• April 12-14, 2013

    Cobb Energy Performing Arts Centre

David Bintley’s Carmina Burana — April 12-14, 2013

Choreographed by David Bintley
Music by Carl Orff
Live with the Atlanta Ballet Orchestra and Georgia State University Singers

Dazzling and inventive, Bintley provides an exquisite, modern interpretation of Carmina Burana that is filled with surprises.  Set to the resounding original score by Carl Orff, the ballet follows three seminarians as the pleasures of the flesh lead them to question their faith.  It will stun your senses and satisfy your soul.

Petal by Helen Pickett is a "sunny piece" that explores "the intersection of ballet and modern dance" (Boston.com and Denver Post).  Dance Magazine praised the "effervescent choreography" and described it as "the perfect opener for Atlanta's fleet-footed and engaging dancers." Petal made its Atlanta debut during Atlanta Ballet's 2011 Fusion program.


Parental discretion advised.

Cobb Energy Performing Arts Centre

The Cobb Energy Performing Arts Centre is the first major performing arts facility built in metro Atlanta in four decades.

Location and Parking
The Cobb Energy Performing Arts Centre is located in northwest Atlanta near the junction of I-75 and I-285, at the intersection of Cobb Galleria Parkway and Akers Mill Road.  Self parking is available on site for a $6 fee, and valet parking is available for select performances for a $10 fee. You can also pay for paking in advance online - click here for more information. Please do not park in the Toys"R"Us lot on Akers Mill Rd. This is not approved parking for the Cobb Energy Performing Arts Centre, so your car may be booted or towed if left there.

Emergency Phone Number
(770) 916-2911 is the 24-hour public safety number for the Cobb Energy Centre.  Please leave your seat location with your babysitter or answering service so that the house manager may find you in case of an emergency.

Special Needs
The venue is ADA compliant.  Designated seats in various locations are available for guests with disabilities and those needing special assistance.  The venue is equipped with wheelchair accessible courtesy phones, elevators, plaza ramps, wheelchair accessible ticket windows, and wheelchair accessible drinking fountains.  For more information, please call (770) 916-2800.

Cobb Energy Performing Arts Centre

Community and Corporate Group Tickets

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Click here for details and to submit a request to Myredith Gonzales, Group Sales Manager.

Bintley brings fun, passion to ‘Carmina Burana’

Review: From Atlanta Ballet, gut-level “Carmina Burana” and a flowing, sense-satisfying “Petal”

In front of a lively and spirited audience at the Cobb Energy Performing Arts Centre, Pickett’s “Petal” preceded “Carmina,” creating a program that filled the senses with vivid imagery, pure kinesthesia and richly detailed music.

Preview: Atlanta Ballet’s “Carmina Burana” takes a walk on the wild side to temptation

In a large, light-filled studio at Atlanta Ballet’s complex on the Westside, dancers are rehearsing over and over again one section of choreographer David Bintley’s “Carmina Burana.” Bintley wants them to be tougher, slouchier. He demonstrates; they watch intently. Just react, he urges. Drop the classical poses. This, after all, is not “Swan Lake.” It’s a contemporary ballet about young people rejecting the spiritual life and exploring sex, drugs and rock ‘n’ roll.

Carmina Burana: Sinfully Entertaining

Atlanta Ballet’s latest production, Carmina Burana, is a wild ride from faith to sin. Choreographer David Bintley is premiering his version of Carmina Burana for the first time in North America with the Atlanta Ballet at Cobb Energy Performing Arts Centre this weekend. Simply put, the show is incredible and you don’t want to miss it.

Preview: ‘Carmina Burana’ explores faith, flesh

“It’s a really, really fun piece,” said Gill, who plays one of the seminary students. “It’s high energy. The music, of course, is mind-blowing. I’m really looking forward to working with the singers. And everything else, too.”

Carmine Burana

Spine tingling performance hitting on all cylinders! One of my most enjoyable entertainment experiences.


I love Carmina Burana. Own the CD. Have seen it live many times. But THIS was unbelievable. The dance component brought to us by Bintley adds something to CB that I didn't even realize was missing. What an incredible performance this was. The AB was wonderful, especially the female lead - the opening and closing bookend scenes were delightful, poignant. There was humor, calm, beauty, energy and delight throughout. Thank you.

Very moving and inventive!

I was familiar with the overture to Carmina Burana, but beyond that, I only had an idea of what I might see. The entire experience from the dancers to the orchestra to the live choir was amazing. Not entirely what I expected, which made it all the more interesting. I also really enjoyed the first performance of the evening, Petal.

Carmina Burana was highly entertaining.

The skill level of the performers was impressive. We thoroughly enjoyed the pre intermission and post intermission performances. We were a little concerned about having our 9 year old granddaughter there, but there was really not anything that she could not see. She is a dancer and was inspired by the performance.

Petal & Carmina Burana

I saw the 2:00 pm showing of Petal & Carmina Burana on April 13. I took my Mother to this event because I had enjoyed ballet so much I was hoping this would be an equal experience, and we certainly weren't disappointed. Everything from the music to the ballet itself was spot on and wonderful! I highly recommend this ballet to anyone.

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  • David Bintley talks about creating his Carmina Burana

  • Carmina Burana Video Commercial

David Bintley, CBE

Huddersfield is not as famous in the world of classical dance as St Petersburg, Paris or London, but it was the birthplace of David Bintley - one of the most consistent and significant forces in British ballet.

At the age of four, he fell in love with the stage at a Sunday school concert, and from that point onwardsdance became 'a single-minded obsession' that led to him winning a place at the Royal Ballet Upper School at the age of 16.

It was 1973, and that meant that Bintley was directly influenced by the founders of British ballet - Dame Ninette de Valois and Frederick Ashton. He still cites 'Madam and Fred' as his heroes, and his love for the communicative style of English ballet that they forged springs from the training they gave him.

Even before he arrived at the school, Bintley knew he was interested in choreography and he made his first fledgling ballets there. But after he joined Sadler's Wells Royal Ballet in 1976, it was as a character dancer that he made his mark. His performances as Alain and Widow Simone in La Fille mal gardée, the smaller Ugly Sister in Cinderella, and Petrushka in Fokine's ballet of that name, set the benchmark for those roles at that time.

At the same time, his choreographic ambition was encouraged, beginning with The Outsider in 1978 and continuing through his first major narrative ballet The Swan of Tuonela in 1982. In 1983, he became resident choreographer of Sadler's Wells Royal Ballet, but left three years later to take up the same position at The Royal Ballet. His period with the Covent Garden company was one of mixed success. Works such as Still Life at the Penguin Café perfectly caught the mood of the late 1980s and has been enduringly popular. Hobson's Choice (1989), a deft, fluent transposition of Harold Brighouse's great Northern working-class comedy to the ballet stage, made for SWRB, was equally enduring. But ambitious pieces such as The Planets (1990) and Cyrano (1991) failed to win over the critics. Bintley resigned from the Royal Ballet in 1993, but not before he had bequeathed them the darkly beautiful Tombeaux.

For the next two years, he worked mainly abroad, but in 1995, he returned home as artistic director of his old company, now based in Birmingham and renamed Birmingham Royal Ballet. Since his appointment, he has shaped a company where the dancers share his philosophy of continuing to preserve the classical repertory while introducing new work made in the same idiom.

He has been a careful curator of the classics - preserving some in Peter Wright's sensitive revivals, but also choreographing his own productions, such as Sylvia (2009) and Cinderella (2010). Just as noticeably, he has also championed the works of de Valois, Ashton and MacMillan which provide the basis of the modern English repertory, giving them a safe and loving home.

At the same time, he has continued to be a prolific choreographer, with a natural impulse towards story telling that has made popular hits of works such as Carmina Burana (1995), Far From the Madding Crowd (1996) and Beauty and the Beast (2003). The reworked Cyrano (2007) and Sylvia (2009) have also emerged as a durable and attractive works. Alongside such narrative pieces, he has tapped another more abstract vein with jazz-inflected creations such as The Shakespeare Suite (1999) and Take Five (2007) taking their place alongside the thrilling E= mc² (2009), a bright meditation on physics with a new score by Matthew Hindson, and Faster (2012), an Olympics inspired commission to the same composer. Such works reflect his instinct, throughout his career, to make work to new music. This ambition, combined with his narrative sophistication, has won him many awards and world-wide recognition. Although still firmly based in Birmingham, since 2010 Bintley has also been Artistic Director of the National Ballet of Japan, creating Aladdin (2008) and The Prince of Pagodas (2011).

- SARAH CROMPTON | Sarah Crompton is Arts Editor in Chief and Dance Critic of The Daily Telegraph

The Atlanta Ballet Orchestra, Georgia State University Singers, and three professional soloists will be bringing the iconic and resounding Carl Orff score to life for all Atlanta Ballet performances of David Bintley's Carmina Burana!


Brendan Daly (Tenor Soloist), an Atlanta native, finished the 2011|2012 season with critically noted lead roles in Le 66 by Offenbach, Trial by Jury by G&S, and The Mighty Casey by Schuman (Opera Saratoga). Recent supporting credits include La Bohème (Atlanta Opera), Die Fledermaus (Saratoga), Kurt Weil’s Mahagonny (Opera Boston), Haydn’s Creation, Handel’s Messiah, and the Magnificat and St. Matthew Passion of Bach. Brendan apprenticed two seasons with Opera Colorado, appearing in Tales of Hoffmann by Nathanaël and the Barber of Seville (Almaviva). He is in residency at Boston University’s Opera Institute, recently appearing in stage works of Massenet, Poulenc, Britten, and Jake Heggie.

Angela Gilbert (Soprano Soloist), a South African born soprano, is an accomplished international interpreter of the Bel Canto repertoire. She has performed the title role in Donizetti’s Lucia di Lammermoor and Maria Stuarda for San Diego Opera under the batons of Richard Bonynge and Edoardo Müller, respectively. The title role in Lucia has also taken her to the Anna Livia International Opera Festival in Dublin, Ireland, Cape Town Opera in South Africa, Connecticut Grand Opera, Kentucky Opera, and Palm Beach Opera; and she has covered the role for Natalie Dessay at the San Francisco Opera. She has also performed Norina in Don Pasquale with Cape Town Opera and Wolf Trap Opera, Adina in L’Elisir d’Amore with the Bar Harbor Festival, and Inez in La Favorita for Opera Orchestra of New York at Carnegie Hall. Additional engagements with OONY include covering the title role in Adelia and Elena in Rossini’s La Donna del Lago. An alumna of the Lindemann Young Artist Development Program at the Metropolitan Opera, Angela is a versatile performer relishing her ongoing relationship with Mozart and Verdi.

Gabriel Preisser (Baritone Soloist), praised for his "rich and powerful voice," has performed over 30 operatic and musical theatre roles with companies such as Des Moines Metro Opera, Utah Festival Opera,  Pensacola Opera, and Kentucky Opera. He has also appeared as a soloist with the Minnesota Orchestra, Orlando Philharmonic, Ars Lyrica, Mercury Baroque, and others. Recently, he reprised his role as Lt. Gordon in the Pulitzer Prize winning Silent Night with the Opera Company of Philadelphia, a role he created with Minnesota Opera last year. A district winner in the 2010 Metropolitan Opera National Council Competition and winner of the American finals of the International Lirico Concorso Competition in 2011, he has earned performance degrees from Florida State University and the University of Houston.


Dr. Deanna Joseph (Conductor, Georgia State University Singers) is director of choral activities at the Georgia State University School of Music, where she conducts the University Singers and the Women’s Chorus, teaches conducting and choral literature, and supervises the master’s program in choral conducting. She is an active guest conductor and clinician who has conducted all-state and honor choirs in eight states. Dr. Joseph is a frequent conductor of choral-orchestral repertoire and has led performances of pieces such as Mendelssohn’s Elijah, Beethoven‘s Mass in C, Mozart’s Requiem, Haydn’s Creation and Lord Nelson Mass, Schubert’s Mass in A-flat, and Bruckner’s Mass in D Minor. Dr. Joseph holds a BS in music education from Duquesne University and both the MM and the DMA in conducting from the Eastman School of Music. At Eastman, she taught conducting and served as the assistant conductor of the Eastman Chorale and the Eastman-Rochester Chorus and was awarded the Walter Hagen Conducting Prize. Dr. Joseph has also been a conducting fellow at the Oregon Bach Festival. Prior to her appointment at Georgia State University, Dr. Joseph served on the faculties at Smith College (2004-2007), the University of Massachusetts at Amherst (2007-2008), and Hobart and William Smith Colleges (2008-2010) and served for three summers as a conductor and teacher on the artist faculty of the New York State Summer School for the Arts - School of Choral Studies (2007-2009).

Georgia State University Singers (Choir), under the direction of Dr. Deanna Joseph, is the Georgia State University School of Music’s premier vocal ensemble. Selected by competitive audition, the choir is comprised of both music majors and non-majors, undergraduate and graduate students, while representing the diverse population of Georgia State University. The ensemble’s annual performances have included appearances before the Georgia Music Educators Association, American Choral Directors Association, and at the Georgia Music Hall of Fame Awards. The Singers’ tours have taken them throughout much of the United States, including Carnegie Hall on two occasions, and six international tours with stops in France, Belgium, Italy, Yugoslavia, Finland, Russian, Estonia, Canada, and Great Britain. The University Singers is honored to have been selected to represent the United States in the 2013 Florilège Vocal de Tours International Choral Song Competition this May.

Soprano: Lauren Dellinger, Julia Metry, Megan Price, Lauren Westberg, Natalie Harrell, Courtney Long, Jessica Lane, Alaina Powell, Megan Schuitema, Megan Zhang, Paige Williams, Stephanie Cross, Elizabeth King, Morgan Mooney, Aikaterini Grigoriadou

Alto: Melissa Joseph, Jazmine Scroggins, Kayla Harriot, Carolyn Balkovetz, Oriana Wisdom, Hannah Lee, Eve Webber, Elaine Peek, Madison Skeeters, Michele Ripley, Laura Massas, Amber Tittle, Alix Urien, Yadi Flores, Chelsea Siegel, Maggie Garred, Lakendra Fort

Tenor: James Taylor, Moonsuk Kang, Matthew Talley, Christopher Massie, Keithni Woodside, Dylan Banks, David Clark, Ariel Merivil, Salvatore LoCascio, Jarrett Roseborough, Craig Upchurch, Drew Bridges, Nick Backfisch, Bill Walker, Corey Houston

Bass: David Porter, Alishan Lalani, Kevin Banks, Jacob Zhou, John Tibbetts, Nick Yaquinto, Asa Moon, Stephen McCluskey, Matt Samuels, Terrance Patterson, Jason Arnold, Miguel Velez, Joshua Alexander, James Peterson, Melvin Carter, Jonathan Maiocco, Brandon Affeck, David Ducharme


Beatrice Affron (Conductor) was born and raised in New York City. She joined Pennsylvania Ballet in 1993 as the assistant conductor and was promoted to music director and conductor in 1997. A graduate of Yale University, Beatrice studied conducting with Robert Spano and Pascal Verrot at New England Conservatory. At Pennsylvania Ballet, Beatrice has conducted many Balanchine ballets as well as other classics such as The Sleeping Beauty and Romeo and Juliet. In 2004, she conducted the world premiere of Christopher Wheeldon’s Swan Lake. Other dance credits include Les Sylphides, Moor’s Pavane, and Dark Elegies, all of which Beatrice led at the Boston Conservatory. Outside of dance, Beatrice is heard in a large and varied repertoire that encompasses works from Handel to Donizetti to Philip Glass. In 2002, she received international attention when she led the world premiere performances of Philip Glass and Mary Zimmerman’s Galileo Galilei at Chicago’s
Goodman Theater and subsequently on a tour to London’s Barbican Theatre. In 2005, Beatrice made her debut with the Glimmerglass Opera conducting Donizetti’s Lucie de Lammermoor. Other guest conducting appearances include Opera Theatre St. Louis, the Pro Arte Chamber Orchestra, the Landmarks Orchestra, and New England Conservatory. Beatrice lives in Boston with her husband and daughter.


Lisa Morrison, Concertmaster
Sally Wilson Martin, Associate Concertmaster
Linda Pinner, Principal Second
Adelaide Federici
Keiko Furness
Patti Gouvas
Lee Nicholson
Patrick Ryan
Mayu Sommovigo
Elonia Varfi
Rafael Veytsblum
Ying Zhuo

Joli Wu, Principal
Amy Chang
Allyson Fleck
Sarah Park
Kristeen Sorrells

Charae Krueger, Principal
Mary Kenney
Elizabeth Murphy
Alice Williams

Lyn Deramus, Principal
Christina Caterino

Nella Rigell, Principal

Jeanne Carere, Principal
Kelly Via

Erica Howard, Principal
Diana Dunn

Katherine White, Principal
Greg Collins

Michael Muszynski, Principal
Dan Worley

Jason Eklund, Principal
Christopher Doemel
Amy Trotz
Kathy Wood-Zachmann*

Kevin Lyons, Principal
John Morrison, Co-Principal
Greg Holland

Robb Smith, Principal
Mark McConnell
Richard Brady

Don Strand, Principal

Scott Douglas, Principal

Mike Cebulski, Principal
Karen Hunt
Jeff Kershner

Personnel Manager
Mark McConnell

*leave of absense 2012-2013