International Make-up Artist Trade Show makes Atlanta Debut

by Mark Gresham | 22 NOV 2018

Surrounded by artists and their design models, IMATS founder Michael Key (fifth from left) presents awards for a "Battle of the Brushes" competition.

Surrounded by artists and their design models, IMATS founder Michael Key (fifth from left) presents awards for a “Battle of the Brushes” competition.

Boundless enthusiasm, bustling energy and an amazing spectrum of creativity were on display this past weekend at the International Make-up Artist Trade Show (IMATS) downtown at the Georgia World Congress Center, the first time the highly-esteemed trade show has ever been held in Atlanta. IMATS, which takes place in six different major cities world-wide each year, is the make-up world’s largest gathering where artists, manufacturers and educators gather to discuss, display and collect the best the industry has to offer.

With its other shows held in Vancouver, Los Angeles, New York, Toronto and London, the decision to hold a 2018 show in Atlanta was based largely on the city’s burgeoning reputation as a creative center for film and television, and an eagerness among the region’s growing community of make-up artists for bringing IMATS to what’s often being called the “Hollywood of the South.”

IMATS and Make-up Artist Magazine founder Michael Key, himself an Emmy Award-winning make-up artist, explained the decision in a brief conversation at the trade show on Saturday.

“Why Atlanta? Our organization has a capacity to about six IMATS shows [per year],” says Key. “We had been doing Sydney, Australia from 2009, but travel costs got to be higher and it did not make sense for companies to come overseas. I pressed pause on that and I’d been thinking about Atlanta. Some of my colleagues are moving from Los Angeles, selling their home there, buying here, because there’s more work going on here than there is in LA. My colleagues are telling me they’re booked here for the next two or three years. Atlanta has become an epicenter for film and television work, and there’s a strong ‘beauty’ community here.”

Completed full body paint with headdress created by artist Stephanie Anderson and assistant Ryan Straut. (Model: Diego Serna. Photo credit: Ryan Straut.)

Completed full body paint with headdress created by artist Stephanie Anderson and assistant Ryan Straut. (Model: Diego Serna. Photo credit: Ryan Straut.)

Mr. Key points to a growing number of area make-up artists the public should keep our eyes on. “There’s talent coming to Atlanta, some being raised and groomed in Atlanta,” says Key. Among them, he cites Stephanie Anderson as an Atlanta-based artist who does “some really, really cool work.” Anderson demonstrated doing a full-body paint Saturday on model Diego Serna, assisted by Ryan Straut, over the course of about five hours. On the stage directly behind Anderson’s was Matthew Silva and Jonah Levy, co-owners of Blue Whale Studios, demonstrating the more subtle application of “aging” make-up to model Dondrey Jackson. Focused in special effects make-up, Silva and Levy maintain operations in both Atlanta and Orlando, Florida.

Matt Silva and Jonah Levy demonstrate "aging" make-up on model Dondrey Jackson -- a work in progress, to which a costume was later added. (photo: Mark Gresham)

Matt Silva and Jonah Levy demonstrate “aging” make-up on model Dondrey Jackson — a work in progress, to which a costume was later added. (photo: Mark Gresham)

Another notable area artist is Conor McCullagh, a prosthetics and special effects make-up expert who also creates sculpture and tattoo design. He moved to Atlanta late last year from Charlotte, North Carolina, where he had been based for 13 years.

Conor McCullagh with his "Android" creation: prosthetics, make-up and costume. (Photo: Mark Gresham)

Conor McCullagh with his “Android” creation: prosthetics, make-up and costume. (Photo: Mark Gresham)

“Moving to Atlanta became a necessity for me,” says McCullagh. Available work around Charlotte had dried up but he was getting many offers for gigs in Atlanta. It was only when he began working on Guardians of the Galaxy II that McCullagh seriously considered the move. “I started working at Pinewood Studios [in Fayetteville] and really loved the area. It’s outside of town, it’s beautiful, it’s quiet. You can get around easily. Long story short, I made the move in December of last year. No regrets. I absolutely love it. I’ve been setting up shop for months and work started coming in long before I was finished building the studio. I got it operational and started working, and now I’ve got more work than I can handle.”

It’s not just artists moving here to take advantage of Georgia’s flourishing film and television industry. In breaking news, Make-up Designory, a major make-up arts school with campuses world-wide, has confirmed that they will be opening a school in Atlanta. Word is they were scouting spaces on Friday.

Michael Key founded Make-up Artist Magazine in 1996, and organized the first IMATS show in 1997. His intent for starting the trade show was to promote the magazine. When he sought advice about publishing and growing a trade magazine, he was told to attend trade shows. In doing so, he learned that while the cosmetics and make-up industry generates annual revenues in the multi-billions, the trade shows of the time had a “salon” focus of mostly hair and nails, with little attention to make-up arts. He determined that Make-up Artist Magazine should create a new trade show to fill that void. “None of them really embraced media make-up artists. That’s really who we are,” Key says of IMATS.

Attendees peruse exhibits at IMATS. (photo: Mark Gresham)

Attendees peruse exhibits at IMATS. (photo: Mark Gresham)

In addition to an array of exhibits, demos and educational sessions, one of IMATS’ most engaging events is the “Battle of the Brushes” where pro make-up artists compete, with live models parading their design and execution on stage in front of gathered colleagues and enthusiasts.

Winners in the Character/Prosthetic category, which based on the theme “Victorian Emporium,” were Jo Archer of Vancouver, British Columbia, who took first place; Moona Jin, from South Korea, coming in second and Jordan McKoy from New Brunswick, New Jersey placing third. In the “Wildwood Warrior”-themed Beauty/Fantasy category, first place went to Moona Jin, from South Korea, with second and third places going to Elaina Dilts, of Clarksville, Tennessee and Daria Kruchinina, of Brooklyn, New York.

Key considers “Battle of the Brushes” one of the best ways for artists to do “shortcut” networking and get gig offers, but that having all those different artists working at the same time, under pressure, and having their work seen on stage by colleagues and enthusiasts is great for the art of make-up itself: “What a better way to celebrate it than to come and see it created in front of us?” ■

Robert Spano makes MET debut

by Mark Gresham | 16 OCT 2018

Robert Spano (credit: Angels Morris)

Robert Spano
(credit: Angels Morris)

Conductor Robert Spano makes his Metropolitan Opera debut this Friday, October 19, leading the company in a total of seven performances Nico Muhly’s Marnie in October and November.

The opera is based on the Winston Graham novel which also inspired a film by Alfred Hitchcock. Marnie is the second opera commissioned from Muhly by the Metropolitan Opera and is co-produced by the MET and English National Opera.

Earlier this month, NYC based artist management firm HarrisonParrot announced that following nearly two years of successful work for Robert Spano in Europe and Asia, that they and Spano have extended their agreement globally.

Spano is currently in his 18th season as music director of the Atlanta Symphony Orchestra. He is also Music Director of the Aspen Music Festival and School, including the Aspen Conducting Academy.

He will return to Atlanta following the final performance of Marnie on November 10 to lead the Atlanta Symphony Orchestra in concerts of music by Theofanidis and Tchaikovsky on November 15 and 17. ■

Kansas City Symphony to perform music by Michael Kurth

by Mark Gresham | 5 OCT 2018

Composer and Atlanta Symphony contrabassist Michael Kurth (credit: Jeff Roffman)

Composer and Atlanta Symphony contrabassist Michael Kurth (credit: Jeff Roffman)

A Thousands Words by Atlanta composer Michael Kurth will open this weekend’s concerts by the Kansas City Symphony, led by KCS music director Michael Stern. The three performances will take place tonight, Saturday evening and Sunday afternoon. Also on the program are Grieg’s Piano Concerto in A Minor, featuring pianist George Li as soloist, and Beethoven’s Symphony No. 7.

A Thousand Words was premiered in February 2016 with music director Robert Spano leading the ASO. Symphonic in form, the 27-minute work has four movements, each given an intriguing title, as the verbally imaginative composer is inclined to do: “Above: Radiance,” “Beneath: My Sinister Groove Machine,” “Within” and “Beyond: We Will Puncture the Canopy of Night.”

Born in 1971, Kurth joined the contrabass section the Atlanta Symphony Orchestra in 1994. The Orchestra has given world premieres of five of his orchestral works since 2011: “May Cause Dizziness,” “Everything Lasts Forever,” “Prometheus Unhinged,” “A Thousand Words” and “Miserere.” The ASO has recorded a complete album of works by Kurth, to be released in 2019 on ASO Media. Kurth also serves as composer-in-residence for the Riverside Chamber Players, which has premiered a number of his chamber works, and released an album of his music for string quartet in 2012.

Program notes for the concert by Ken Meltzer are available for download in PDF form. ❧

Vocal Arts Atlanta makes its debut

by Mark Gresham | 15 SEP 2018

The Vocal Arts Atlanta team: (l-r) Jose Caballero, Chaowen Ting, Valerie Pool.

The Vocal Arts Atlanta team: (l-r) Jose Caballero, Chaowen Ting, Valerie Pool. (Photo courtesy of Vocal Arts Atlanta)

Atlanta’s newest performing arts organization, Vocal Arts Atlanta, makes its public debut this weekend with “Opera for Everyone: Who Has the Worst Day?” Hosted by the Kellett Chapel Recital Series at Peachtree Presbyterian Church in Buckhead, the free 75-minute performance takes place this Sunday, September 16 at 4 pm.

Comprised of a clutch of operatic favorites, the repertoire is sewn together by a modern, relevant comic premise about how everyone has a bad day now and then, with the all-too-common assertion among friends of how “my bad day was worse than yours.” The competition for “worst day” is played out between a pair of complaining couples drawn from two highly popular traditional operas: Bizet’s Carmen and Mozart’s The Marriage of Figaro. The expostulating pairs are portrayed by soprano Adelaide Boedecker, mezzo-soprano Kaitlyn Costello, tenor Nathan Munson and bass-baritone Calvin Griffin. Chaowen Ting conducts the semi-staged concert’s accompanying 10-piece chamber orchestra, with stage direction by Brenna Corner, who directed the Atlanta Opera’s production of Carmen this past spring.

Vocal Arts Atlanta was founded earlier this year by a trio of musicians who are active in Atlanta’s music scene and all have a foot in the world of opera. Co-artistic director and music director Chaowen Ting is director of orchestral studies at Georgia Tech, was a conducting fellow with Dallas Opera’s Hart Institute for women conductors in 2016, and was recently named music director of NANOWorks Opera (North America New Opera Workshops).

A native of Marietta, Georgia, co-artistic director and general director Valerie Pool, is an alumna of the Atlanta Opera Studio Program. She completed her second season as resident pianist and vocal coach with The Atlanta Opera in May 2018, has been a rehearsal pianist and surtitle coordinator with Cincinnati Opera since 2014, and was recently appointed music director at St. Benedict’s Episcopal Church in Smyrna.

Director of media and public relations Jose Caballero, is an active performer and teacher, and is beginning his third season as a member of the Atlanta Opera Chorus as well as his engagements in performances by Capital City Opera.

The story of how Pool, Ting and Caballero came together as a team to create Vocal Arts Atlanta in the first place was as much a matter of old-fashioned serendipity as anything, each being in the right place at the right time, with mutually compatible ideas on their minds.

Pool and Ting were introduced last November by composer Carrie Magin, when Ting led the Georgia Tech symphonic band in a concert of music by all-female composers, in which one of her works was performed. Magin was already friends with Pool, who provided her a place to stay during her visit. Once connected, Pool and Ting started talking about a mutually perceived need within Atlanta’s operatic and classical vocal community for expanded local opportunities for performance.

Primarily involved with symphony orchestras, Ting found her experience with Dallas Opera opened a new professional door for her. “There is a whole lot of repertoire and a real cool world for me to be exposed to,” says Ting. “I felt like we should bring back to the general public as well. So I had the idea , I think we should do something together think about it and she started talking to people and then she came up with this really cool idea of Vocal Arts Atlanta.”

Pool: “I would only talk to one person, one singer that I was working with. Jose happened to talk to that same person. He was in the Atlanta Opera Chorus and I was playing piano for that rehearsal. Jose came up to me at the break and he said ‘I hear you’re starting a new company. I want to be involved and I’m really excited about this’ and so we had a team. So that’s how we got together.”

In an e-mail, Caballero told ArtsATL of that encounter, “It was just meant to be. I had been thinking about starting a performance company and started asking my colleagues at the opera if they knew anything about how to start a non-profit. One of them mentioned that Valerie was thinking about starting something similar. That’s when I approached her and we realized our goals were aligned. When I first talked to her it was still just an idea, she had already met Chaowen. We started meeting regularly and creating a vision and figure out our purpose. Things just snowed-ball from there.”

The process moved quickly, incorporating Vocal Arts Atlanta as a non-profit in April, obtaining their 501(c)(3) tax exempt status by summer, and at last the organization’s first public presentation, the afore-described “Opera for Everyone: Who Has the Worst Day?” scheduled for this Sunday afternoon.

The mission of Vocal Arts Atlanta, as described by Ting and Pool in an informal meeting with ArtsATL last month, “is to expose under-served groups, including singers professional musicians and the audience member to a large variety of vocal arts repertory that includes song cycles, art songs, lieder, to operatic excerpts, or semi-production of operas or even orchestra songs. We deliberately made the name really broad. We’re not just another opera company here in town. We want to include a great variety of anything involving classical singing featuring classically trained singers.”

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Composer’s Notebook: Have Geezer Card, Will Travel

Overlooking the dam on Lake Allatoona, Cartersville, Georgia. [photo: Mark Gresham]

Having turned 62 back in March, I finally got my National Parks Service “America the Beautiful” Lifetime Senior Pass card yesterday, but I had to drive to Cartersville to buy it first hand.

Since I knew the in-town Martin Luther King, Jr. National Historic Park didn’t sell them, I’d gone to Kennesaw Mountain National Battlefield Park visitor’s center to buy one, only to find that they didn’t sell them either. The park ranger at the desk pointed me to two closest choices, Chattahoochee River National Recreation Area off State Hwy 400 and the Allatoona Lake Visitor Center & Museum, which is run by the U.S. Army Corps of Enginners.

I chose the Cartersville location, since I was already just off U.S. 41, and felt like taking a nice drive in that direction. It was an easy process. I struck up a conversation with the receptionist who sold me the card, and she suggested I take a short walk up to dam overlook, not many yards away from the building, because they were releasing water from the dam at that moment. Monday’s record breaking rain for the day had raised the pool a little much, so they had to open the gates release some of it. That made for a great photo op, this one being the best of the group taken with just the camera of my Kindle tablet.

The Allatoona Dam was completed in 1949. Lake Allatoona (rarely called by its official designation, Allatoona Lake) is supplied mostly by the Etowah River, one of the rivers featured in my string quartet, Four Rivers. Below the dam, the Etowah River passes by the Etowah Indian Mounds, west of the city, before joining the Oostanaula River to form the Coosa River at their confluence in Rome, Georgia.

Restaurant review: Radial cafe (Candler Park)

by Mark Gresham | 23 Apr 2018

1530 DeKalb Ave NE, Atlanta, GA 30307
American, New

⭐⭐⭐ 3 stars

Radial cafe is the kind of place you can take vegan or vegetarian friends who are terrified of being invited to a restaurant by those of us who are more or less omnivores. It also takes great pride in its “low carbon footprint” and overall “green” attitude toward running a business. Appropriate coincidence that this is the day after Earth Day.

On a normal occasion, I would give Radial a four or five star rating, but it was a little off norm today. Wait staff, in my experience, has been consistently friendly, if slightly cavalier on occasion; that was again the case today, when I didn’t recognize anyone on duty.

The menu was a different printing than I’ve seen before, on paper, without the normal encoding of the dishes as being vegan, gluten, free, etc. or maybe I just didn’t notice where those things were indicated. Normally they are highly visible and just pop out at you.

I wondered whether there was inordinate turnover since my last visit, or if experienced staff from this Candler Park location had been sent to the newer College Park location, which I have not yet visited.

I normally order the American breakfest, and did so today: two eggs over medium, wheat toast, house grits, and their wonderful chicken sausage, plus decaf coffee, which came first. However, I was told they were out of chicken sausage today, so had a choice of pork or vegetarian sausage, or bacon. I chose the pork sausage, which was my mistake. It was an insignificant portion, mashed flat (1/8″ ). The eggs were more over easy than medium, undercooked from my perspective; the wheat toast burned but cold (no jam offered, but butter), the grits nicely thick but a little on the gritty side.

I am hoping that changes have not gone down here that would warrant more than a dip to a three-star rating on this occasion. All things considered, I will return at some point, though I can’t eat out as frequently as I used to, budget-wise. My total bill came to $11.78 before taxes and tip ($2.79 of that was the decaf coffee), which is in the “reasonable” range these days. The 79-cent breakfast of my college days (1970s) are long gone, of course, and there are more expensive options out there that are pretty much equivalent quality to Radial on its better days, but if your culinary preferences need match your progressive social agenda, Radial is a better choice for you, though it makes no difference one way or the other to me. I do have friends for whom it is important. I’m more interested in the food. ■

[Also published on]

Restaurant review: Cracker Barrel (Marietta)

by Mark Gresham | 22 Apr 2018

Cracker Barrel
2150 Delk Rd, Marietta, GA 30067
American, Traditional

⭐⭐ 2 stars

I had never been to this particular Cracker Barrel, but decided to try it on a Sunday when I had some time to make the drive for the drive itself (none are within 10 miles of me, this one 17 miles). Hostess was very friendly and cheerful, wait staff and cashier pleasant enough for their jobs. Table for one easy, immediate, as no crowd and a choice of open tables.

I ordered grilled trout, mashed potatoes, fried okra, biscuits and just water to drink. The big disappointment was the trout (thus the 2-star rating) which was so small and flat that I thought I’d need a microscope to find it on the plate. Really, it was just a few bites worth and greasy at that. (The old restaurant joke, “How did you find your [trout]?” came to mind.) Mashed potatoes and okra were ordinary, like out of a grocery store box of spud flakes for the former, gravy not even offered as an option and had to ask for butter, which I was told was with the forthcoming biscuits. Biscuits were good, typical of Cracker Barrel. I don’t recall being asked if I wanted dessert, but by this time had decided not to bother anyway. Total cost: $7.99 plus taxes and tip.

Service was quick, the meal went quickly. The restaurant was clean, not crowded or chaotic, not loud. Were it not for the thing that vaguely passed for a serving of trout, I might have given this Cracker Barrel a higher rating. The greeting of the hostess and less crowded environment had made me think better was in store, but, alas, no. Perhaps my experience was an exception, and I just happened to get dinged this time. ■

Also published on

Review: Atlanta Opera’s “Out of Darkness: Two Remain” makes for emotionally powerful drama

by Mark Gresham | 11 APR 2018

Ben Edquist as Manfred Lewin and Tom Key as Gad Beck. [photo: Jeff Roffman]

Ben Edquist as Manfred Lewin and Tom Key as Gad Beck. [photo: Jeff Roffman]

The Atlanta Opera is halfway through their latest Discovery Series production, “Out of Darkness: Two Remain,” by composer Jake Heggie and librettist Gene Scheer. I attended on Friday night, the second performance of the production’s eight-show run. Four performances remain, this coming Thursday through Sunday, April 12 through 15. Presented in collaboration with Theatrical Outfit, the performances take place in that company’s home venue, the 200 seat Balzer Theater at Herren’s.

“Out of Darkness: Two Remain” is comprised of two 45-minute acts, each telling the story of an aging Holocaust survivor, each a kind of “ghost story” where the unresolved memories of their experiences and persons who died continue to haunt them.

Act I tells the story of poet and lyricist Krystyna Zywulska (soprano Maria Kanyova), who was sent to Auschwitz-Birkenau as a political prisoner, rather than for being a Jew – a fact which he successfully hid from her Nazi captors. She is confronted by memories of her of her younger self who survived Auschwitz, nicknamed Krysia (soprano Bryn Holdsworth), and friends in the camp who did not: Zosia and Edka (mezzo-sopranos Elise Quagliata and Gina Perregrino), and the late-arriving Mariola (soprano Jasmine Habersham), a Jewish woman who immediately recognizes Krysia as childhood friend from Łódź, and calls her by her real name, Sonia Landau, in front of Wala, a “kapo” – a prisoner functionary (Funktionshäftling) assigned by the SS to supervise and control other prisoners (a brief role also portrayed by Quagliata).

The encounter with Mariola creates immediate peril for Krysia, in which she must deny her former identity and hr childhood friend. It’s the ghost of Mariola who haunts Krystyna the most, and who is the first character to sing, wordlessly, at the beginning of the opera. In the end, Krystyna reaffirms that she is no longer Sonia Landau, but Krystyna Zywulska – and that is why she still lives to see another day.

The aging Krystyna Zywulska and Krysia, the ghost of her younger self (sopranos Maria Kanyova and Bryn Holdsworth). [photo: Jeff Roffman]

The aging Krystyna Zywulska and Krysia, the ghost of her younger self (sopranos Maria Kanyova and Bryn Holdsworth). [photo: Jeff Roffman]

Act II is the account of German homosexual Gad Beck (actor Tom Key), whose first true love was the poet Manfred Lewin (baritone Ben Edquist), executed in Auschwitz at age 19 along with his entire family. Although he keeps a book of Manfred’s poems in a side table drawer, Gad tries but cannot forget, and is visited one night by the ghost of his young lover, and must reconcile himself to accepting that love and his memories of Manfred. He does as he and the ghost of Manfred embrace in a close dance as the lights fade.

That seemed like it would be the end of the opera, but a Finale follows, involving the whole cast of both acts, that comes across less as epilogue than as anthem of defiance and solidarity. Key, who has only spoken dialogue all night, is the first to break into song, delivered directly to the audience, reprising a tune and text from the first act, in which the rest of he cast quickly join him:

Take off your striped clothes, kick off your clogs.
Stand with me, hold your shaved head high.
The song of freedom upon our lips will never, never die.

Although two separate stories, with protagonists that are unconnected except by Auschwitz and the Holocaust, there is much synergy between the two Acts. That synergy becomes fused in the opera’s final, collective anthem and it does something unusual for 21st-century opera: it risks being remembered by the audience as they depart.

Whether emulating folk-song and dance of Ashkenazic Jews, or the decadent atmosphere of a Berlin nightclub, or eerily adapting waltzes by Chopin and Johann Strauss into the sonic thread, Heggie’s music colors the drama and amplifies it. The orchestra is a sextet – essentially a “Pierrot ensemble” of flute, clarinet, violin, cello and piano, with the addition of a contrabass. The Atlanta Opera Orchestra principal players, ensconced in a narrow passageway behind a scrim at the back of the stage, performed skillfully under the baton of conductor Joseph Mechavich.

Four dancers (Miriam Golumb, Nicole Johnson, Brandon Nguyen and Joshua Rackliffe) round out the cast, portraying multiple silent characters important to the drama as well as executing the evocative choreography by John McFall. Producing director Tomer Zvulun balanced the creative forces onstage, emphasizing the opera’s strong theatrical elements, which suited the Balzer Theater’s space and Christopher Dills’ pragmatic scenic design, drawing from the complete cast of players a solid ensemble performance.

On his website, composer Heggie describes this Atlanta Opera production as the “premiere of revised opera and official professional opera company world premiere.” Like many operas, it has taken time for the work to evolve to this stage. “Out of Darkness” had its beginnings as three separate theatrical song cycles: “For a Look and a Touch” (2007), “Another Sunrise” (2012) and “Farewell, Auschwitz (2013).As none of these alone made for a complete theatrical evening, Heggie and Scheer worked them over to create the first “Out of Darkness” opera.

That first version was commissioned by the concert series Music of Remembrance and premiered in 2016 at the Nordstrom Recital Hall in Seattle’s Benaroya Hall, directed by Erich Parce and conducted by Joseph Mechavich. Since then revisions have been made, with a trial run of four performances only two months ago February 8 through 11 by Peabody Chamber Opera of Baltimore’s John Hopkins University. Subsequent further revisions were made just after; vocal scores used by the Atlanta Opera bear the date “2/18/2018.” In the process, the title of the new version was expanded to “Out of Darkness: Two Remain.”

In its current form, “Out of Darkness: Two Remain” proved an effective, well-crafted, emotionally complex evening of agitprop music theater that makes its poignant point to those interested and willing to be moved by its deeply heartfelt message.

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This Week: June 7 – 13

Selected classical and contemporary music events for 7 – 13 JUN 2017
SUNDAY, 11 JUN 2017
CITY OF ANGELS SAXOPHONE QUARTET – Madison-Morgan Chamber Music Festival (Closing Gala): City of Angels Saxophone Quartet. Dinner and concert. ​6:00 Dinner, 7:15 Concert. ​Empire Mills, Banquet Hall (Madison).

This Week: May 31 – June 6, 2017

Selected classical and contemporary music events for 31 MAY – 6 JUN 2017
ATLANTA SYMPHONY ORCHESTRA – Robert Spano, conductor; Twyla Robinson, soprano; Clifton Forbis, tenor; Daniel Sumegi, bass. BULLER: The Songs of Ophelia (World Premiere – Rapido Commission); BRITTEN: “Four Sea Interludes” from Peter Grimes; WAGNER: Die Walküre Act One. 8pm, Atlanta Symphony Hall.
FRIDAY, 2 JUN 2017
ATLANTA SYMPHONY BRASS QUINTET – Madison-Morgan Chamber Music Festival: Atlanta Symphony Brass Quintet. Outdoor concert, free, no ticket required. 7pm, Madison Town Park (Madison).
ATLANTA SYMPHONY ORCHESTRA – Robert Spano, conductor; Twyla Robinson, soprano; Clifton Forbis, tenor; Daniel Sumegi, bass. BULLER: The Songs of Ophelia (World Premiere – Rapido Commission); BRITTEN: “Four Sea Interludes” from Peter Grimes; WAGNER: Die Walküre Act One. 8pm, Atlanta Symphony Hall.
SUNDAY, 4 JUN 2017
CHRISTIANIA TRIO – Madison-Morgan Chamber Music Festival: Christiania Trio – David Coucheron, violin; Christopher Rex, cello; Julie Coucheron, piano. 3pm, Burge Plantation (Madison).