Julius Caesar
Cast
Julius Caesar
Daryl Freedman
Jasmine Habersham
Cleopatra
Megan Marino
Sesto Pompeo
Renee Tatum
Cornelia
Daniel Moody
Tolomeo
David Crawford
Achilla
William Meinert
Curio
Elizabeth Sarian
Nireno
Creative
Gary Thor Wedow
Conductor
Tomer Zvulun
Stage Director
Alexander Lisyansky
Set Designer
Mattie Ullrich
Costume Designer
Robert Wierzel
Lighting Designer
Donald Byrd
Choreographer
Composer: George Frideric Handel
Librettist: Nicola Francesco Haym
Premiere Date: February 20, 1724, King’s Theatre, London
The love affair between Julius Caesar and Cleopatra is given a Baroque flourish in Handel’s masterful work. Loosely based on events during the Roman Civil War around 48 B.C., Caesar arrives in Egypt in pursuit of his enemy, only to fall in love with the beguiling queen–what plays out is an episode of Game of Thrones, in which blood, lust, and the pursuit of power both torments and unites.
A co-production with Israeli Opera
Performed in Italian with English supertitles
A co-production with the Israeli Opera | photo: Yossi Zwecker
Get the Feeling
Special Julius Caesar Pre-Opera Talk with Dr. Uzee Brown, Jr., D.M.A
One hour before all performances of Julius Caesar, Nov 6-14
Cobb Energy Performing Arts Centre
Join The Atlanta Opera and Dr. Uzee Brown, Chair for the Division of Creative and Performing Arts and Professor of Voice at Morehouse College, for a short, informative pre-opera talk about the history and music of Handel’s Julius Caesar. Offered one hour before curtain.
Open to Julius Caesar ticketholders. General admission.
Runtime
Synopsis
Abridged plot
Cesare, in pursuit of his enemy Pompeo, has followed him to Egypt. Pompeo’s wife Cornelia pleads with Cesare to spare her husband. He is about to grant her plea, when the Egyptians led by their boy king Tolomeo bring him the head of Pompeo. Cornelia and Pompeo’s son Sesto vow to avenge his death. Tolomeo’s sister Cleopatra desires to depose her brother in order to become the sole ruler of Egypt. She joins Cornelia and Sesto in their plans for vengeance and entreats Cesare to aid her. Following her overtures, Cesare falls in love with Cleopatra. Her brother attempts to assassinate Cesare, but he escapes. It is reported to Cleopatra that Cesare has drowned while in flight. She is taken captive by her brother. Cesare, who has escaped drowning, enters to free his beloved. Tolomeo is slain by Sesto, because he forced himself upon Cornelia against her will. Cesare makes Cleopatra Queen of Egypt and returns to Rome.
Characters & Cast
Newbie Guide
The Opera Experience
Operas on our mainstage are grand theatrical experiences. You can always expect the unexpected, and for our productions to be presented at the highest quality.
Supertitles
Many operas are in a foreign language. Supertitles are similar to subtitles in a film, except they are projected above the stage. These translations will help you follow what’s happening on stage.
What to Wear
There is no dress code at The Opera and you will see everything from jeans to evening gowns and formal suits. Most people use it as a chance to enjoy dressing up in their own style.
Arriving in Good Time
If you are late, you will be escorted to the nearest late seating area. At intermission ushers will show you to your seat. Plan ahead to arrive with extra time.
Enhance Your Visit
Pre-Performance Talk
Learn about the history of the opera, the composer, and more from artists and opera aficionados. One hour prior to curtain. Free with your ticket!
Familiarizing Yourself with the Story
Because of the foreign languages, classical music, and often complex plots, you will very likely enjoy the performance better if you spend a few minutes familiarizing yourself with the story and characters in advance. Some people even like to listen to the music in advance and others prefer to let it wash over them during the show and perhaps look it up afterwards.
How is an Opera Staged?
Auditions
Actors first audition for roles up to a year in advance, or for more experienced artists, directors also invite them to play a role.
Rehearsals
Most of the rehearsals are held in our rehearsal hall, and not the actual theatre. The conductor begins orchestra rehearsals about a week and half before opening night. They have four rehearsals with the conductor, and then the singers are added into the mix.
Sets & Costumes
The Atlanta Opera Costume Shop alters the costumes to fit our singers. Sometimes they do have to make costumes if there aren’t enough, or if there is nothing that fits, etc. Once the sets are in place, the cast begins rehearsing at the theatre. The Opera production staff works with staff at the theatre to get all of the lighting and technical aspects of the production together.
Sitzprobe & Dress Rehearsal
The orchestra comes together with the singers in a special rehearsal called sitzprobe. There are no costumes during the sitzprobe, this is mainly to hear the voices with the orchestra. There is a piano dress rehearsal, when the singers rehearse in full costume for the first time so they can get used to wearing them. Finally, all of the pieces are put together for two full dress rehearsals leading up to opening night.
Composer
George Frideric Handel (1685-1759)
George Frideric Handel was a German-born English composer of the late Baroque era, noted particularly for his operas, oratorios, and instrumental compositions. He wrote the most famous of all oratorios, Messiah (1741), and is also known for such occasional pieces as Water Music (1717) and Music for the Royal Fireworks (1749).
Courtesy of Encyclopedia Britannica
Conductor
Gary Thor Wedow
Conductor Gary Thor Wedow,who specializes in historically informed performances, has appeared with opera companies, orchestras, and festivals throughout North America. A frequent guest of Seattle Opera, some of his recent successes there include the double bill of Poulenc’s La Voix humaine and Puccini’s Suor Angelica, Gluck’s Orphée, and Mozart’s The Magic Flute. For many years Mr. Wedow was closely associated with New York City Opera, where he led Mozart’s Don Giovanni, in the Christopher Alden production, and conducted the New York Premiere of Telemann’s Orpheus in May 2012. Recently, he conducted The Magic Flute with Lyric Opera of Kansas City, the World Premiere of Paul Richards and Wendy Steiner’s Biennale at the Barnes Foundation in Philadelphia, and Handel’s Messiah for the Seattle Symphony Orchestra. In 2014 Mr. Wedow led J.S. Bach’s St. Matthew Passion on tour with Juilliard 415, the historical performance ensemble, culminating with a concert in Alice Tully Hall; Donizetti’s Don Pasquale for Arizona Opera; Mozart’s The Abduction from the Seraglio for Utah Opera; and Don Giovanni for Seattle Opera.
Born in La Porte, Indiana, and now a resident of New York City, Gary Thor Wedow has been a member of The Juilliard School faculty since 1994, leading performances of Monteverdi’s L’incoronazione di Poppea, Mozart’s La finta giardiniera, Handel’s Ariodante, and Don Giovanni. He has prepared several performing editions of Baroque works in collaboration with countertenor Lawrence Lipnik, and his long association with director Stephen Wadsworth has included productions of Handel’s Xerxes and Ariodante, as well as Gluck’s Iphigénie en Tauride. He studied with piano virtuoso Jorge Bolet at the Indiana University School of Music and received his masters of music degree from Boston’s New England Conservatory of Music.
Director
Tomer Zvulun
General and Artistic Director of The Atlanta Opera since 2013, Israeli born Tomer Zvulun is also one of leading stage director of his generation, earning consistent praise for his creative vision and innovative interpretations. His work has been presented by prestigious opera houses in Europe, South and Central America, Israel and the US, including The Metropolitan Opera, Washington National Opera, Seattle Opera, Houston Grand Opera, Dallas, San Diego, Boston, Pittsburgh, Minnesota, Montreal, Buenos Aires, Israeli Opera, and the festivals of Wexford, Glimmerglass and Wolf Trap, as well as leading educational institutes and universities such as The Juilliard School, Indiana University, and Boston University.
Tomer spent seven seasons on the directing staff of the Metropolitan Opera where he directed revivals of Carmen and Tosca and was involved with more than a dozen new productions. He is a frequent guest director in companies such as Seattle Opera (Semele, La Bohème, Eugene Onegin, Lucia di Lammermoor), Dallas Opera (Die Fledermaus, La Bohème), Houston (Flying Dutchman, Rigoletto), Wexford Festival (Silent Night, Dinner at Eight), Cincinnati Opera (Magic Flute, Don Giovanni, Flying Dutchman), Wolf Trap (Falstaff, Don Giovanni), Israeli Opera (Dead Man Walking, Giulio Cesare) among others. His European premiere of Silent Night at the Wexford Festival received two Irish Times Awards and traveled from Ireland to Washington National Opera, The Glimmerglass Festival and the opera companies of Atlanta, Austin and Salt Lake City.
