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Meet the women behind the Muppets, watch motorcross racing at Mercedes-Benz Stadium, and listen to the Atlanta Opera perform the Daughter of the Regiment.
Onstage Jessye Norman, a renowned soprano and one of the few prominent African Americans in opera, has the regal dignity of a queen and the world-weary gravitas of a civil rights leader. Fitting, then, that on November 18, Norman headlines the gala for the Atlanta Music Festival.
"My first question is, ‘Can you sing in this?’” says Joanna Schmink, the costume designer and coordinator for the Atlanta Opera.
Morris Robinson is trying to lay low, something that’s never been easy for him. If anyone failed to see the 6-foot-3, 300-plus-pound vocalist lumbering through the lobby of the Woodruff Arts Center an hour ago in black ostrich-skin boots, tuxedo pants, and untucked maroon T-shirt, they certainly heard his voice.
Barton sounds richly experienced, old-school, with a coloratura that is pure Technicolor, in arias that evoke some sort of empyrean birdsong in a three-octave range. The New Yorker has lauded her “once-in-a-generation talent,” and other reviews have joined the chorus of praise.
“Kevin is the equivalent of an operatic Buster Keaton or Charlie Chaplin,” says Atlanta Opera director Tomer Zvulun, who handpicked the bass singer to play the Pirate King in The Pirates of Penzance
On March 19, 2003, the U.S. invaded Iraq. The following year, then 26-year-old David T. Little began work on Soldier Songs, a rock-tinged contemporary opera that explores the impact of war on veterans.
Nigel Redden is general director of Charleston’s Spoleto Festival and director of Lincoln Center Festival in New York. “In the performing arts world, Russian violinist Yuriy Bekker recently became the acting artistic director of the...