Review: Mezzo-soprano Susan Graham sings spellbinding “A Standing Witness”

Graham's performance opened the 20th anniversary season of the Schwartz Center for Performing Arts. Peruse the catalogue of composer Richard Danielpour and one may deduce that he has a predilection for the mezzo-soprano voice. He’s written music for Jessye Norman (Sweet Talk), Denyce Graves (Margaret Garner) and Isabel Leonard (Of Love and Longing). He also has a [...]

The Voice and Health Literacy

Health literacy is the ability to find, use, and understand health information when making healthcare decisions. Under the leadership of Dr. Iris Feinberg at Georgia State University, my colleagues and I developed and produced a series of culturally and linguistically appropriate healthcare videos about patient-provider communication and women's health. These healthcare scripts were researched and [...]

From the December 2021 Issue of Opera News Online

Giulio Cesare Atlanta Opera 11/6/21 IN THE FORTY YEARS since the Atlanta Opera’s inception, there has never been a Handel opera displayed on the theatre marquee. In fact, the last production of an opera predating Mozart was more than a decade ago, when David Daniels starred in AO’s production of Gluck’s Orfeo ed Euridice. Taking a risk [...]

From the March 2022 Issue of Opera News Online…

From the March 2022 Issue of Opera News Online…

Il Barbiere di Siviglia at the Atlanta Opera GIOACHINO ROSSINI is credited for pointing out that all kinds of music are good, except the boring kind. Stage Director Michael Shell took this to heart when devising the concept for his Barbiere di Siviglia, which was produced by the Atlanta Opera this spring (seen March 13). Shell’s take, [...]

In the July 2021 Issue of Opera News…Review of AO’s The Threepenny Carmen, The Threepenny Opera

Kelly Kaduce, Atlanta’s Polly Peachum © Ken Howard FOR THE SPRING 2021 production in its “Big Tent” series, one full year into the coronavirus pandemic, Atlanta Opera distilled Bizet’s Carmen to its bare bones and reset Bizet’s fantasy in a low-rent Texas bar owned by Lillas Pastia. Tomer Zvulun, the company’s general and artistic director, and conductor Jorge Parodi [...]

ArtsATL Review: Album showcases nuanced voice of The Atlanta Opera’s Megan Marino

Megan Marino, a member of The Atlanta Opera Company Players, is given the spotlight on "The Travelled Road." (Photo by Dario Acosta) Review: Album showcases nuanced voice of The Atlanta Opera’s Megan Marino STEPHANIE ADRIANJUNE 3, 2021 New York Times music critic Anthony Tommasini once commented that there was an eerie similarity to the songs of [...]

Review from the February 2021 Issue of Opera News: Pagliacci & Der Kaiser von Atlantis

MOST THEATERS IN ATLANTA remain dark due to the coronavirus pandemic, but the Atlanta Opera has reimagined its 2020-21 season as an outdoor event presented underneath a gigantic circus tent. Executive and artistic director Tomer Zvulun pivoted toward small-scale operas and concerts, short in duration and well-suited to the circus-style venue. On October 22, AO opened [...]

Review: Violinist Blake Pouliot wows audience with ASO debut playing Sibelius

Guest violinist Blake Pouliot and guest conductor Thomas Søndergård inspired the Thursday night audience at Symphony Hall to applaud between movements. (Photo by Jeff Roffman) Review: Violinist Blake Pouliot wows audience with ASO debut playing Sibelius STEPHANIE ADRIANFEBRUARY 21, 2020 If Finnish composer Jean Sibelius were alive today you might find him perusing the self-help [...]

In the July Issue of Opera News Online: Review of Atlanta Opera’s Porgy and Bess

ON MARCH 7, Atlanta Opera offered the local premiere of Francesca Zambello’s staging of the Gershwins’ Porgy and Bess, first seen at The Glimmerglass Festival in 2017. The set, a corroded, two-tiered tenement house on Catfish Row was a stark contrast to the most recent Atlanta production, staged by Larry Marshall in 2011, which utilized a multitude [...]

In the April Issue of Opera News: Review of Salome

TOMER ZVULUN’S NEW ATLANTA OPERA production of Salome, which opened at the Cobb Energy Performing Arts Centre on January 25, was a gamble for the company to be sure—it represented a sizable financial investment in the creative powers of scenic designer Erhard Rom, costume designer Mattie Ulrich, and choreographer Amir Levy. Based on the opening night performance [...]