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FEBRUARY 27, MARCH 2,5,7(M), 2O1O dennis hanthorn - Zurich General Director TTAO09AO09 AAIDA.inddIDA.indd 999191 22/8/10/8/10 111:12:241:12:24 AAMM att.com talk, text, repeat. We live on the cutting edge of technology. And with innovations like our 3G wireless network that powers the iPhone and our award-winning AT&T U-verse TV, we help keep you there. In the business world, we deliver productivity and results. In your personal world, we deliver conversations, messages and pictures. And all because of our commitment to keep you connected. AT&T proudly supports the Atlanta Opera. © 2010 AT&T Intellectual Property. All rights reserved. AT&T and the AT&T logo are trademarks of AT&T Intellectual Property. TTAO09AO09 AAIDA.inddIDA.indd 9992-192-1 22/8/10/8/10 111:12:261:12:26 AAMM TTAO09AO09 AAIDA.inddIDA.indd 22-3-3 22/8/10/8/10 111:12:291:12:29 AAMM TABLE OF CONTENTS 5 6 Message from the Zurich General Director 9 Credits 11 Synopsis 12 Program Notes 16 Meet the Cast 22 The Atlanta Opera Chorus 23 The Atlanta Opera Orchestra 24 Volunteers 26 Education and Outreach 30 The Society for Artistic Excellence 31 Partners 37 Annual Fund / Individual Giving 44 Tributes and Memorials 46 The Encore Circle 48 The Verdi Society 52 Board of Directors 54 House Policies 56 The Atlanta Opera Staff dennis hanthorn - Zurich General Director Cover Photo: Dallas Duncan Franklin 1575 Northside Drive, N.W. Building 300, Suite 350 Atlanta, GA 30318 www.atlantaopera.org ©2010 ARIA is published by The Atlanta Opera TTAO09AO09 AAIDA.inddIDA.indd 44-5-5 22/8/10/8/10 111:12:301:12:30 AAMM 6 MESSAGE FROM THE ZURICH GENERAL DIRECTOR DENNIS HANTHORN (J.D. SCOTT) For just the third time in the Atlanta Opera’s 30-year history, we are pleased to present to you Verdi’s triumphant Aida, an opera that for many epitomizes the dramatic, musical and spectacular qualities that continue to attract people to grand opera. Our production, conducted by Yoel Levi, rate, as you have come to expect from The features the role debut of Mary Elizabeth Atlanta Opera. Representatives from Atlanta Williams, last seen on the Atlanta Opera Opera Ticketing Services will be in the lobby stage in our 2005 production of Porgy and at both intermissions to help you with your Bess. Rounding out this outstanding cast is season ticket renewals and purchases. Italian tenor Antonello Palombi, baritone Thank you for choosing to attend today’s Mark Delavan, our “Dutchman” from last performance. We hope you’ll share your opera season’s production of The Flying Dutchman, experience with family and friends. The fi nal mezzo-soprano Elizabeth Bishop and Atlantan production in our 30th anniversary season, Morris Robinson. With you, I look forward Mozart’s The Magic Flute, will be enjoyable to seeing and listening to this masterpiece of for opera afi cionados and novices, young the opera repertoire. and old. Please bring your family, invite a By now, you’ve no doubt heard about our friend and join us! exciting 2010-2011 season of three operas – Puccini’s beloved La bohème, Gershwin’s American classic Porgy and Bess, and Mozart’s funny and poignant Così fan tutte. Though we only will be presenting three productions Dennis Hanthorn instead of four next season to ensure the Zurich General Director long-term fi nancial health of our company, I The Atlanta Opera can assure you the artistic quality will be fi rst- TTAO09AO09 AAIDA.inddIDA.indd 66-7-7 22/8/10/8/10 111:12:301:12:30 AAMM 8 MYTHS & FACTS ABOUT THE ATLANTA OPERA MYTH: It’s “business as usual” at The Atlanta Opera. music conductor FACT: The Board of Directors was proactive and made the decision to cut a production Giuseppe Verdi Yoel Levi for the 2010-2011 season, freeze salaries, reduce operating expenses and leave libretto director unfi lled staff positions open. We are “making do” with less, and, as always, Antonio Ghislanzoni Trevore Ross are being fi scally prudent and good stewards of our fi nances. MYTH: Ticket sales cover all the costs of the opera. World Premiere: Khedivial Opera House, Cairo, December 24, 1871 FACT: In order to ensure that prices are affordable, ticket sales cover only 1/3 of European Premiere: La Scala, Milan, February 8, 1872 production expenses. People like YOU make additional donations that American Premiere: Academy of Music, New York, November 26, 1873 generously subsidize the rest of the cost to make this possible. Low-priced, Sung in Italian with English supertitles subsidized tickets make it possible for anyone who wants to see opera to afford it! Approximate Running Time: 3 hr, 15 min MYTH: “Someone” will help and make a donation. There will be two 20-minute intermissions, and a brief pause between Acts III and IV. FACT: Do not assume that “someone” will support the opera, because in fact, YOU Aida ............................................................................................. Mary Elizabeth Williams are that “someone” on whom we depend. Your fi nancial support is now more Amneris .....................................................................................................Elizabeth Bishop important than ever before to help us meet our operating expenses and continue Radamès ................................................................................................ Antonello Palombi to provide outstanding productions and educational outreach programs for our Amonasro ...................................................................................................... Mark Delavan community. We are doing what we can on our end, but we cannot do it alone! Ramfi s ...................................................................................................... Morris Robinson Please invest in the future of The Atlanta Opera today so we can continue to thrill, King of Egypt ............................................................................................ Kenneth Kellogg educate and inspire you for years to come. Messenger .................................................................................................... Timothy Miller Priestess ..............................................................................................................Amy Little Make your tax-deductible donation online at www.atlantaopera.org or mail your gift to: The Atlanta Opera Choreographer – Rosa Mercedes 1575 Northside Drive NW Assistant Director – David Paul Bldg. 300, Suite 350 Sets designed by Phillip Silver Atlanta, GA 30318. Provided by the New Orleans Opera Association Costumes provided by A.T. Jones Thank you! Lighting designed by Donald Thomas Chorus prepared by Walter Huff Costumes coordinated by Joanna Schmink Wigs and Makeup designed by Sue Sittko Schaefer Assistant Conductor and Musical Preparation by Craig Kier Mary K. Roarabaugh English supertitles by James Meena Director of Development Supertitles operated by Ellen Chamberlain FACT: YOU are important to The Atlanta Opera’s success. Pianos provided by Kawai 2009-2010 season sponsor production sponsors AT&T Atlanta Music Festival Association opening night performance sponsor The Coca-Cola Company A 30th Anniversary Salute to our Production and Artist Sponsors. TTAO09AO09 AAIDA.inddIDA.indd 88-9-9 22/8/10/8/10 111:12:301:12:30 AAMM 10 2009-2010 SEASON SPONSORS SYNOPSIS 11 act i prisoners to be overruled and for them to be Egypt, during the reign of the pharaohs. freed. The king grants his request but keeps At the royal palace in Memphis, the high Amonasro in custody. The king declares that as priest Ramfi s tells the warrior Radamès that a victor’s reward, Radamès will have Amneris’s Ethiopia is preparing another attack against hand in marriage. Egypt. Radamès hopes to command his army. He is in love with Aida, the Ethiopian slave act iii of Princess Amneris, the king’s daughter. On the eve of Amneris’s wedding, Ramfi s and Radamès dreams that victory in the war Amneris enter a temple on the banks of the Nile would enable him to free her and marry her to pray. Aida, who is waiting to meet Radamès (“Celeste Aida”). But Amneris loves Radamès, in secret, is lost in thoughts of her homeland and when the three meet, she jealously senses (“O patria mia”). Suddenly Amonasro appears. his feelings for Aida. A messenger tells the Invoking Aida’s sense of duty, he makes her king of Egypt and the assembled priests and promise to fi nd out from Radamès which route soldiers that the Ethiopians are advancing. the Egyptian army will take to invade Ethiopia The king names Radamès to lead the army, (Duet: “Rivedrai le foreste imbalsamate”). and all join in a patriotic anthem. Left alone, Amonasro hides as Radamès enters and assures Aida is torn between her love for Radamès Aida of his love (Duet: “Pur ti riveggo, mia and loyalty to her native country, where her dolce Aida”). They dream about their future father, Amonasro, is king (“Ritorna vincitor”). life together, and Radamès agrees to run away She prays to the gods for mercy. In the temple with her. Aida asks him about his army’s route, of Vulcan, the priests consecrate Radamès. and just as he reveals the secret, Amonasro Ramfi s orders him to protect the homeland. emerges from his hiding place. When he act ii realizes that Amonasro is the Ethiopian king, Radamès is desperate about what he has done. Ethiopia has been defeated, and Amneris waits While Aida and Amonasro try to calm him, for the triumphant return of Radamès. When Ramfi s and Amneris step out of the temple. Aida approaches, the princess sends away her Father and daughter are able to escape, but artist sponsors other attendants so that she can learn her slave’s Radamès surrenders to the priests. private feelings (Duet: “Fu la sorte dell’armi”). The Appearance of Elizabeth Bishop: Mr. William Snyder and Mr. Louise Peneguy She fi rst pretends that Radamès has fallen in act iv The Appearance of Mark Delavan: The Mary and Charlie Yates Family Fund battle, then says he is still alive. Aida’s reactions Radamès awaits trial as a traitor. He believes leave no doubt that she loves Radamès. Aida to be dead but then learns from Amneris The Appearance of Kenneth Kellogg: Mr.
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  • 07 – Spinning the Record

    07 – Spinning the Record

    VI. THE STEREO ERA In 1954, a timid and uncertain record industry took the plunge to begin investing heav- ily in stereophonic sound. They were not timid and uncertain because they didn’t know if their system would work – as we have seen, they had already been experimenting with and working the kinks out of stereo sound since 1932 – but because they still weren’t sure how to make a home entertainment system that could play a stereo record. Nevertheless, they all had their various equipment in place, and so that year they began tentatively to make recordings using the new medium. RCA started, gingerly, with “alternate” stereo tapes of monophonic recording sessions. Unfortunately, since they were still uncertain how the results would sound on home audio, they often didn’t mark and/or didn’t file the alternate stereo takes properly. As a result, the stereo versions of Charles Munch’s first stereo recordings – Berlioz’ “Roméo et Juliette” and “Symphonie Fanastique” – disappeared while others, such as Fritz Reiner’s first stereo re- cordings (Strauss’ “Also Sprach Zarathustra” and the Brahms Piano Concerto No. 1 with Ar- thur Rubinstein) disappeared for 20 years. Oddly enough, their prize possession, Toscanini, was not recorded in stereo until his very last NBC Symphony performance, at which he suf- fered a mental lapse while conducting. None of the performances captured on that date were even worth preserving, let alone issuing, and so posterity lost an opportunity to hear his last half-season with NBC in the excellent sound his artistry deserved. Columbia was even less willing to pursue stereo.