAN MACK. Librettist: WILLIAM SAMUEL BRADFORD. Directed by: KRISTIN KENNING. Music Direction by ROLANDO SALAZAR. Stage managed by: CAMILLE STREET. Singers: JAYME ALILAW, MITCHELL JONES, and MEL LEROY. Inspiration props were: a coconut and a camera.

BUT, WAIT…. there were more AMAZING creations!

“SILENCE ON THE HOMESTEAD”  
Composer: DOUGLAS PEW. Librettist: CHADWICK HAGAN. Directed by: BEVERLY BLOUIN. Music Direction by GEOFFREY LOFF. Stage Managed by DAWN HEELY. Singers: MEGAN BRUNNING, MICHAEL FRANCIS EDWARDS, and IVAN SEGOVIA. Inspiration props were a mirror and bell.  

“HAUNTED”
Composer: JAMIE LEIGH SAMPSON. Librettist: MADELEINE ST. ROMAIN. Directed by: MICHAEL NUTTER. Music Direction by CATHERINE GIEL. Stage Managed by: DELLY FEARS. Singers: MICHAELE POSTELL, LAURIE TOSSING, and JONATHAN SPUHLER. Inspiration props were: a champagne bottle and lantern.  

“THE TRIANGLE”  
Composer: ROBERT BUTTS. Librettist: ELLEN FRANKEL. Directed by: RICHARD GAMMON. Music Direction by PAUL TATE. Stage Managed by: CAMILLE STREET. Singers: ANNIE BURTON, ANNE STILLWAGON, and STEPHEN McCOOL. Inspiration props were: an iron and a bouquet of flowers.  

TO SEE PHOTOS FROM THE EVENT, GO HERE…

SEE YOU ALL NEXT YEAR!

The 7-10 minute creations from the 24-Hour Opera Project (24HOP) will be performed in front of a live “studio audience,” but there are some of you who can’t be in Atlanta, and there are some of you who just want to be able to put your feet up, make some popcorn, crack open a beer, and quietly enjoy some opera with your dog at your side!

For those of you who can’t make it to the showcase, you will still have the opportunity to see the event online via LIVE WEBCAST. On January 26 at 7:00 p.m., you can TUNE IN to the Atlanta Opera’s LIVESTREAM channel or to atlantaopera.org.

The link to the webcast will also be posted to Twitter (@TheAtlantaOpera) or our Facebook page.

Along with watching the event unfold live, webcast viewers can also vote for “Audience Favorite.”

You will be able to cast your vote via a BIG, GIANT “VOTE HERE” button on our homepage at atlantaopera.org or on our LIVESTREAM channel.

WATCH HIGHLIGHTS from past 24HOPs . . . and don’t forget to TUNE IN!

We’ve all known them… Those friends who can’t go out with you because they have rehearsal, or they have to practice, or they are locked away in a room with a midi for three days straight, or they have to attend a master class with an obscure counter tenor from Bulgaria.

These pursuits of passion have always been a little bit of a mystery to you, but you have loved and supported your friends anyway. Why? Because they love opera, and it’s contagious! And, who knows? When they make it big, you can say, “I knew them when…”

Here’s your chance to show the love for their hard work in this quirky, crazy, fast-tracked opera phenomenon called the 24-Hour Opera Project, in which composers, lyricists, stage directors and opera singers from all over come together to create opera in just 24 hours!!

You can also VOTE online for AUDIENCE FAVORITE at atlantaopera.org.

And, even if you don’t know any of these people, and just love, or are curious about opera, join us or tune-in to the LIVE WEBCAST!

Kickoff Event
Friday, January 25 at 5:00 p.m. at First Presbyterian Church of Atlanta 

Showcase Performance and Live Webcast
Saturday, January 26 at 7:00 p.m. at The Atlanta Opera Center

Both events are FREE and open to the public.

GOOD LUCK TO ALL OUR FEARLESS AND TALENTED PARTICIPANTS!

Composers
Jamie Sampson, Bowling Green, OH
Douglas Pew, Crestview Hills, KY
Evan Mack, Albany, NY
Natalie Williams, Athens, GA
Robert Butts, Rockaway, NJ

Librettists
Ellen Frankel, Philadelphia, PA
Madeleine St. Romain, Atlanta, GA
Samuel Bradford, Roswell, GA
Chadwick Hagan, Atlanta, GA
Vinnie Meli, Marietta, GA

Singers
Jayme Alilaw, Atlanta, GA
Michaele Postell, Acworth, GA
Emily Byrne, Durham, NC
Ivan Segovia Jonesboro, GA
Stefani Dunn, Marietta, GA
Mitchell Jones, Cumming, GA
Michael Francis Edwards, Stockbridge, GA
Kristin Vienneau, Roswell, GA
Arsenia Soto, Durham, NC
Megan Brunning, Suwanee, GA
Brandon Odom, Atlanta, GA
Jonathan Spuhler, Atlanta, GA
Mel Leroy, Macon, GA
Annie Burton, Chicago, IL
Joshua Bartolotti, Waleska, GA
Stephen McCool, Duluth, GA
Laurie Tossing, Lawrenceville, GA

Stage Directors
Beverly Blouin, Atlanta, GA
Richard Gammon, New York, NY
Matthew Ozawa, New York, NY
Kristin Kenning, Birmingham, AL
Michael Nutter, Atlanta, GA

And we welcome five incredible accompanists who will serve as Music Directors, all from the Atlanta area.

Goeff Loff
Catherine Giel
Erin Palmer
Rolando Salazar
Paul Tate

Erin Hartley and Lukas Valderrama will be Video Production Interns, assisting Dave Stevens of Stevens Interactive Productions produce the live webcast. They will also be charged with gathering footage throughout the 24 hours.

WHAT IS THE 24-HOUR OPERA PROJECT?

Composers and lyricists are randomly paired together, and will have 12 hours to write a 7-10 minute opera. At the end of 12 hours, the pieces will be assigned to a stage director, who will draft singers from a pool of applicants, and have eight hours to rehearse, before presenting the scenes in a showcase concert 24 hours after the project begins.

The final results will be presented in a live performance and webcast hosted by WABE’s John Lemley.

The mini-operas will be evaluated by a panel of performing arts industry leaders, and prizes will be awarded to the winning team, with an additional prize going to the audience favorite. Both the kick-off event and the showcase performance are FREE and open to the public.

The judges are…

Ned Canty, General Director, Opera Memphis 
Lee Anne Myslewski, Director of Artistic Administration, Wolf Trap Opera  and Classical Programming
Ann Owens, former Executive Director, Houston Grand Opera 
Lara Smith, Managing Director, Dad’s Garage 
Jill Vejnoska, Features Writer, Atlanta Journal-Constitution

For more information, please call 404-881-8883 or e-mail [email protected].

View Highlights From the 24-Hour Opera Project 2012 >>

The Atlanta Opera 24-Hour Opera Project is made possible by generous support from Turner Broadcasting System, Inc. and Turner Voices.

Members of the public interested in providing additional financial support for the 24-Hour Opera Project can contribute through the Power2Give.org Matching Grant Donor Program. Every $1 you give to the 24-Hour Opera Project will be doubled. Visit Power2Give.org for more information.

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By Natalie Creamer

On Saturday, November 10, The Atlanta Opera opened its 2012-2013 season with Carmen, Georges Bizet’s timeless tale of a love triangle gone horribly awry. In case you have not seen it, or to refresh your memories, here is a photo essay that recounts Carmen’s final days. Oh, the drama…

Micaëla (Melissa Shippen) enters Act I searching for her fiancée Don José. Resting outside the guardhouse with his men, Corporal Moralés (Scott Hogsed) charms the young girl with a flower.

The children of Seville cheer at the arrival of the brave toreador, Escamillo.

As the midday bell rings all eyes fall on Carmen (Maria José Montiel ) as she makes her entrance outside the cigarette factory doors. The men are spellbound by her beauty and flirtatious demeanor.

Mezzo-soprano Maria José Montiel sets the artistic tone of Georges Bizet’s Carmen as she captivates the crowd singing the world famous “La Habañera.”

Enchanting almost all with her singing of “La Habañera,” Carmen catches the attention of soldier Don José (Fernando de la Mora) as she throws a rose at him before returning to the factory.

The cigarette factory girls laugh together as they and Carmen tease the guards standing on duty.

After a dramatic torchlight procession announcing the arrival of Escamillo (Aleksey Bogdanov), Carmen flaunts herself before the others, and attracts the handsome toreador. Carmen maintains a remote façade and refuses Escamillo’s advances.

After joining the smugglers, El Dancaïro (Adam Cannedy) and El Remendado (Adam Kirkpatrick), the three gypsy girls, Carmen, Mercédès (Kaitlyn Costello) and Frasquita (Amanda Opuszynski), celebrate their treasures from a successful contraband expedition.

Shortly after dancing the flamenco, Carmen convinces her lover Don José to stay with her, and ignore his orders to return to the barracks. The retreat sounds, and Carmen hopes Don José will follow her into the mountains to Lilla Pastia’s tavern.

Doomed lovers, Don José and Carmen, lay down and embrace in despair, wishing there were a way they could be together.

Carmen pleads with Don José to ignore the bugle and flee with her and the other gypsies into the mountains. The lovers desperately cling to one another.

Carmen welcomes Don José to her tribe of gypsies and smugglers. Don José begins his transition from soldier to smuggler.

Gyspsies, Frasquita and Mercédès, read their own good fortunes and dream about what their futures will bring.

Mercédès, Carmen and Frasquita sing after having had their fortunes read.

While Don José abandons the army to join Carmen and the smugglers, Micaëla wanders through the mountains looking for her lost fiancé. She hopes Don José will come back to her after sharing the news of his sickly mother.

A large crowd assembles in the stands as they await the famous Escamillo at the bullring.

In a bullring in Seville, children wave flags cheering at the entrance of the famous toreador, Escamillo.

The colorfully decorated flamenco dancers, transformed into toreadors, perform in the arena prior to Escamillo’s entrance.

Children standing in the bullring arena sing and yell in excitement as their hero, Escamillo, makes his grand appearance.

The wildly popular Escamillo entertains the crowd as he lures a bull into the arena.

In the final scene of Act IV, Carmen refuses Don José and tosses his ring. Then, she sings her last words.

Tickets are availabe at atlantaopera.org.

All photos are courtesy of Jeff Roffman Photography, LLC.

By Natalie Creamer

As technology use continues to grow, performing arts organizations are adopting new strategies to appeal to audiences who communicate through smartphones and tablets. Recently, The Atlanta Opera expanded its digital presence in two very innovative ways.

The Theatre Plus Network

By partnering with Dave Stevens, creator of the Theatre Plus Network (TPN), an Atlanta-based start-up that specializes in live publishing through “augmented reality,” a smartphone application has been created that makes images in printed materials “come to life.”

What is “augmented reality?”

The term “augmented reality” means that a picture or object is augmented or enhanced by layers of computer-generated sound, video, graphics or GPS data. In a nutshell, it means that by activating an image, it gives the viewer a different way of looking at things. It converts an image from “still” to “live.”

The Atlanta Opera is one of the first organizations to create prototypes for this new app. Atlanta arts enthusiasts can expect to unlock a variety of content like videos, games, music, information and website links.

How does it work?

Smartphones act as “electronic magnifying glasses” that reveal something hidden through digital image recognition. Cameras recognize shapes and patterns of images. Each combination triggers different information. By downloading the TPN app, and focusing the smartphone lens on a season image displayed in one of the Atlanta Opera’s promotional print materials, a picture will be “awakened” through video and sound, and provide a link that will connect patrons to the Atlanta Opera’s mobile site.

The TPN app will be available to audiences who use Encore Atlanta show programs (The Atlanta Opera, the Alliance Theatre, the Atlanta Symphony Orchestra, and the Fox Theatre), as well as direct-mail postcards and posters.

The TPN app is available free in the Apple Store and Google Play Market.

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What is the purpose of using TPN?

The objective of the TPN app is for arts organizations to reach new audiences, and enrich experiences for existing and loyal patrons, by creating engaging and entertaining content.

While TPN has only been around for eight months, and still remains in the prototype stage, the hope is to eventually create a single application that would serve the entire performing arts community with one download.

What is the other innovative way The Atlanta Opera is using technology?

The Atlanta Opera has created its own mobile website!

Those visiting the Atlanta Opera’s website on their smartphones will be automatically redirected to the mobile site. Audiences can view production dates, purchase tickets, and access the Blog, Tumblr, Facebook, Twitter and YouTube pages.

It just makes everything so much easier!

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